& Field Test

Full Lab

SHOOTING

& More
NIKON

TIPS
Sunlit
D750

Double
Portraits,
Exposures
P.79
HOW TO CAPTURE
WILDLIFE
NIGHT
OF THE
P.48

Gear
Photo

P.55
Best

ACCESSORIES
Years

TOP CAMERAS
LENSES
The

LIGHTS
31
POPULAR PHOTOGRAPHY DECEMBER 2014 IN THIS ISSUE 2014 POP AWARDS r TESTS: NIKON D750 & PANASONIC LUMIX FZ1000 r CAPTURING NOCTURNAL ANIMALS r SECRETS OF PHOTO ASSISTANTS r SUNLIT PORTRAIT TIPS r HOW TO SHOOT A DOUBLE EXPOSURE
100 Million Is Only the Beginning.
After 75 years of passion, dedication and innovation, Canon is proud to celebrate the
creation of the 100 millionth EF lens*. From our humble beginnings many decades ago,
it has always been our goal to provide you with the tools you need to capture still and
moving images worthy of your creativity and imagination. And even after all these years,
we are still honored and inspired every time we see what you capture and create with our lenses.
Thank you, and heres to another 75 years of your incredible images.

* Refers to EF Lenses, EF-S Lenses and Cinema Lenses produced worldwide from 1987 to First Half of 2014.
2014 Canon U.S.A., Inc. All rights reserved. Canon, EOS and EF Lens are registered trademarks of Canon Inc. in the United States.
glassrst.usa.canon.com
 HOW TO MAKE GREAT PICTURES DECEMBER 2014 VOLUME 78, NO. 12

PHOTOGRAPHYS
OUTSTANDING

55
Gear that
PRODUCTS

Shines
From cameras and
lenses to lights, bags,
and beyond, these photo
products are the best of
the best for 2014. One or
more of them could change
your life. By Philip Ryan

48 NIGHT VISIONS
This wildlife photographer
specializes in bats, owls,
snakes, and other sometimes
creepy creatures of the night.
They may seem scary, but these
animalsand her portraitsare
hauntingly beautiful, too.
By Traer Scott

66 TRICKS
OF THE TRADE
Six past and present assistants to
todays top photographers share
lessons they could have learned
only on the job. Some of their
insights may surprise you.
By Peter Kolonia
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26 79
40
NEXT 38 TRAVELING
PHOTOGRAPHER Discover
15 WE WANT THIS Samsungs NX1 what makes each Hawaiian island more
APS-C compact knocks em out at 15 fps. photogenic than the next.
16 JUST OUT A stabilized ultrawide 40 LIGHTING Try this tip for making
from Tamron, a new GoPro with 4K video, beautiful blue eyes even bluer.
Photoshop Elements, and more.
PREVIOUS PAGE: BRIAN KLUTCH (CAMERA); TRAER SCOTT (COUGAR); JOSH GRUBBS (FOOD); J. BRYCE BORDENKECHER (MODEL); DORON GILD (ENVIRONMENTAL PORTRAIT).
42 SOFTWARE WORKSHOP
20 ROUNDUP Yes, its time to Discover the processing power of Phase
upgrade: the latest and greatest in Ones Capture One RAW converter.
COVER: BRIAN KLUTCH (CAMERAS); TRAER SCOTT (COUGAR). THIS PAGE: HEATHER COLLINS (SHORELINE); MAJA TOPCAGIC (PORTRAIT); BRIAN KLUTCH (CAMERA).
memory-card readers.
46 YOU CAN DO IT Get creative
SHARE
with this technique for multiple exposures.
25 PHOTO CHALLENGE
Our winner worked backwards:
LAB
First he found a setting, then he went in 79 DSLR TEST Nikon D750
search of a subject. This new full-framer aims squarely at
Canons 5D Mark III, but is it up to the task?
26 MENTOR SERIES She knew
86 SUPERZOOM TEST
she had a classic seascape, but how to crop
it? Mentors share their wisdom. Panasonic FZ1000 With a 1-inch sensor
and massive zoom range, could this
superzoom be the one for you?
27 YOUR TURN Alternative portrait
views, more advice for renters, and a tip for
bargain shooting.
94 LENS TEST Fujifilm XF
18135mm f/3.55.6 R LM OIS WR
A weather-resistant wide-angle zoom.
28 YOUR BEST SHOT
This months winners revel in the majesty
and mystery of great buildings.
96 LENS TEST Samsung
1650mm f/22.8 ED OIS
HOW
Class-leading image stabilization. Nice!
35 CREATIVE THINKING DONT MISS . . .
Turn your casual observations into 8 EDITORS LETTER
fantastic photo illustrations. 12 SHOWCASE
36 FIX IT FAST Eliminate a rogue 106 TIME EXPOSURE
purple cast with these super-quick tweaks. 110 BACKSTORY
POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), December 2014, Volume 78, Issue 12,
is published monthly by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage
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6 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM
 EDITORS LETTER
Why We Shoot
Its not about the gear.
Every once in a while I repeat this
heresyand whats more heretical
than proclaiming it in the very issue
in which we confer our annual POP
Awards for Photographys Outstanding
Products? But even as we celebrate the
best new tools at your disposal, I dont
want to lose sight of what matters most: the photograph itself.
Photos tell a storytrue, invented, or somewhere in between.
They live as a record of a moment, a place, an event, a person.
They convey ideas and emotions. They lie. They exist as
windows into their content, as mirrors of their makers, and as
objects in their own rightas evidence, as art, as sales tools.
What does photography mean to me? Someone asked me
this recently and I didnt even know how to begin. Its role in
my own daily life seems to shift and increase every day.
And not just in mine. Judging by the sheer quantity of
images created and shared around the world, photography
has certainly never been more popular than it is now. With
this explosion of imagery come ever-multiplying layers of
meaning and new reasons to photograph. For instance, who
would have guessed even five years ago that people would use
their phones to snap and send pictures meant to disappear
seconds after theyre viewed? Yet thats what the smartphone
app SnapChat promises to do (even though those images dont
actually disappear).
We dont usually talk about the why of photography at
Pop Photo. This magazine is all about the how and the what,
and occasionally the who. We like to keep it practical, and
although we try to give you some context for the photos we
publish, we rarely dig deep into the photographic impulse. In
some ways, I suppose that as photographers ourselves we take
that impulse for granted.
But as the year draws to a close, it seems like a good
time to step back and take stock. Think about why you
photograph and what compels you to shoot what you do.
Then you can go back
to worrying about what ON THE COVER
Captured by Brian
camera and lens you
Klutch, the Nikon
need to get the shot
D4s and Panasonic
and how to realize Lumix GH4 are
your vision. among our POP
Award winners.
See the rest of the
best on page 55.
8 POPULAR PHOTOGRAPHY DECEMBER 2014
EDITOR-IN-CHIEF MIRIAM LEUCHTER
ART DIRECTOR Jason Beckstead
SENIOR EDITOR Peter Kolonia
FEATURES EDITOR Debbie Grossman
SENIOR TECHNOLOGY EDITOR Philip Ryan
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GROUP PHOTO EDITOR Thomas Payne
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DESIGNER Wesley Fulghum
EDITORIAL COORDINATOR Jae Segarra
CONTRIBUTING EDITORS Richard Bernabe, Laurence Chen,
Tim Fitzharris, Harold Martin, Ian Plant, Dan Richards, Jeff Wignall
POPPHOTO.COM EDITOR Stan Horaczek
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IN MEMORIAM Herbert Keppler
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7R, f/10, 1/160, ISO 100, Lens used: 85mm F1.4 ZA

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 You find your footing on unstable ground.

Peer into a stream of molten lava.

Brace for shifting wind.

Adjust for composition.

And ignore your melting boots.

Just to get one shot.

Finish strong.

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 SHOWCASE * NIKON D750
PHILIP RYAN

12 POPULAR PHOTOGRAPHY DECEMBER 2014

GAZER BEAM
While strolling through San Juan,
Puerto Ricos Calle Cerra, senior
technology editor Philip Ryan was
entranced by the intense gaze in
this mural by artist Juan Salgado.
Ryan shot with a Nikon D750 at ISO
400 with a shutter speed of 1/160
sec. He used a 24120mm f/4
Nikkor lens zoomed to 40mm, and
stopped down to f/11. See our full
test of the Nikon D750 on page 79.

POPULAR PHOTOGRAPHY 13

WE WANT THIS
GUTS &
GLORY
Samsung touts the
largest BSI sensor yet
THE NX1, Samsungs
It comes packed with a 28.2MP
backside illuminated (BSI)
sensor, the first to reach APS-C
POPPHOTO.COM
TAMRONS STABILIZED ULTRA-WIDE
16
THE CANON G7 X HAS A ONE-INCH SENSOR
SAMSUNG
NX1
28.2MP BSI
APS-C CMOS
ISO range:
size, and a DRIMe V processor And a reworked autofocus 10051,200
4K video
for fast imaging. system offers an impressive 205 205 phase-
Boasting an industry-leading phase-detection points, 153 of detect AF
burst rate of 15 frames per which are cross-types. Befitting points
second and H.265 4K video a company that also makes $1,500,
capture (without the need smartphones and tablets, the street, body
only
for an external recorder), this NX1 keeps you connected with samsung
camera seems built for action. Wi-Fi, Bluetooth, and NFC. .com
DECEMBER 2014 POPULAR PHOTOGRAPHY 15
 NEXT * JUST OUT

SURE, WE SHOULD have labeled

this lens Coming Soon instead of
Just Out, since its not due to hit
U.S. retailers until late winter. But

new SP 1530mm f/2.8 Di VC USD

zoom at Photokina last September

tamron-usa.com

SAFETY PACK
Evocs new camera bag
could save your life
ONE OF our favorite products
has released a coming out of the 2014 Photokina
new pro-level trade show, this seemingly ordinary
50150mm (though very stylish and sporty)
f/2.8 OIS lens, camera backpack has a life-saving
the perfect secret: an ABS avalanche protection
complement to
the NX1. system can be attached to it. In
the event of an avalanche, simply
1080p HD video at up to 120
> Some GoPro pull the emergency cord and two
Hero4 users enormous airbags designed to slide
photographers can fire off 12MP have reported you to safety will be deployed. The
that their
cameras are pack isnt just for protectionit
And a new Night Lapse mode also holds an impressive amount
overheating
allows individual exposures to when theyre of photo gear and lets you secure
be up to 30 seconds in length connected to and lug skis or a snowboard for your
during interval shooting. the GoPro winter photo adventure.
mean video machine battery
GoPro Hero4 Black Edition BacPac. Be Evoc Zip-On ABS Camera Bag
THIS MAXED-OUT GoPro gives careful!
$500, street $250, bag, add ABS unit from $700
adrenaline junkies (and
gopro.com evocusa.com

16 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

 Photo 2014 Jonathan Irish FUJIFILM X-T1 Camera and XF18-135mm Lens, at 30 seconds at F16.4, ISO 100.

Inspiring places
can fuel a

"I absolutely love the FUJIFILM X-T1. As an adventure and travel

photographer, the compact size is really important to me.
However, what really stands out is the excellent image quality,
which is on par (even better than!) my big, heavy DSLRs and
the image quality has blown me away".
-Jonathan Irish

ENGINEERED
TO INSPIRE
www.FujilmExpertXT1JIrish.com
facebook.com/fujilmcameras
FujilmUS
 NEXT * JUST OUT

> The U.S.

Forest Service
New
has proposed
guidelines
calling for
$1,500 permits
for professional Elements 13
An affordable, photographers ADOBE RELEASES an update
and video version of Elements annually, but
versatile tripod shooters to film
in federal
this one offers some impressive
AFTER YOUR lets photographers wilderness features. Compositing just got
camera, a couple get their cameras areas. Still easier, thanks to Photomerge
of lenses, and a to incredibly low unclear: whether Compose, which works with the
bag to carry it in, anglessomething the fee would Refine Selection Brush to mash
apply to images together more seamlessly.
a tripod is the one other tripods struggle non-pros too.
piece of equipment every with. The Quick Power It supports higher-res displays
photographer should own. Lock levers on the legs > Photo- (such as Retina and HIGH DPI). A
And Manfrottos new make height adjustments a Shelter bevy of new single-click filters and
one-handed event. And the announced a baked-in access to Elements Live
190X, the follow-up to
new photo- (a help portal) should appeal to
its very popular 190XB center column can swing centric,Pinterest-
and 190DB models, is a easily into a horizontal position novices. Grab it for $99, or upgrade
style platform
great place to start. to be used as a boom arm for called Lattice,
As was the straight downward or upward aimed at
helping pro
case with its shooting. Toss in a dash of photographers
predecessors, the sleek Italian-made design, better curate
redesigned 190Xs and youve got yourself one their work.
versatility is its chief pretty set of legs.
virtue. This aluminum tripod,
> HTC is
Manfrotto 190X jumping on the
available in three-section and POV camera
$180, street
four-section versions, offers a bandwagon
manfrotto.com with the launch
ground-level adapter, which
of the HTC RE,
a mini camera

ALL-WEATHER that looks like

an inhaler and
is meant to be
used with a
Canons G7 X gives
compacts a good name
ITS 1INCH 20.2MP sensor and

FRIEND
A pro-level Olympus tele
play nice with many Olympus
cameras. At just over 6 inches
long (with the hood retracted)
smartphone.

and 31 ounces, it shouldnt
zoom for ILCs
weigh you down.
WITH AN equivalent focal length
of an 80300mm zoom, this
40150mm f/2.8 Olympus lens
for Micro Four Thirds ILCs sports
weather sealing to make it dust-,
freeze-, and splash-proof. It
boasts dual linear voice coil
motors for silent autofocus
and has 16 elements in 10
groups. A rotating tripod
collar and retractable
lenshood add to its versatility,
and a function button lets it
Olympus 40150mm f/2.8 M.Zuiko
Digital ED PRO
$1,500, street getolympus.com
> Schneider-
Kreuznach will
ISOs from 125 to 12,800 prove
that Canon means business
with its new PowerShot G7 X
compact. It sports a 4.2X optical
launch a line
zoom (24100mm equivalent), a
of high-end
DSLR lenses fast maximum aperture range of
including a f/1.82.8, and a 1.04 milliondot
35mm f/1.6,
touchscreen. Toss in a 31-point
a 50mm
f/1.4, and an autofocus system, a speedy burst
85mm f/2.4. rate of 6.5 frames per second, and
1080p video capture at up to 60
fps, and you have one awesome
pocket cam. Maybe enough for
demanding photographers to put
that smartphone down for a while.
Canon PowerShot G7 X
$700, street
usa.canon.com

18 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

 NEXT * ROUNDUP TOOLBOX

> Google
used a camel
instead of a
car to capture
IDEA
WEARING
Street View A CAMERA
images in the across your
middle of the body or
Liwa Desert.
around your
> One use neck, ready to
of wearable shoot, while
cameras: also toting a
Dubai plans to
backpack can
equip its police
force with
Google Glass
and facial
recognition to improve the
software to
keep tabs on experience

READ RIGHT
YOU MIGHT not put much thought into the memory-card reader
criminals.

> Hey sports

shooters:
Canon has
for hikers
and other
outdoor photographers with
its Backpack Strap ($35,
you use, but you should. Card reader technology, like memory blackrapid.com).
released a
cards themselves, has come a long way over the past few years. new 400mm Starting with the usual
With faster transfer rates, new ways to connect to your computer, f/4 DO IS BlackRapid design, which
and tougher housings, its worth considering an upgrade for your telephoto lens. leaves the camera dangling
least-thought-about piece of gear. It is based on
the original from a clip at your hip for
model, though a swift and fluid motion to
the elements your eye, this new model has
Hoodman USB 3.0 UMDA $48 This rugged reader have been two tough D-clips on either
wards off failure with metal construction and a Pin Guard to protect rearranged for
the CF slot when not in use. It offers transfer rates of up to 5GB/s end. These connect directly
better image
using USB 3.0 and takes CF, SD, SDHC, SDXC, and UHS-1 cards. quality. The to the shoulder straps of any
lens itself is backpack that has loops for
still quite light attaching accessories. This
Lexar Pro USB 3.0 Dual Slot $35 A well-designed and compact. relieves the strain on the
reader that folds down when not in use to protect the slots from neck, avoids tangles with the
gunk. With transfer rates of up to 500MB/s via USB 3.0, it is also > A New Jersey
man was shoulder straps, and keeps the
compatible with USB 2.0. It reads CF, SD, SDXC, and SDHC cards.
arrested for camera incredibly accessible
shooting down while leaving your hands free.
a camera-
SanDisk ImageMate All-in-One $33 This terrific desktop equipped
model comes with a (too easily) detachable stand and takes a wide array drone with a
of cards including CF, MS, PRO Duo, SD, SDHC, SDXC, MMC, microSD, shotgun when
microSDHC, and microSDXC. Transfer speed: up to 500MB/s via USB 3.0.

Transcend USB 3.0 Multi Card $15 Inexpensive

and fast, it transfers data up to 4.8GB/s via USB 3.0 (compatible with
it flew too
close to his
property. The
drone owner
was attempting
2%
of digital cameras made in 2003
had interchangeable lenses.
to take aerial
USB 2.0, too). It supports CF, SD, SDHC, SDXC, M2, and microSD
photographs
cards and also ships with a copy of RecoveRX data recovery software.

27%
of a friends
still-under-
construction
Delkin Device Universal Pro Edition $13 This home when
no-frills reader is perfect for computers with only USB 2.0 support. It the incident of those made in 2013 had
works with 18 different card types, including CF, SD, SDHC, SDXC, happened. them.
and Memory Stick. And its slim design makes it easy to toss in a bag. SOURCE: CIPA

20 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

 Lenses and accessories shown are not included

Introducing the worlds smallest and toughest

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the Blackmagic Production Camera 4K! You get a large Super 35 size imaging
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The large Super 35 size sensor gives you 12 stops of dynamic
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 CALIFORNIA
Matt Granz
MEET YOUR INSTRUCTORS
DAVID STEVE
TEJADA SIMON
JOIN THE MENTOR SERIES FOR A WORKSHOP IN CALIFORNIA
Join the Mentor Series, May 15-17, 2015 and Nikon professional
photographers David Tejada and Steve Simon along the central
coast of California for a photography workshop focused on San
Francisco, Monterey and Big Sur.
In San Francisco, capture iconic views of the Golden Gate
Bridge and Marin Headlands from Baker Beach. Driving south
along the coastal highway in the heart of Big Sur, the hazy outline
of the Santa Lucia Mountains blends seamlessly with the deep
greens and blues of the Pacic Ocean ahead. As the sun settles
in golden hues across the rocky coast, we will photograph Bixby
workshop fee: $1,250 Includes in-the-field instruction, entrance fees, presentations, digital reviews, and transportation to each shooting location
David Tejada
All I have ever wanted to do is take pictures and through
photography my dreams have come true; following my Nikon
into privileged places, spaces and adventures so rewarding
I could never have scripted nor imagined them.
- Steve Simon, Mentor Series Instructor
Bridge and McWay Falls, two of the most iconic views of Big Sur.
Experience the diverse geography of this coastal region, from
the haystacks at Rodeo Beach to the deserted sandy beaches of
Garrapata State Beach, to Point Lobos, where lush cypress trees
shade hidden coves and crystal waters.
In Monterey, learn to use light modiers and reectors to
capture gorgeous portraits of surfers at sunset. Edged on one
side by the rugged Santa Lucia Mountains and on the other by
the rocky Pacic Coast, the natural beauty of this this stretch of
Californias scenic Highway 1 is unsurpassed.
SAN FRANCISCO AND MONTEREY MAY 15-17, 2015

Diana Vitoshka

David Tejada

TREK EXCLUSIVE: JAPANESE TEA GARDEN

On Thursday, May 14th, join Nikon pro David Tejada at the Japanese Tea Garden for a unique
photo opportunity especially arranged for a small group of 6 to photograph a geisha model
using this beautiful place as the backdrop. The cost is $325 and includes lunch and a digital
review session.

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 SHARE
CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED
PHOTO CHALLENGE
GREEN DAY
A photographer works backwards
to win our full-length portrait challenge
LONDON-BASED art director Peter
Zelewski found his background
before seeking out a subject for
this full-length portrait. A narrow
pathway and heavy foliage drew
him to shoot in Tavistock Square.
PETER ZELEWSKI
If I placed my subject in the
center of the frame, the diverging
lines from the trees and pathway
would really draw focus on my
POPPHOTO.COM
LEADING LINES
26
CONSTRUCTION SIGHTS
28
subject, he says. A Saturday Zelewski used after a few frames requested she
morning shoot time made for a Leica M-E cross her legs and put her hands
and 50mm
the right lighting conditions and f/1.4 Leica where they felt comfortable. Im-
a relatively empty park. Summilux lens mediately this seemed to work,
Zelewski found his portrait (1/4000 sec at he says. I could see a connection
f/1.4, ISO 200).
subject, Jasmine, at a nearby cof- See peter between all the lines of the trees,
fee shop. He positioned Jasmine zelewskiphoto the pathway, and her tall, angular
in the middle of the path and graphy.com. frame. Jeanette D. Moses
In Shore Lines (p. 26), Heather Collins uses diagonal lines in her composition to
move viewers eyes through the frame. Send us your best photo exploiting the power
of leading lines by Dec. 31 and you could win $100. Enter at PopPhoto.com/contests.
25
 SHARE * MENTOR SERIES
COAST WITH THE MOST Collins captured this scene along the Point Lobos coastline near Carmel-by-
the-Sea, CA. The April 2013 trek also featured surfers, monasteries, and Big Sur.
Follow your passion
SHORE LINES
The right crop can lead the eye to a sweet spot
for photography, while WHEN HEATHER COLLINS settled
her gaze on the breathtaking Point
taking your photo Lobos scene above during a Mentor
skills to new heights. Series trek to the California coast,
she knew shed arrived at some kind
+DQGV2Q/HDUQLQJ of photographic heaven.
([FOXVLYH3KRWR2SSRUWXQLWLHV That doesnt mean the picture
6KRRWZ1LNRQ3URVLQWKH)LHOG took itself. This Greenville, South
6SHFLDO9LGHR /LJKWLQJ:RUNVKRSV Carolina, mother and community
'LJLWDO5HYLHZ6HVVLRQV volunteer faced some hard photo-
graphic decisions. She liked the way
$OXPQL&RPPXQLWLHV
the strong lines of the foreground
2015 TREKS: fencing and its shadows pulled her
Croatia & Venice, Tampa, eye deep into the scene and out
Nevada, Costa Rica, Montauk, to the glorious seascape beyond.
Shouldnt she include it?
Iceland & Greenland,
Upon sharing the picture with
Grand Tetons & California
fellow trekkers in a lively discussion
later that evening, however, she was
6LJQXSIRUDQ8OWLPDWH almost convinced that much of the
3KRWR$GYHQWXUHWRGD\ fencing had to go. It actually blocked
ones view of the magical beyond.
MENTORSERIES.COM What to do? She ultimately kept
the leading lines, but learned in the
process that it never hurts to frame
PRESENTING SPONSOR
a shot in multiple ways.
Collinss Mentor Series excursions,
which have also included forays
HEATHER COLLINS
into New York City and northern
Arizona, have taught her the
importance of thinking before she
shoots. Is the subject conveying my
26 POPULAR PHOTOGRAPHY DECEMBER 2014
HEATHER
COLLINS of
Greenville, SC,
gardens and,
along with her
husband and
children, is an
avid fencer.
message [about it] and have I used
my camera to capture it in the best,
most expressive, and telling ways?
Almost as important is spending
time before each trek really getting
to know her camera. I dont want
camera settings or equipment
to hold me up when Im out in
the field, she says. I want to be
ready to grab the moment when it
happens.
Collins has also discovered that
shooting in RAW gives her far more
flexibility than other formats when
editing her files. I find that the more
data there is in an image, the better
it will be, she says.
Another reason these photo
safaris are important for Collins?
Shes shared all three with her
father, a talented photographer
himself. He and I are a package
deal on these treks, she says. Its
almost like a family reunion.
POPPHOTO.COM
 SHARE * YOUR TURN WRITE TO US! POPPHOTO@BONNIERCORP.COM
Portrait Tips
Your article Five WaystoFlatter
Anyone (September 2014) addressed
a very useful topic and presented
some good tips. However, it also
presented as right some opinions
about basic issues that are more
matters of taste and style.
Camera at chest height, and pointed level,
for a full-body shot? That may introducelittle
or no distortion,but I thoughtthepoint
wastoflatter, and I bet many people would
have foundthepicture more flattering
ifthecamera had been higher, maybe eye-
level or slightly above, and pointed down a
little. Likewise, an 85mm lens on a 35mm
film or full-frame camera (or 5560mm lens
on an APS-C sensor) isaclassic for portraits,
and certainly better than a
35mm lens. But many might
have thoughtthe[half-length]
portrait would have been
more flattering with a 135mm
lens (or 8590mm lens on an
APS-C sensor)which is also a
classicand a camera position
somewhat farther away.
Dave Redmann
New Orleans, LA
RENTING EQUIPMENT (Renting
101, September) can be a
great thing. You will learn
each companys policies when
you rent from them, but one
thing you needtoknow before
you rent was not mentioned
inthearticle. Before your first
rental, some companies may
needtoverify your credit card.
This involves a few phone
calls, and it may require more
than one business day. Be
suretoallow enough lead time
for this before you schedule your
first rental with a company.
Sam Feinstein
Bridgeton, NJ
REGARDING Bargains of the
Year (September), Ive gone
back to film for several reasons:
unemployment, the high costs
of digital, cheaper used 35mm
equipment, and $10 processing
with disc [included].A used Nikon
N80 and 2450mm AF lens is my
setup for under $80 including
shipping on EBay. Used digital
cameras are out there, too, at
local camera and pawn shops!
Having worked for EPOI (Nikon)
and Minolta in Lincolnwood,
Illinois, I appreciate the old-school
workmanship and lasting
(40 years) quality. T. Lee Keene
Charlotte, NC
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IMPROVE YOUR IMAGE
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Made of superior,



POPULAR PHOTOGRAPHY 27


 SHARE * YOUR BEST SHOT

Construction Sight
Want to
enter?
Get the
rules and
upload your
images at
PopPhoto
.com/
This months winners trained their lenses on architecture contests.

3rd Place $100 Prize

ALLENN MONTILLA, 21, ARTIST, MIAMI, FL
Allenn Montilla was inspired by the work of Salvador Dal when he
created this surreal image of an apartment building in Miami. Montilla
says he knew what edits he would be making in Adobe Photoshop
when he captured the building during a nighttime shoot. To achieve
the final image in postproduction, he increased contrast and used the
Liquify filter to create the illusion of the wiggling edges.
TECH INFO: Canon EOS 5D Mark II with 14mm f/2.8 Rokinon lens; exposure,
10 sec at f/22, ISO 320. Edited in Adobe Photoshop CS6.

2nd Place $200 Prize

RAJAT KAPOOR, 20, ENGINEERING STUDENT, NEW DELHI, INDIA
Having captured the component parts of this architectural portrait during an evening photo walk in New Delhi, Rajat
Kapoor says the beautiful architecture of the Lotus Temple itself is what inspired him. He created a large panoramic
image of the structure by combining four separate shots in Photoshop CS6.
TECH INFO: Nikon D3200 with 1855mm f/3.55.6G AF-S DX Nikkor VR II lens; 1 sec at f/3.5, ISO 100. Edited in Photoshop CS6.

28 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

 T H E A W A R D - W I N N I N G O LY M P U S O M - D S E R I E S .

AS AMBITIOUS AS YOU ARE

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powerful stories from anywhere. Thats because the OM-D series has some of the smallest, lightest bodies in its class with the power
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incredibly small and portable OM-Ds and start shooting like a pro. getolympus.com/omd

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SHARE * YOUR BEST SHOT

30 POPULAR PHOTOGRAPHY DECEMBER 2014

 1st Place $300 Prize
MICHAEL WRIGHT, 51, WARRICKSHIRE, ENGLAND
Wright had to overcome a fear of heights and of
clich to get this shot of Antoni Gaudis courtyard in
Barcelona, Spain. I wanted to avoid reproducing
one of the many images of Casa Mila that I was
bombarded with on postcards as I entered
the building, he says. As many of his fellow
tourists shot the Barcelona skyline, he turned
in the opposite direction. He used a wide-
angle lens and bracketed for the correct
exposure, but, he says, the hardest part
was getting this POV. I had to hang over
a railing and hold the camera as steady
as possible as I stretched precariously
whilst holding my breath to compose
it, he says. Wright desaturated the
image in Adobe Photoshop Lightroom,
boosted shadows, and applied a few
filters. TECH INFO: Nikon D7000 with
1020mm f/45.6 Sigma EX DC lens;
1/320 sec at f/10, ISO 160 (1 EV).
Edited in Photoshop Lightroom 5 and
Nik Color Efex Pro.

POPULAR PHOTOGRAPHY 31
 HOW
EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS
CREATIVE THINKING
HIT THE SHOWERS
How a trip to the zoo
evolved into one wild
photo illustration
COMMERCIAL PHOTOGRAPHER
James Quantz Jr.s passion for
JAMES QUANTZ JR.
fantastical, photorealistic images about a place.
stems from a childhood trip
to Yellowstone National Park.
His pictures didnt capture his
POPPHOTO.COM
TRY YOUR HAND AT INCREDIBLE ISLANDS AND AMAZING EYES
38 40
MEET PHASE ONES CAPTURE ONE
42
FIND NEW USES FOR OLD SLIDES
46
feelings, and that frustration For more from one side of the park to the
motivated him to learn how to of Quantzs other. On his way home, he was
recreate in images what he felt
advertising
sitting at a stoplight and saw a car
and promo-
about a scene as he experienced tional wash. While the smell no longer
it. Or in this case, what he smelled photos, visit lingered, the memory remained,
quantzphoto and Quantz imagined the pachy-
.com.
Visiting a zoo with his daughter, derms hitting the showers after
he was struck by the fact that a hard days work. An elephant
he could smell the elephants locker roomsomething you
JUNE 2014 2014
DECEMBER POPULAR PHOTOGRAPHY
POPULAR 37 35
PHOTOGRAPHY
 HOW * CREATIVE THINKING
might see in the movies, he
recalls thinking.
Naturally, he made shots of
the elephants first, mainly their
rear ends. He knew he would be
dealing with the odd color cast
from city street lights at night, so
he shot them on cloudy days to
eliminate harsh shadows.
You have to pay attention
to light and shadow, the
photographer says. I used
curves and color overlays during
post-processing to simulate the
funky colors at night, but this
shot mostly just came together
because sometimes the way
the camera interprets those city
lights is even cooler looking than
it would be to the naked eye.
Quantz then made shots of
the foreground elephant and
even more of just its trunk to
get the right gesture for toweling
off. He wanted the look of an
actual trunk, because pushing
pixels with digital tools can
smear definition and sharpness,
sacrificing realism in the process.
Finally, the photographer
lucked out on the night he
shot the location, where wet
pavement enabled him to add
detailsfor example, using
flipped layers for the reflections
in the puddles. He also decided
to put the roadside sign on the
top of the building.
It takes a lot of hours, says
Quantz, who prides himself on
taking pictures that tell stories.
Its like the piano: If you practice
enough, eventually you hear a
piece of music and you can bang
it out on the keyboard without
really thinking. I use the camera
as a tool and then hammer [the
idea] out on a computer.
Looking at his final product,
you can hear the disco synes-
thesia of elephants working...at
the car wash, yeah. Paging Rose
Royce! Laurence Chen
36 POPULAR PHOTOGRAPHY DECEMBER 2014
FIX IT FAST
CAT FIGHT
Focus an image
with color and crop
ALERT READERS may
recognize the name. Chee
Keong Lim, a professional
photographer from Bentong,
Malaysia, had a Your Best
Shot winner published here
in July. Our editors liked his
tussling tigers, too, but with
qualifications.
What bothered me was
a purple cast in the tigers
stripes. I tamed it with a
contrast adjustment (+31)
in Adobe Camera RAW
8.6. Then, for more overall
impact, I added a few tweaks
to Clarity (+20), Vibrance
(+30), and Saturation (+5).
Next, in Photoshop CS6, I
wiped out a slight green cast
with Curves adjustments.
The result was less green
and more orange. Still seeing
purple in a few unresponsive
stripes, I applied a pass
with the Burn tool. Finally I
cropped the image to draw
CHEE KEONG LIM
the eye away from the
splashing tail. Total fix time?
Fifteen minutes.
Wesley Fulghum
PHOTO GLOSSARY DEPTH OF FIELD
OUR ONLINE EDITOR, Stan Horaczek, tweeted last October that after reading hundreds of
PopPhoto.com posts, he observed that depth of field could be one of the most misunderstood
terms in photography. People use it interchangeably for anything related to focus, he says: blur,
sharpness, bokeh, or depth of focusa completely different animal. For photographic purposes,
depth of field is the area within an image that appears sharp. The shallow depth of field typical
of images shot at large apertures with tele or macro lenses is often measured in incheseven
fractions of an inchfrom the near to far points of acceptably sharp focus. Conversely, the sharp
distances associated with the great depth of field typical of images made at small apertures with
wide-angle lenses can be measured in miles. Dont infer, however, that wide-angle lenses give
greater depth of field than tele lenses. For an explanation of why they dont, see Dan Richards
treatment of the subject in Whats up with...Depth of Field on PopPhoto.com.
POPPHOTO.COM
 I dont take pictures. I capture and share precious moments of my life. My PENTAX K-S1 seizes
the sharpness of it all, impromptu or planned. This advanced DSLR is intuitive and ergonomic.
My memories are sharp, creative, enduring. Step up from smart to brilliant.
To see, touch and experience this amazing camera for yourself, visit your local camera retailer and/or
go online at us.ricoh-imaging.com & ricoh-imaging.ca

capturing endless imagination is always with me

Ricoh Imaging Americas Corporation 2014 | us.ricoh-imaging.com | ricoh-imaging.ca | photography: Kate Turning
 HOW * TRAVELING PHOTOGRAPHER

Island
Hopping
Get a taste of
Hawaiis wild side
AN ARCHIPELAGO of eight major
islands and myriad islets and
atolls, the Aloha State spans some
1,500 miles. We asked local pros
for their best nature-shooting sites
from Hawaii (the Big Island) in the
south to Kauai in the north.
Photographer Ian Lindsey, born
and raised on Hawaii, says one of
his favorite Big Island spots is the
Pololu Valley. The beach at its base
is particularly pretty at sunrise.
Its a steep 15-minute hike down
to the bottom, but a safe shoot and
IAN LINDSEY, IANLINDSEYPHOTOGRAPHY.COM
overlook at mile marker 82 along
Highway 19 if you cant make the
relatively easy hike to the beach.
Aaron Feinberg, who moved to
Kauai in 2007, loves Princeville
the coast surrounding Queens
Bath, a rugged rock-edged pool
continuously refreshed with sea
water. The trail leading to the
shore takes you past several pretty
ISLAND TEMPTATIONS
Adventures await, ranging from
moderately challenging to Hey dude,
this is extreme! These suggestions
span the state from south to north.
OHAWAII VOLCANOES NATIONAL PARK
Ian Lindsey
hiked two miles
waterfalls and offers classic views
of lava shore meeting turquoise
across a lava
field in the dark seas. In winter, massive waves
for this photo of come crashing ashore, making for
molten rock from drama, he says. Looking west, you
the Big Island
merging with have iconic coastline with Mount
the sea. He used Makana (Bali Hai) in the distance.
a Canon EOS The surf near Queens Bath can be
5D Mark II and
1635mm f/2.8L dangerous at timestake warning
II Canon EF lens. signs seriously. Jeff Wignall
and snorkeling adventuresall gear is included, and
underwater cameras are rentable. One option is a
six-hour trek to the extinct volcano of Molokini, home
to 250 fish species and 38 types of coral.
OKALAUPAPA NATIONAL HISTORICAL PARK
Molokai; nps.gov/kala/index.htm This corner

worth the effort, he says. Its good
in December and January because
the sun rises further south, so you
can get the valley wall nicely lit.
Lindsey also suggests looking
for Hawaiian green sea turtles,
which, while listed as endangered,
are easy to spot. A good place to
find them is on the beach in Kiholo
Bay, he says. Theres a scenic
30 miles southwest of Hilo, Hawaii; nps.gov/
havo/index.htm This 333,000-acre park is home to
Mauna Loa, the largest active volcano in the world
(dormant since 1984) and Kilauea, which produces
up to 650,000 cubic yards of lava per day. Easily
accessible by car, the park holds 150 miles of hiking
trails and an 11-mile, self-guided Crater Rim Drive.
OPACIFIC WHALE FOUNDATION TOURS
300 Maalaea Road, Wailuku, Maui; pacificwhale
.org This nonprofit oceanographic organization
offers numerous dolphin, whale-watching, rafting,
of the north shore of Molokai is remote but
geographically spectacular and worth the trek.
Reservations and permits through Damien Tours
(8085676171) are required.
OJACK HARTER HELICOPTERS 4231 Ahukini
Rd., Lihue, Kauai; helicopters-kauai.com Harters
provides doors-optional 60- and 90-minute flights
in four-passenger helicopters. Highlights include
Waimea Canyon, Mt. Waialeales ancient volcano,
and Wailua Falls. Helicopters shake, but shutter
speeds of 1/1000 sec will keep the scenes sharp.

38 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

David Akoubian (Tamron Image Master)

Inspiration knows no distance.

16-300mm
F/3.5-6.3 Di II VC PZD MACRO
The 16mm wide-angle revolution.
Setting a new standard in high-power zoom lenses.
;OPZL_[YHVYKPUHY`^VYSKZYZ[1 18.8x zoom comes with Vibration
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Tamron 16-300mm Di II VC PZD Macro a lens you can rely on for crisp,
detailed wide-angle to long-telephoto shots.

Model B016
For Canon, Nikon and Sony* mounts
*Sony mount without VC
1
As of March 2014 Source: Tamron

www.tamron-usa.com
 HOW * LIGHTING
Blue
for You
Making sparks fly
in lackluster light
MAJA TOPCAGIC, a 25-year-
old photographer and photo
retoucher from Sarajevo, Bosnia-
Herzegovina, has a passion
for photographing blue-eyed
redheads. Statistically, only about
one percent of humanity has the
combination of blue eyes and red
hair, says Topcagic ' . Her website
(majatopcagic.com) presents
some of the prettiest of that one
percent in dozens and dozens
of photos. I started the project
almost a year ago, and every
month the collection grows, says
Topcagic' , herself blue-eyed and
occasionally a redhead.
Her go-to lighting for these
alluring portraits is the ambient
light of an overcast day, early
or late when the low-lying sun
hue brought out the warm tones
of her models hair and freckles,
and, because it was diffuse, the
lighting didnt throw shadows
across her face. In some ways,
its perfect portrait light.
But it has a downside. Flat
portrait lighting tends deemphasize
a persons eyes. Since one of
Topcagic' s main intents was high-
lighting the intriguing contrast
between cool blue eyes and warm
hair, flat light was a problem.
To solve it here, she turned to
MAJA TOPCAGIC
a circular silver lam reflector.
An assistant aimed it toward
her models face, where it gave
40 POPULAR PHOTOGRAPHY DECEMBER 2014
MAKING THE EYES POP
SIMPLE COMPLEX
B A
C
KRIS HOLLAND/MAFIC STUDIOS (ILLUSTRATION)
Topcagic
exposed for
1/250 sec at
f/4, ISO 100.
The three
settings are
called the
exposure
triangle in
her part of
the world.
To light her redheaded model, Maja Topcagic relied on the warm-hued
sunlight of late afternoon (A). Diffused through a light cloud cover, the
sunlight was directional enough that an assistant could bounce it toward
the model with a circular, collapsible, silver-lined reflector (B). (A U.S.
equivalent is shown below.) It popped the subjects eyes, accenting their
blue tones. She shot with a Canon EOS 5D Mark II (the current 5D Mark III
is shown below) and the 50mm f/1.4 Canon USM lens (C). Of her exposure,
she says, I always choose the aperture first, and then decide on the
shutter speed and ISO. Once I have my aperture, with the light of the
reflector in place I adjust first the shutter speed and then ISO. She sets
the slowest shutter speed that will assure a sharp subject and the lowest
possible ISO. Of her passion for freckles Topcagic says, They were once
Canon Canon Adorama
EOS 5D 50mm Glow 5-in-1
Mark III Reflector Kit
($3,399, ($399, ($16,
street) street) street)
a specular, sparkling quality to will almost always work. Take a
the light that helped to accent model with you and experiment
the blue in what otherwise read from a lot of angles. For location
as gray eyes. Even though the portraits, she often has her
model had really big, vibrant blue subjects lie flat on a hillside
eyes, the reflector was needed to and shoots down on them. The
highlight them in just the right strategy allows her to spread out
way, Topcagic ' says. the red hair so it becomes a more
Want to make a similar portrait important element in the photo. If
yourself? Choose wisely the part properly oriented, the hillside can
of the day that you photograph, also block direct sunlight, allowing
says Topcagic' . Go for the most you to shoot on sunny as well as
beautiful light. Sunrise or sunset overcast days. Peter Kolonia
 HOW * SOFTWARE WORKSHOP
Capture One
Quick Start You dont have to be a
pro to use this robust
RAW processor
ORIGINALLY INVENTED to pair
with medium-format camera
backs for tethered capture
and RAW processing, Phase
THEANO NIKITAS
Ones Capture One, now in
version 8, has evolved into
an excellent imaging editor
and asset manager. And it is
42 POPULAR PHOTOGRAPHY DECEMBER 2014
SIMPLE
growing in popularity. Despite
a slight learning curve, the
With an
interface
application is easy to use you can
customize,
whether youre processing Capture One
RAW files or tweaking JPEGs. appeals to
enthusiasts
Combined with the Capture
and pros
Pilot and Camera Control apps, alike.
Capture One is especially adept
at tethered shooting (though
thats a topic for another
Software Workshop). A 60-
day free trial provides plenty
of time to check it out before
COMPLEX
QUICK TIP
Not Only
for RAW
To view JPEG files, go to View >
Global Filters and make sure
Always Hide JPEG Files is
unchecked. To edit JPEG files,
go to Capture One Preferences >
Image and check the box to
Enable JPEG Editing.
purchasing. Heres a quick
tutorial on the basics that will
get you started.
Theano Nikitas
 1

Step 1
Customize Your
Workspace
Put the most-used tools at
your fingertips by creating
individual workspaces
tailored to a given task.
Click on View to access
a dropdown menu and
choose the changes you
want to implement. Move
browser and tool positions
on the screen; customize
the toolbar; add, delete, or
drag-and-drop tool tabs in
the order you wish them to
appear. Save your custom
layout via Window >
Workspace > Save Workspace.

Step 2
Import Images
Capture One offers two import
types: Catalog and Sessions.
Catalog works best for large
collections; Sessions is limited to 2
a specific group, and better for
tethered capture. To import into a
new Catalog, create one under the
File menu. Then click the Import
Images button, choose where to
store them, and click Import All.
When done, choose the Library
Tool tab to start rating images.

To create a session go to File > New

Session and proceed much the same 3
way as a catalog. This method will create
various organizational subfolders.

Step 3
Assess Sharpness
To find the sharp areas of any
image, use the Focus Mask tool.
Click on the Focus Mask icon (on
the upper right). Youll see a Focus
Mask appear in both the selected
image and the thumbnails, so you
can quickly assess a number of
photos. Adjust the Mask by going
to Capture One > Preferences >
Focus. Click again on the Focus
Mask icon to turn it off.

POPPHOTO.COM POPULAR PHOTOGRAPHY 43

 HOW * SOFTWARE WORKSHOP
4
Step 4
Apply Basic Adjustments
Click on the Exposure tab to view the
histogram and a set of adjustment
tools. Most of the tools will be
familiar to users of other image
editing programs. There are several
adjustment methods, allowing you to
use the one youre most comfortable
with. The Exposure slider bars are the
easiest to use, but Curve and Levels are
available as well.

Step 5
Control Color
The powerful Color Editor allows you
to target adjustments to certain colors 5
or color ranges. To find it, go to Color
Tool Tab > Color Editor > Basic. Choose
the color picker (lower right of the color
wheel) and click on a specific color in
the image to select it. Then select
View Selected Color Rangethe
unselected areas of the image
will change to black and white
and fine-tune the color range
by moving the dots on the color
wheel. Use the slider bars to
adjust various parameters until
you get the look you want. In this
image, I intensified the yellows
in the models dress, but you can
also home in on skin tones.

The Color Editor uses a color wheel to

allow you to choose a color range to 6
adjust. Use the sliders to modify a colors
characteristics until they are just right.

Final Step
Export Images
When finished, select the images to
export, then go to File > Export Images.
Select Originals to export the RAW files
only (with or without adjustments) or
Variants to export processed images
as other file types. Fill in the fields for
file format, quality, and ICC profile to
apply. Or simply click the Open With
dropdown menu to open the files in
another application.

44 POPULAR PHOTOGRAPHY DECEMBER 2014

 The moment when your lens opens your eyes.
This is the moment we work for.

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 HOW * YOU CAN DO IT
Sliding
Home
A project that turns
old slides into new art
IN HER February 2014 Editors
Letter, Miriam Leuchter challenged
readers to invent ways to give
MATTHEW CARASELLA
second lives to the hordes of slides
that many film-era shooters cant
seem to toss. Loaded into carousels
and tucked away in closets, many
of these images are beautiful.
46 POPULAR PHOTOGRAPHY DECEMBER 2014
Carasella
combined a
Fast forward to the spring
after her challenge: Matthew
defocused
Carasella, a New York City event
flower and
forest for photographer, invited us to visit
this fiery his newly launched website
multiple
exposure. (matthewcarasella.com). Among
its projects was one he calls
Photo Jar pictures, for which he
uses an uncommon technique for
creating multiple exposures thats
based on, yes, exposed slides.
Carasella starts with a slide
duplicator. A duper is a hollow
tube that threads onto a macro
lens. At the opposite end is a
slide carriage and a translucent
filter. In normal use, you drop a
slide in the carrier, aim the tubes
filtered end at a light source, and
then take a picture of the slide to
duplicate it.
In Carasellas hands, a duper
 SIMPLE
becomes an instrument for
capturing creative abstractions. He
tweaks the system by removing
the dupers filter so that when he
mounts the slide in the carrier
and looks through the cameras
viewfinder, he sees two images: the
mounted slide and the real world
beyond. He then fires the camera
to create a multiple exposure that
combines old and new.
COMPLEX
Step 1
Gather and customize your gear.
A You will need a slide duper, a macro
lens, and probably a step-up or
step-down ring to thread your duper
onto the front of your lens. There
are dozens of new and used units
online starting around $35; Carasella
recommends the Nikon ES-1, which
can easily be disassembled to
B remove the filter. The Bower from
B&H, shown here, is another option.
Step 2
Find the slides. Dont have your
own slides to use? You can still do
this. Carasella purchases many
slides at online auction sites, where
collections of up to 600 can be had
for as little as $20.
C Step 3
Pick the right slides. Carasella
picks slides for graphic structure
and says the best will include large
areas of bright white highlights. In
the composite, the scene or object
that youre photographing will
appear only in those white areas.
Black areas, like the tree trunks
here, will mask the background.
Step 4
Make your exposures. Carasella
To create the photo, looks for background subjects with
Carasella used a Nikon brilliant color. He finds a good
D700 (now D750, A),
a 60mm f/2.8G Nikon background and then switches out
macro lens (B), and a the slides until he gets a match that
duper like the Bower works. Finding that synergy requires
Slide Duplicator (C).
experimentation and can involve
flipping the slides orientation.
His shot above is a mash-up For me,
of a slide of a winter scene taken
decades ago and a lantana flower
the hardest
thing is de-
ciding what
Step 5
that Carasella recently found in should be in Fix it in post production.
his mothers yard. In the capture, focus and Carasella typically crops his
what out of
he decided to throw both of the focus, says multiple exposures in software,
images out of focus. Carasella. applies some sharpening, and
Could this technique renew tweaks color and contrast. I keep
your interest in those carousels of working until I get an image I like,
film-era slides? You bet! he says. It usually doesnt take all
Peter Kolonia that long.
POPPHOTO.COM POPULAR PHOTOGRAPHY 47
 Night

48 POPULAR PHOTOGRAPHY DECEMBER 2014

 Visions
Mysterious, beautiful, and often
charming, the creatures of the
night make fascinating subjects.
Heres what it took to capture
dozens of them in all their
gloryusing not much more
than a DSLR, a hot-shoe flash,
and a DIY cardboard studio.
Photos and text by Traer Scott

IM FOND OF saying that the idea

COUGAR
When animals were too
large or dangerous for
close encounters, Scott
had to shoot from a safe
distance. Shot with a
Nikon D800 and the
70300mm f/4.55.6G
Nikon ED VR AF-S lens set
to 300mm; 1/125 sec at
f/9, ISO 2000.
INDIAN FLYING FOX
It took Scott six visits to
this animal, which cannot
be handled by anyone, to
get this shot. Same gear
as above, focal length of
70mm; 1/60 sec at f/7.1,
ISO 400.
for this series, Nocturne, came
to me just after midnight. But
in truth my inspiration came
from daily life: reading about the
moon with my young daughter,
watching a silly cartoon about
vampire bats, and contemplat-
ing some moths I happened
to spot. I became smitten with
the concept of presenting a sort
of family albuma collection
of intimate portraits featuring
species ranging from bugs to
big cats, all with one common
denominator: their nocturnal
behavior. I wanted my night-
loving subjects to appear on
black, as if they were emerg-
ing from darkness after having
been encountered by the viewer.
It took me just over two years
to complete the projectthe
results were published in a book,
Nocturne (Princeton Architectural
Press), this past fall.
My first test subjects were
luna moths. They were ideal for
experimentationthey are small,
can be handled, and lived in my
house for a few days, giving me

POPPHOTO.COM POPULAR PHOTOGRAPHY 49


CLOCKWISE FROM TOP LEFT: IAN PLANT (2); RICHARD BERNABE
some time to achieve the aes-
thetic I wanted. Watching those
beautiful bright green creatures
emerge from their cocoons and
pump their wings for the first
time was nothing short of glori-
ous. They were patient subjects
too, sitting perfectly still until
50 POPULAR PHOTOGRAPHY DECEMBER 2014
after dark, when the night called
to them and they felt the urge to
fly. Having nailed down the look
I wanted, I reached out to friends
in the animal world, asking for
introductions and referrals. Soon
I began to build a portfolio of a
menagerie of nocturnal species.
Almost all of the animal keep-
ers and handlers I worked with
were concerned that I not bring
too many lights or other gear.
When strangers offer an intro-
duction to an insular world like
that of zoos and wildlife biol-
ogy, inconspicuous, quiet, and
BALL unobtrusive always wins over
PYTHON big, loud, and showy. That suits
Shot in
me just fine, as I am a minimal-
Scotts little
black box, ist when it comes to equipment.
this snake (A preference born of neces-
was captured sity: When I was starting out, I
with a Nikon learned to make do with what I
D800 and
could afford. It turned out thats
60mm f/2.8G
Nikon ED not such a bad thing.)
AF-S Micro Shooting Nocturne, I found
lens; 1/250 myself in cramped spaces. The
sec at f/13, behind-the-scenes areas in the
ISO 400.
back of exhibits in zoos tend to
be smalloften big enough only
for one or two people. Likewise, in
the tiny one-room wildlife clinic
where I shot several subjects, I set
up on top of a freezer while dead
mice, birds, and other food thawed
beside me. There was never room
for strobes or umbrellas or an
assistant. I worked alone, usually
with only the animals keeper, and
used a Nikon D800 body, three
lenses (a 2470mm f/2.8G Nikon
ED AF-S, a 60mm f/2.8G Nikon
ED AF-S Micro, and a 70300mm
f/4.55.6G Nikon ED VR AF-S), a
Speedlight SB-800 flash with dif-
fuser, and my little black box.
The little black box was a vitally
important creation that my
husband assembled in about half
an hour. It saw me through shoots
with tarantulas, kangaroo rats,
owls, bats, and even snakes. The
LBB was just a simple open-top
box, about 3 feet long by 2 feet
wide, with tall sides made out of
black foam core and gaffers tape.
It had hinged, cut-out windows in
RACCOON various places for my lens to poke lightand by me, standing there
This animal through. From a purely logistical aiming a huge camera at them.
loved dog food,
point of view, the genius of the But once we placed them in the
and posed
obligingly; LBB was that it was lightweight, LBB, their heartbeats slowed and
Scott caught it inexpensive, and disposable and they seemed much more at ease.
with her D800 provided a perfect black studio The only significant light came
and 2470mm backdrop. I could carry it in one from my bounced flash down
f/2.8G Nikon
hand, fit it into small spaces, and through the LBBs open top. The
ED AF-S lens
set to 58mm; build another one for about $10, flash created a spotlight effect
1/60 sec at so there was no feeling of loss without popping harsh light
f/13, ISO 500. when I had to chuck it after it was directly into the animals eyes. The
pooped on one too many times. LBB also created a less threatening
EASTERN
Perhaps the greatest benefit of situation for the animals that in
SCREECH
OWL the little black box was the effect it turn allowed me to capture more
A black back- had on the animals. I was deal- honest moments.
drop was the ing with night-dwelling creatures, Of course, there were many
makeshift but shooting during the day. The animals that were just too big to
studio for this
odd hour, coupled with the fact fit in the LBB, so in those cases I
owl, which is
actually being that most of these animals are made a studio out of whatever
held by one of not used to close encounters with space was available. Pickles the
its keepers. people, often made for nervous porcupine is a good examplehe
Same gear as subjects. Plucked from their cozy is a hand-raised porcupine who
the python;
habitats just as they had drifted is extremely affectionate and
1/60 sec at
f/16, ISO 250. off to sleep, the critters were loves people, but he is almost 4
understandably jarred by the feet long. Constructing such a big
POPPHOTO.COM POPULAR PHOTOGRAPHY 51
box would obviously negate its
immediate benefits, so with him
and other larger tame animals
(such as the bush baby and some
of the owls), I brought along a
black background cloth and hung
it with gaffers tape wherever there
was space. It was a DIY approach,
but it got the job done and, like
the box, had the added benefit of
being both inexpensive and highly
portable. Where the LBB afforded
me almost complete control over
lighting and positioning of sub-
jects, the black-cloth DIY studio
meant a little less of both. With
the latter, the animal had more
room to move and I had more
room to light, but I still used my
DSLR, three lenses, and a similar
shooting approach.
Unfortunately, some animals
I wanted to include in the series
were either too dangerous or
too feral to gain intimate access.
No one deemed it safe to let me
crawl in next to the big cats or
romp with the hyenas; in most of
those cases I was given access one
layer closer than the public. For
instance, with this zoo-dwelling
cougar, there was a large, fenced
52 POPULAR PHOTOGRAPHY DECEMBER 2014
enclosure and then another fence
separating the public from the
enclosure. I could get past the first
fence and put my lens right up
against the inner wire-fenced area,
and even that made the keepers
cringe. To get a good capture I had
no choice but to use a telephoto
lens, natural light, and whatever
behavior the animal chose to
exhibit that day. These were by
far the most challenging shots,
because I had no control over any
element of the photo except for
framing and exposure. In some
cases, I opted to do tight close-up
shots to eliminate unwanted
backgrounds, but other times I
removed the background digitally.
Sometimes problems just couldnt
be solved any other way.
In most cases, I was still able
to connect with these animals
despite the physical barrier.
Animals can tell when you are
interested in them and will quite
often return the interest. Each
time you are kind to them, their
trust extends a little further. With
wild animals, kindness often
means something different than
it does to dogs or cats. Usually,
TWO-TOED it means being still and quiet,
SLOTH respecting their boundaries, and
Scott caught knowing what is irresistible to them.
the slow-
Understanding what piques the
moving animal
with her Nikon animals interest is essential in order
D800 with to successfully photograph them.
2470mm Crows are fascinated by trinkets and
f/2.8G Nikon shiny things; beavers really like fruit;
ED AF-S lens at
moths are drawn to light; raccoons
24mm, 1/60
sec at f/11, love finger foodknow these things
ISO 400. and you will know how to speak
your subjects language.
HEDGEHOG They say you have to be inter-
This cutie was
ested to be interesting, and with
shot against
a backdrop animals, its no different. The more
and bit the you know about their behavior,
photographer! habitat, and preferences, the more
D800 with able you will be to communicate
60mm Micro;
with them and, hopefully, get that
1/60 sec at
f/13, ISO 400. perfect shot that breaks down barri-
ers between species.
Traer Scott is an award-
winning photographer
and the bestselling author
of five books. Her work
has been featured in
dozens of national and
international publications
and exhibitions. See more
at traerscott.com.
POPPHOTO.COM
 Advertisement

2014 PHOTO CONTEST

Winning Photo by Sandy Scott

JUDGES REVIEW: Peering into the eyes of this powerful Osprey we can almost feel the creatures will
to survive. With a massive six foot wing span the raptor presses forward under a dramatic sky. Clutched securely in razor
sharp talons, the sh may very well be needed to sustain its young. With this capture, the photographer has done more
than just freeze a moment in time. It is rather, a riveting story of life in the wild. Chris Corradino NYIP Mentor

Learn how to take photos like this with an online photography course from the New York Institute
of Photography. Get your free course catalog at www.nyip.edu/pop or call 1-800-583-1736.
Introducing the Cactus V6!
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Now controls Olympus & Panasonic ashes too!

The Cactus V6 works on any camera*. It supports

on-camera TTL pass-through for Canon, Fujifilm, Nikon,
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 Text by Philip Ryan
Photos by Brian Klutch

PHOTOGRAPHYS
OUTSTANDING
PRODUCTS

We test all the equipment

we can. Some of it holds
us back, but some of it
truly helps us make better
pictures. Only the best get
a POPour award for
Photographys
Outstanding Products.

TOUGH GUY

Nikon D4s
As great as mirrorless cameras have
become, most pros still rely on high-end DSLRs
when they go out to capture the images and
video that are their livelihood. Nikons D4s boasts

and comes with a variety of features, such as power aperture,

that you wont find in a lot of other DSLRs that capture video.
The rugged, extensively weather-sealed magnesium-alloy
body can withstand the worst shooting conditions out there.
$6,497, street, body only; nikonusa.com
DECEMBER 2014 POPULAR PHOTOGRAPHY 55
PHOTOGRAPHYS
OUTSTANDING
PRODUCTS

STURDY STYLE

Fujifilm X-T1
Anyone who knows the joy of classic
camera controlsreal shutter speed
dials, an aperture ring on the lensis
bound to spend some quality time ogling
one of Fujifilms X-series ILCs. The X-T1 is
the fanciest of the bunch, with a rugged
build, beautifully detailed and large EVF,
and a top burst speed of 8 fps. A tilting
YAY 4K
LCD screen helps with framing when
not using the EVF. Plus, thanks to the
cameras built-in Wi-Fi, you can control
Panasonic
the X-T1 with your smartphone. Lumix GH4
$1,299, street, body only; Want to record 4K 30 fps video
fujifilmusa.com to an SD card? Panasonics GH4
became the first camera to let you
SENSITIVE SOUL
do that, or output to an external
Sony A7s recorder, and it does so at an
affordable price. Shooters looking
After packing its A7R and A7 cameras for HD video can choose between
with 36.3MP and 24MP sensors, IPB and ALL-I compression at a
respectively, Sony dialed down variety of bit rates. Meanwhile,
the pixel count to 12.2MP in the still photographers get a highly
A7s. Why? To allow unprecedented customizable, rugged camera
low-light performance. With a top body that can shoot bursts of up to
sensitivity of ISO 409,600, the A7s 7.5 fps with full AF and metering.
can make remarkably clean images Noise is well controlled up to ISO
when set upwards of ISO 25,600. 6400. $1,698, street, body only;
Itll also let you record 4K video to shop.panasonic.com
an external recorder through the
cameras HDMI output. $2,498,
street, body only; store.sony.com

56
BIG DEAL
Pentax 645Z
When we saw that CMOS sensors were
coming to medium-format digital cameras,
we knew that those large-sensored cameras
were about to get a lot more versatile. We
didnt expect the Pentax 645Z to cost less
than $9,000, though. That price, along with
video capture, higher sensitivity than youll
find in any other medium-format digital, a
tilting screen, and compatibility with a large
array of legacy glass, makes the 645Z a
truly unique camera. $8,497, street, body
only; us.ricoh-imaging.com
DOUBLE DUTY
Gura Gear Uinta
30L Backpack
Sometimes you need a daypack,
sometimes you need to bring along lots
of camera gear, and sometimes you just
want a regular backpack. The Uinta can
handle all of these situations. Think of
it as a modular system. First you get the
pack itself, then you choose what camera
module you wantsmall or medium. The
modules are sold separately, so you can
choose what you think youll need. You can
also add an optional tripod and hydration
system. The bag can accommodate up to a
17-inch laptop, has a front compartment for
your phone, chargers, batteries, and other
items, and has a harness system with a
padded waist belt. $199 (backpack), $70
(small photo module), $90 (medium
photo module), $40 (tripod/hydration
system); guragear.com
GOING MOBILE
Abobe Photoshop
Lightroom Mobile
Traveling Lightroom users who dont want to
lug a laptop but still want to edit can now use
the Lightroom Mobile app, which is included in
the Creative Cloud membership. It delivers a
feel similar to Lightroom but lets you work on
smaller versions of your imagesthat means
your tablets memory wont limit your workload.
Back in Lightroom on your computer, the
program syncs your changes with your original
files. As always, everything is nondestructive,
so your files wont be altered permanently.
From $10 per month (Creative Cloud
membership); adobe.com
DUST BE GONE
Hoya EVO
Antistatic lters
Repulsion is hot in filters these days. After
all, theres no end to the things we dont
want stuck to the front of our lenses. Hoyas
latest repel dust, dirt, water, and scratches.
Though they are thin, they have front threads
so you can stack filters or other threaded
accessories as needed. Available in three
varieties: protector, UV, and circular polarizer.
Sizes 37mm to 82mm. $42170, street
(depending on type); hoyafilter.com
STABLE REACH
Tokina 70200MM
f/4 AT-X Pro FX VCM-S
The first of Tokinas full-frame lenses to get
optical image stabilization, this 70200mm
gave testers an average of 2.75 stops of
extra hand-holding shutter-speed advantage.
Solid SQF results mean plenty of sharpness
and contrast; minimal distortion bolsters this
lenss appeal. AF proved both fast and quiet,
and the price tag will save you a few hundred
dollars compared to the Nikon version.
$1,099, street; tokinalens.com
POPPHOTO.COM POPULAR PHOTOGRAPHY 57
FLAIR FOR FLARE
Lensbaby
Circular Fisheye
Made to project a fully circular fisheye
image inside the boundary of an APS-C
sensor, the 5.8mm f/3.5 Lensbaby
Circular Fisheye lens is unlike any glass
weve seen. Its 185-degree field of view
actually pulls in light from behind you. And
the inside of the barrel is purposefully kept
reflective to produce a beautiful halo of
flare around the edge of the image circle.
$285, street; lensbaby.com
MEGA M
Leica M (TYP 240)
Leica traveled a rocky road toward digital, Manfrotto XPro
but the M (typ 240) stands as proof that
their current digital road is as smooth as
the Autobahn. Arguably the best digital
rangefinder experience you can buy,
inclusive of all the pseudo-rangefinder
cameras on the market, the M is also the
first Leica M-series body to shoot video.
Our lab tests showed top-notch image
quality, and our field tests confirmed the
uniquely luxurious experience of shooting
with a Leica. Start saving now if you
havent already. $7,250, street, body
only; us.leica-camera.com
58 POPULAR PHOTOGRAPHY DECEMBER 2014
INSTANT PRINTS
Fujifilm
Instax Share SP-1
Making prints in as little as 16 seconds,
powered by a pair of CR2 batteries, and able
to connect to up to eight smartphones at
once, Fujis Instax printer will make for super
parties. Since the SP-1 uses Fujifilm Instax
Mini instant color film, you dont have to
worry about running out of ink. Plus, various
templates let you add info on the border
of the prints, or add captions when you print
Facebook or Instagram images.
$157, street; fujifilmusa.com
AHEAD OF THE REST
3-way head
While this pan-tilt head can hold more than
17 pounds of gear, the head itself weighs
2.2 pounds. Measuring just over 5 inches
tall, it makes for a compact, lightweight
companion to whatever set of legs you
decide to mount it to. Large, comfortable,
tapered grips retract for easy storage.
Three spirit levels help you conquer
horizon lines. Plus, friction controls let
you set the drag so large lenses wont
flop around when changing angles.
$140, street; manfrotto.us
SHOOT TETHERED
Phase One
Capture One Pro 8
The latest version of Capture One is not only
faster than the previous version, but it also
expands on its robust tethered shooting
options. Now you can establish a wireless
connection from your computer to your iPad
and see your images as you shoot. Given
Capture Ones excellent noise reduction and
tone adjustments, this seems like a no-brainer
for those who like to shoot straight to their
computer (see page 42 for more on Capture
One). $299, street; phaseone.com
SPEEDY ZOOM
Samsung
1650MM f/22.8 S ED OIS
This image-stabilized zoom is the first
in Samsungs S series, reserved for the
companys high-end glass. In our test lab
(see page 96), the Samsung tested near
the top of the class in everything from
distortion control to our SQF test (it scored
an Excellent at all focal lengths) when
compared to similarly built lenses from
other manufacturers. And the superfast f/2
maximum aperture puts it ahead of the pack
overall. $1,133, street; samsung.com
THE ART OF LENS
Sigma 50MM f/1.4 Art Lens
Sigma has been raising the bar in terms of both lens performance and
style as it transitions to its new categories of Art, Contemporary, and Sport
lenses. The 50mm f/1.4the first lens to get the new treatmenthas
set quite a distinguished tone. Its sturdy, good-looking barrel houses
extremely sharp glass that showed very little light falloff even at
its maximum aperture. Focusing proved fast and silent. Its not
cheap, but when youre forced to compare its performance to a
lens such as Canons 50mm f/1.2, this lens quickly starts to
look like a bargain. $949, street; sigmaphoto.com
FABULOUSLY FAST
Fujifilm 56MM
f/1.2 R Fujinon XF
Whether youre looking to shoot
portraits or longing to sharpen up
your low-light skills, this lens delivers.
Scaling up to a full-frame equivalent of
85mm, its among the fastest APS-C
lenses in this focal range. Its Excellent
SQF numbers are buffeted by its
Imperceptible barrel distortion, and
there was no light falloff in our tests. The
lenss all-metal construction adds a solid
feel and lends a classy look to this optic.
$999, street; fujifilmusa.com
PHOTOGRAPHYS
OUTSTANDING
PRODUCTS
ONE L OF A LENS
Canon 1635MM
f/4L EF IS USM
Canons other 1635mmthe f/2.8Lis
an amazing piece of glass. But if you
dont need to restrict depth of field or
force a faster shutter speed, this f/4
may be the better choice. Its an L, so
it has the same weather sealing and
ruggedness as the f/2.8. In lab tests it
showed Excellent-range SQF scores, very
well-controlled distortion, and 2.33 extra
stops of hand holding with IS enabled.
Plus, its far less expensive than the f/2.8.
$1,199, street; usa.canon.com
POPPHOTO.COM POPULAR PHOTOGRAPHY 59
 FLASH FORWARD

RayFlash Universal
RingFlash Adapter
We loved the original RayFlash, which was a cost-effective way
to get circular catchlights in portraits. But its mounting method
meant you might have to get a new one if you got a new hot-shoe
PHOTOGRAPHYS
OUTSTANDING flash, certainly if you switched camera brands. The new Universal
PRODUCTS RingFlash adapter uses a spring-loaded mechanism to hold the
RayFlash 2 to your hot-shoe-mounted light. As before, the light is
then channeled down and around your lens for a perfect fashion-
like look. $140, street; ray-flash.com

THIRD-PARTY THUNDER

Metz Mecablitz
64 AF-1
One of the most feature-packed third-
party flash units currently available,
this German-made strobe is fully TTL
compatible with nearly all camera brands.
A guide number of 141 feet (ISO 100,
50mm) and a color LCD touchscreen set
this flash apart from the pack, as does
its 12200mm zoom range. A USB port
allows for firmware updates, and a PC port
means it will play nice with radio triggers.
$450, street; metz.de/en

60 POPULAR PHOTOGRAPHY DECEMBER 2014


HEAVY HITTERS
Zeiss Otus
55MM and 85mm f/1.4
Proving what amazing things can be done
when you set the single goal of creating the
best optics possible, Zeisss Otus line of
manual focus primes has inspired legions
of photographers to continuously check the
balances on their savings accounts. These
lenses are bigthe 55mm is almost twice
as long as the leading crop of 50mm f/1.4s.
Theyre also very heavythe Canon-mount
85mm weighs just over 2.6 pounds.
But they have silky-smooth manual
focus rings with long turning radii for
extra precision. $3,990 (55mm),
$4,490 (85mm), street; zeiss.com
SUPER SPEED
SanDisk Extreme
Pro SDHC UHS II
Memory Card
Built for the data-intensive world of
4K video capture, this card is UHSII
Speed Class 3, with transfer speeds as
fast as 280MB/sec for video and
250MB/sec for stills. Though only very
recently released cameras can take
advantage of its superfast write speeds,
with the right reader these cards can
drastically speed up the transfer of
images to your computer. It is refreshing to
see SanDisk ahead of the data-intensive
curve. $65 (16GB), $116 (32GB), $225
(64GB), street; sandisk.com
DISPLAY 4K
Samsung UD970
31.5-inch monitor
Sooner or later, most photographers
will likely be working on 4K monitors,
whether theyre shooting video or stills.
Early adopters should look no further
than this feature-packed 31.5-inch
Samsung. Offering a 3840x2160-pixel
PLS LCD panel with 8ms response time
and the ability to reproduce somewhere
near 99.5 percent of the Adobe RGB
color gamut, this monitor is truly the
top of the line. Four USB 3.0 hubs, two
Display 1.2 ports, an HDMI 1.4, and a
Dual Link DVI port mean hooking it up to
your current machine will be a breeze.
$2,000, street; samsung.com
LIGHT TO GO
Profoto B1
500 Air TTL
Location, location, location. Thats what
youll be thinking about with Profotos
battery-powered, 500-watt-second strobe.
And like a hot-shoe flash, the B1 500 Air
TTL is compatible with Canon and Nikons
TTL exposure systems. Add the optional
Air Remote TTL module, and you can
wirelessly fire your B1s from up to 1,000
feet and even organize them into up to
three groups. A Quick Burst mode can fire
at up to 20 fps, while the shortest flash
duration is a blindingly fast 1/11,000
sec. The non-user-interchangeable
bulbs and general expense might scare
of some non-pros, but if you want lots
of power and control from your strobes
while on the road, look no further.
$1,995, street; profoto.com/us
POPPHOTO.COM POPULAR PHOTOGRAPHY 61
STUDIO STUD
Elinchrom ELC
Pro HD 500
This light, compact, ergonomically designed
strobe is at home in the studio or on location.
With a power output range of 7500 watt
seconds, rapid 1.2-second recycle time at
full power, and a 20 fps stroboscopic burst
available at its lowest power setting, the word
versatile springs to mind. Plus, if you need
more power, a 1000ws version is available.
An OLED control panel lets you input custom
user profiles and change firing modes
between first- and second-curtain syncing.
$1,050, street; elinchrom.com
SUPER SUPERZOOM
Tamron 16300MM
f/3.56.3 DiII
VC PZD Macro
This 18.8X superzoom provides a full-frame
equivalent of 24.8465mm while checking
in at 1.28 pounds. Its able to focus as close
as 12.93 inches and boasts a maximum
magnification of 1:2.3 at 300mm. In macro
62 POPULAR PHOTOGRAPHY DECEMBER 2014
mode, distortion was nearly gone, earning
an Imperceptible rating in our test. In
normal shooting, we found Visible distortion
at wider focal lengths and Slight on the
telephoto end. Like most superzooms, it
became a tad soft at 300mm, but at wider
focal lengths we were impressed with its
sharpness. For its price, size, weight, and
versatility, this Tamron delivers all day long.
$629, street; tamron-usa.com
MEGA ORGANIZER
Mylio
How often have you told a friend about an
amazing image you recently made, but
couldnt show it because it was stuck on a
device at home? Mylio, a computer program
and app, ends that frustration while also
helping back up your images. When you
import, it automatically copies photos to your
backup device and sends previews to your
smartphone and tablets. Not only will you not
need to back up images when you get home
from a trip; youll also always have all of your
images with you wherever you go. Pricing not
available at press time; mylio.com
CLASSY CARRIAGE
Oberwerth
Mnchen
High-end style and camera bags usually
dont mix, but the German company
Oberwerth is changing that with its bags
for cameras and tripods. Our favorite, the
Mnchen, has a removable padded section
to protect your gear. Rugged and durable
cordura is complemented by a leather cover
flap. $760, direct; oberwerth.com
NIGHTTIME NIKKOR
Nikon
58MM f/1.4G
Among the sharpest lenses weve ever tested,
this full-frame Nikkor is a great option for
shooters who use both full-frame and DX
bodies; when mounted on a DX body it has an
equivalent field of view of 87mm. While there
was slightly more distortion present than we
expected and AF proved somewhat slow, the
AF was pleasingly silent. Video shooters should
appreciate the well-damped manual focusing
ring. $1,697, street; nikonusa.com
HEAVY HAULER

Thule Covert
Rolltop Backpack
This daypack-style camera bag has plenty of room in its
top compartment for days worth of clothing and personal
items. Below that, theres space to house a DSLR with a
PHOTOGRAPHYS
lens attached plus a couple of other lenses and a flash. OUTSTANDING
The padded camera pod is removable in case you want to PRODUCTS
(gasp!) leave your camera at home and use the Covert as
a general-purpose bag. Plus, its laptop compartment
can hold a 15-inch MacBook Pro and an iPad.
$200, street; thule.com

POPPHOTO.COM POPULAR PHOTOGRAPHY 63

 Dan Ballard
MEET YOUR INSTRUCTORS
LAYNE MICHAEL
KENNEDY CLARK
JOIN THE MENTOR SERIES FOR A WORKSHOP IN GRAND TETON NATIONAL PARK
Rising more than a mile above the Snake River Valley, the sheer scale of
the Teton Range instills in the beholder a sense of breathless wonder
and exploration. Join us June 25-28, 2015 with Nikon professional
photographers Layne Kennedy, Michael Clark and Bob Smith in
Jackson Hole, Wyoming, for a workshop focused on nature and
landscape photography set amidst the great beauty of Grand Teton
National Park.
Highlights of the workshop will include sunrise shoots at Glacier
View Turnout and Schwabachers Landing, where you will witness
the mountain peaks and early morning light perfectly reected in
workshop fee: $1,525 Includes snacks and water on the bus, transportation to each shooting location, park permit and entrance fees, in-field
instruction, presentations, and digital review sessions.
BOB Nature photography has been
my passion for the past 20 years.
SMITH Our subjects will include iconic
landscapes along with huge
scenes of the West.
- Bob Smith, Mentor Series Instructor
the glasslike surface of the Snake River. Photograph the iconic barns
and homesteads at Mormon Row and views of the Cathedral Group
of peaks from the Chapel of the Transguration. We will be on the
lookout for moose, elk, deer, eagles and American bison at Jenny Lake,
and beavers tending their dams at Oxbow Bend.
A visit to a local ranch will provide an exclusive opportunity to
photograph y shermen and ranchers with their horses and other
livestock, as well as cowboys in their typical gear. Experience the quiet
beauty and history of one of our nations most cherished national parks
and emblems of the American Frontier.
 GRAND TETONS JUNE 25-28, 2015

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f/2.8G ED
 STREET
SEEN
Doron Gild
made this
promo shot for
a Manhattan
coffee bar with
a Hasselblad
H-4X, Phase
One P45+
digital back,
and Hasselblad
50110mm
f/3.54.5 HC
zoom.
DORON GILD (2)

66 POPULAR PHOTOGRAPHY DECEMBER 2014

Many of the greatest
photographers started out as
assistants. What can you gain by
being second in command? Here
are six budding pros on everything
they learned by working for the
best, and why you should try
assisting, too. By Peter Kolonia
MAYBE MARY NEWMAN of New
York City puts it best: By the
time I finished studying photog-
raphy at the Fashion Institute
of Technology [in New York], I
thought I knew what it meant to
be a professional photographer.
But there was really much more to
it. It wasnt until I started assisting
professionals that I realized the
level of commitment it requires.
Newman and countless oth-
ers really picked up the craft by
assisting successful shooters.
What are the tools and tech-
niques they could learn only by
doing? Find out by reading this
assistants guide to everything
from lighting to locations to how
to succeed if you go pro.
Lighting Tricks
Doron Gild, an editorial portrait-
ist based in Brooklyn, New York,
started out as an assistant to leg-
endary pros such as Mark Seliger
and Phillip Toledano. Gild, who
took the environmental portrait
at left, says among the many
things he learned while assist-
ing Toledano was how to build a
lighting setup. Its done one light
at a time in a very incremental
and deliberate process, he says.
We didnt move [or adjust] multi-
ple lights between tests. We started
with one light, like the background
light, and moved it and adjusted its
power until it brought out exactly
the characteristics in the subject
that needed articulating. Then wed
move on to the next light. We would
accurately define and describe
all the important curves, shapes,
and planes of an
object or scene one
light at a time.
DORON GILD
The first thing I learned
from Phillip Toledano
was that every great
photograph needs to
come from an idea. If
theyre not based on
ideas, your photos will
fall flat really fast.
Ted Cavanaugh has assisted
more than 50 photographers in the
New York City area since graduat-
ing from the Rochester Institute of
Technology in 2011, and now hes
on his way to becoming a full-time
pro. Before I began assisting, he
says, I didnt realize the impor-
tance of lighting through diffusion
material or Plexiglas, especially for
POPPHOTO.COM POPULAR PHOTOGRAPHY 67
 J. BRYCE
BORDENKECHER
Exercise is really
important for assisting,
especially exercise for
your core. It gives you
stamina, and youll be
less likely to throw your
back out when lugging
4x8-foot sheets
of plywood
around.

instead of being completely even

the way softbox lighting is.
The trick to using Plexiglas,
he continues, is to aim its matte
side at the subject. If you turn
the shiny side toward the subject,
other lights can bounce off that
reflective surface and create puz-
zling highlights that can be hard
to remove later, he says.
Another valuable lighting tip:
If youre shooting with a hard
light as your main light and a soft
light as the fill, flip them for a few
exposures. Make the softer source
the key light and the hard light
your fill. By creatively compos-
iting the two light sources [in
postproduction], Cavanaugh says,
MODEL you can give your highlights a
BEHAVIOR beautiful glow thats usually not
Nic LaFrance
struck a possible with hard light.
provocative If youre planning to silhouette
pose during your subject in post, he says, for
a test shoot one exposure, turn off every light
with J. Bryce except the background light. This
Bordenkecher.
The photo- will record just the edges of an
grapher shot object, which will make it easier
with a Nikon to produce a mask for silhouetting
D800 and out the background later.
85mm f/1.8G
Nikkor lens.
Studio & Location Hacks
One of my first tasks was learning
how to wrap an extension cord,
products. Almost every high-end is possible with softboxes or says Bernard Brzezinski, a former
J. BRYCE BORDENKECHER (2)

still photographer Ive worked
with uses grid reflectors aimed
through diffusion materials like
Lee 216R or Plexiglas.
The setup creates a much
more controlled soft light than
umbrellastools great for,
say, location portraits, says
Cavanaugh. But lighting reflec-
tive products with grid spots and
Plexiglas creates a beautiful gra-
dation across an objects surfaces
assistant to advertising and edito-
rial pros and now a professional
photographer for Seminole State
College in Sanford, Florida. Dont
wrap them from your elbow to the
palm of your hand. It can damage

68 POPULAR PHOTOGRAPHY DECEMBER 2014

 them and make it more difficult
to unwind them later.
To properly wrap an extension
cord, he continues, hold out your
left hand, palm facing up. Place
one end of the extension cord in
your left hand with the receptacle
facing toward you. With your right
hand, wrap the cord into a loop
with a rough diameter of 1.5 feet
(give or take, depending on the
length of the cord). As you wrap
the cord, rotate it clockwise. The
clockwise motion releases the
JOSH GRUBBS (2)
cord tension and creates loops
that lay flat next to each other.
If youve done it right, the
cord loops will not push against
FOOD FOR each other, says Brzezinski. And JOSH GRUBBS
THOUGHT when you lay the extension cord Managing
Building on the floor and lift the topmost
out his food schedules for a free-
receptacle, the cord should fol-
portfolio,
low without tangling.
lance assistant will be
Josh Grubbs
photographed For assistants, organization tough. Holds, second
this seafood is everything, starting with holds, confirmed book-
still life with
a Nikon D700
a personal grip kit. J. Bryce ings, hold challenges,
body sporting Bordenkecher, an assistant, and hold releases can
retoucher, and digital tech
a 50mm f/1.4 all be confusing. Keep
Nikon AF specialist based in Minneapolis,
lens. Shooting has packed his kit with a knife,
your calendar current to
tethered, he clamps, a multipurpose tool, tape, avoid double bookings.
exposed for
1/3 sec at f/8, bandages, aspirin, deodorant,
ISO 200. mints, energy bars, and more. camera settings from a previous
To that list, Brzezinki adds, I shoot or a lunch order. He also
always have something to take brings a first aid kit and gaffers
notes with. It helps me remember tapeoften called gaff tape or
POPPHOTO.COM POPULAR PHOTOGRAPHY 69
 BERNARD
BRZEZINSKI
Before I
assisted, I
thought photographers
were rock stars that
partied a lot. I was
shocked to learn how
extremely hard they
work, oftentimes for
relatively little pay.

lights 1/3 stop for the reds and

simply gafffor, among other
things, taping those ubiquitous
cords securely to the floor.
Shooting Skills
Ted Cavanaugh has learned the
importance of tethered capture.
Seeing your images on a large
screen versus your cameras
LCD makes a huge difference.
BERNARD BRZEZINSKI (2)
all product and many portrait
studios today, and it could help
weekend shooters too.
Cavanaugh also recommends
exposure bracketing when shoot-
ing subjects that have a variety
of colors or textures. Not all
objects and textures reflect light
the same way, he explains. If
you have a red, white, and black
1/3 stop more for the blacks.
Mask and merge the exposures
in post. If youre shooting with
ambient light, he says, bracket
your shutter speeds from fast to
slow for the same effect.
PAINTERLY Mary Newman has assisted pros
POSE such as Nathaniel Welch, Gina
For this shot
LaVay, and Alison Wright, all of
promoting the
arts program whom frequently shoot on loca-
at Floridas tion. This past summer, I traveled
Seminole all over the country with Nathaniel
State College, Welch shooting for People maga-
Bernard
zine, she says. The first thing
Brzezinski
photographed I learned was not to pack the
this student sandbags. Ballast is important for

You can accurately evaluate an
image much more quickly, he
says. Compositional and techni-
cal errors jump out at you seen
large. Its something you find in
object, for example, theyll each
want different intensities of
light for proper exposure. With
strobes, expose for the white
object first, then dial up your
with a Canon securing light stands, but it would
EOS D Mark have been crazy to lug our studio
III and 50mm
sandbags cross-country. Instead,
f/1.2L Canon
USM lens. we would buy gallons of water in
each city and bungee-cord them to

WHAT MAKES A For Bernard Brzezinski, one thing is key:

GREAT ASSISTANT
THERE ARE TWO types of assistants, says
Doron Gild: One is essentially a work-
horse. He or she carries, lifts, and does
whatevers asked of them. They probably
will not evolve into a pro shooter. The other
type is wholly into the work and helps the
photographer find or refine a vision. That
assistant has a good chance of building a
long, successful career in photography.
J. Bryce Bordenkecher says the best
assistants learn to anticipate whats needed
nextlighting-wise, schedule-wise, gear-wise,
everything. The longer you work, the more
you understand the ins and outs and solve
problems before they become problems.
No matter how busy they are, safety is the
best assistants number-one priority. They
take the time to observe their surroundings,
tape down wires and cords, move unused
equipment out of the way, and safety-tether
any equipment hanging from the ceil-
ing. They sandbag light stands, even if it
doesnt seem necessary.
The best freelance assistants have
an eye on lifes bigger picture, says Josh
Grubbs. You dont have an employer tak-
ing out your taxes for you, you dont have a
company 401(k) to participate in, theres no
company brochure to choose a health care
plan from, and paid vacations dont exist.
All these things become your responsibility
and are crucial to your success.
The best assistants are not afraid to ask
questions. Again, Mary Newman says it
best: You have to feel comfortable enough
to ask about what you dont know or under-
stand. When I started out, I was always
worried that if I asked too many questions, I
wouldnt be hired back, but most photogra-
phers know that youre there to learn and
are willing to mentor.
Finally, says Bordenkecher, the best
assistants are nice. Nearly everyone on
set prefers someone they can get along
with, as opposed to snarky types, he says:
Leave the attitude at home. Leave your
dark humor at home. Leave our opinions
at home Youre on set to assist the pho-
tographer and anyone else who needs a
hand. Thats it.

70 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM


all the light stands.
To save both space
and time, Newman
MARY NEWMAN
At first I thought
that working for any
photographer was
good, as long as you
worked, but when youre
employed by a photog-
rapher whose aesthetic
speaks to you, it doesnt
feel like work.
72 POPULAR PHOTOGRAPHY DECEMBER 2014
says, Another great travel trick
is to use black wrap instead of
flags to block or direct light. One
roll of black wrap is a lot smaller
than several flags, and its just as
effective as black foam core. You
can also bend it around a reflec-
tor to form a snoot of almost any
diameter, she adds.
Business Lessons
While assisting Toledano on his
conceptual shoots, Doron Gild
learned how to speak to clients.
Beyond skill and craft, managing
and navigating through individual
TED
CAVANAUGH
To make
great images,
Ive learned that you
have to deeply, deeply
love what youre shoot-
ing. All of the best pho-
tographers are really
making the photo-
graphs for themselves,
not their clients.
relationships and the industry
as a whole is a huge part of this
business. Especially if youre in it
for the long term, Gild says. Its
a big deal to learn how to speak
and listen to people. You eventu-
ally learn where you can step and
where you cant.
Says Cavanaugh, An impor-
tant lesson that Ive learned is
that everything in your busi-
ness should be there to generate
revenue. For example, if you have
your own studio, he recommends
renting it to your clients for every
CLOCKWISE FROM TOP: TED CAVANAUGH (CHARD); ERIC JUKELEVICS (CAVANAUGH PORTRAIT); MARY NEWMAN (SELF PORTRAIT)
day that you shoot. After youve
established yourself, your studio
will start generating regular rev-
enue. Its a poor business model to
keep a studio if you arent profit-
ing every month from it, he says.
Ive learned that you have to
watch your overhead, says Josh
Grubbs, another Minneapolis-
based assistant. Buying new gear
CHARD can be very tempting, but its not
FEELINGS always the answer. When start-
Ted Cavanaugh
shot these ing out, money is probably better
Swiss chard spent on testing other ways for
leaves for producing killer final images. Hes
a personal learned to hire a team whose indi-
project
vidual skills can step in where hes
focused on
the graphic lacking. Props, rented locations,
qualities of and high-end talent can help
food. He used you get established more effec-
a Nikon D800, tively than new gear. Cameras
50mm f/1.8G
and lenses can be borrowed or
Nikkor, and
rented, Grubbs says. Once youve
exposed for
1/125 sec at established yourself, you can think
f/11, ISO 50. about dashing off to the camera
stores, says Grubbs.
POPPHOTO.COM
01. Nikon D810
Full-Frame (1.0x Crop Factor)
Max Resolution 7360 x 4912
ISO - 64 to 12,800
EXPEED 4 Image Processor
$3,296.95 SKU: INKD810
02. Lumix DMC-GH4
16.05 MP Digital Live MOS Sensor
4K Cinematic Video
Digital Single Lens Mirrorless
Micro Four Thirds mount
$1,697.99 SKU: IPCDMCGH4
03. Canon 1Dx
18.1 MP Full-Frame CMOS sensor
New 61-Point High Density Reticular AF
ISO - 100 to 51,200
DIGIC 4 Image Processor
$6,799.00 SKU: ICA1DX
04. Pentax 645Z
Medium Format Digital SLR
51.4 effective MP CMOS sensor
ISO - 100 to 204,800
Beautiful, full HD movies
$8,496.95 SKU: IPX645Z
05. Canon 600 EX-RT
Wireless multiple ash system
Redesigned contact construction
Improved ash head durability
18 Custom Functions
$549.00 SKU: CA600EXU
06. Nikon SB-910
i-TTL metering
Versatile ash for enthusiasts
& professionals
Remote unit or wireless Commander
$546.95 SKU: NKSB910AFU
07. Nikon D4S 09. Profoto B1 500 AirTTL 11. Canon EOS-5D Mark III
16 Megapixel HD-SLR Battery Powered Monolight Flash Full frame, 22 MP CMOS sensor
36.0x23.9mm CMOS Sensor 1/19000 - 1/1000 Sec Flash Duration Shutter speeds 1/8000-30 seconds
51 Point AF System 500W/s, 9-Stop Power Range 61-point high-density reticular AF
11 FPS 20 fps Burst Mode 1080p HD video capture

$6,496.95 SKU: INKD4S $1,995.00 SKU: PP901094 $3,399.00 SKU: ICA5DM3

08. Canon EF 85mm 10. Sony Alpha a7S 36 Years Makes

Fast f/1.2 aperture
37.4 / 95cm minimum focus distance
Ring-type Ultrasonic Motor
Floating lens elements
$2,199.00 SKU: CA85122AFU
Mirrorless Digital Camera
4K Video BIONZ X Processor Us Experts
Sony E-mount Full Frame
ISO - 50 to 4,096,002 Passion Makes
$2,498.00 SKU: ISOA7S Us Photographers
 TESTS: PANASONIC LUMIX FZ1000; SAMSUNG 1650MM

86
TEST: FUJIFILM XF 18135MM

94
96
DSLR TEST

HOT
SHOT
Nikons got just what
youve been waiting for
A LOT HAS happened in the
camera world during the
six years since Nikon
released the D700.
Megapixel counts now
top 36MP, Wi-Fi is a
fixture in many cameras
(though too few DSLRs),
and HD video capture is
now a basic feature in
any camera. Nikon ticked
the video and resolution
boxes with the D810 and
D800 before it. Until now,
though, Nikon hasnt
had a DSLR that can

NIKON
D750
24.3MP
full-frame
CMOS sensor
1920x1080p60
video capture
6.5 fps bursts
3.2-inch,
BRIAN KLUTCH

1.23-million-
dot LCD screen
$2,297 street,
body only

POPPHOTO.COM DECEMBER 2014 POPULAR PHOTOGRAPHY 79

 LAB * DSLR TEST NIKON D750 AMATEUR PRO

compete with the general versatility

of Canons EOS 5D Mark III ($3,399
street, body only). Enter the D750.
With a 24.3MP sensor, video
up to 1920x1080p 60 fps, built-in
Wi-Fi, sensitivity up to ISO 51,200,
and a well-built, rugged, weather-
resistant body, the D750 seems to
be the DSLR many Nikon shooters
have been waiting for. Given the
cameras performance in the
Popular Photography Test Lab and
in our field tests, we think they will
be quite pleased.

In the Test Lab

Balancing ample resolving power
and well-controlled noise, the D750
earned an Excellent overall Image
Quality rating from its lowest
sensitivity of ISO 50 through ISO
3200. While Canons 5D Mark III
managed to keep its Excellent
rating up to ISO 12,800, it did so
with less resolution than the D750.
A tad more noise reduction could
make the D750 match the Canons
result. But our tests always use the
Diopter
Drive mode adjustment default noise reduction settings in
selector the RAW conversion software that
ships with the camera.
With about 3MP more than the
Canon, its no surprise that this
Nikon won in our Resolution test.
The D750 captured 2875 lines per
picture height at ISO 50. The 5D
Mark III turned in 2750 lines at
the same setting. As sensitivity
increased, the D750 held a lot of
its resolving power. At ISO 800 it
maintained 2850 lines. ISO 1600
saw that drop to 2725 lines. Three
more stops up the sensitivity
ladder, at ISO 12,800, the D750
yielded 2610 lines. After that point,
resolution dropped more sharply
NIKON D750
WHATS HOT
Excellent image quality; built-in Wi-Fi
PHILIP RYAN (LCD IMAGE)

WHATS NOT
RAW burst buffer could be larger
WHO ITS FOR
Nikon shooters who want low noise in a
reasonably affordable full-frame body

80 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

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 TEST RESULTS
LAB * DSLR TEST NIKON D750 IMAGE QUALITY ISO 503200

but remained impressive, serving ISO 51,200 and its top setting While Nikon EXCELLENT
often leaves
up 2100 lines at the cameras of ISO 102,400. Furthermore, wireless POOR EXCELLENT
top sensitivity of ISO 51,200. the Nikon proved cleaner at its commander
lowest ISOs when compared mode out RESOLUTION ISO 50
By comparison, the 5D Mark III
of less
showed 2520 lines at ISO 12,800 to the Canon. From ISO 1600 expensive 2875 EXCELLENT
and 1910 lines at ISO 51,200. through ISO 12,800, however, the cameras, we 1500 2000 2500 3000 3500 4000

In our Noise test the D750 Canon beats the Nikon on noise. were glad to POOR EXCELLENT
see that the
fared well, though it couldnt At all other sensitivity settings D750 can COLOR ACCURACY
match the Canons stellar result. the Nikon edges it out. wirelessly
The D750 kept noise to a Low or Both of these cameras easily control EXCELLENT 6.7
accessory
better rating from ISO 50 through earned Excellent ratings in our flashes HIGH EXCELLENT
ISO 3200, while the 5D Mark III Color Accuracy test. The Nikon through
its built-in NOISE AT ISO
maintained a Low or better rating D750 scored an average Delta E
pop-up flash.
up to ISO 12,800. Worth noting, of 6.7 in this test, while the 5D EXTREMELY LOW 0.6 50
though, is that the D750 never Mark III got a 6.9.
EXTREMELY LOW 0.7 100
ventured into Unacceptable The D750 performed well in
territory in our ratings. Even at our autofocus test too, though EXTREMELY LOW 0.7 200
ISO 51,200 the D750 scored a it lagged slightly behind the 5D
EXTREMELY LOW 0.8 400
Moderate rating. The 5D Mark III Mark III by about a tenth of a
got Unacceptable ratings at both second in the brightest portions
EXTREMELY LOW 1.1 800

LOW 1.6 1600

LOW 1.9 3200

MODERATELY LOW 2.1 6400

MODERATELY LOW 2.1 12,800

MODERATELY LOW 2.3 25,600

MODERATE 2.4 51,200

3.0 2.5 2.0 1.5 1.0 0.5

UNACCEPTABLE EXTREMELY LOW

HIGHLIGHT/SHADOW DETAIL

EXTREMELY HIGH

LOW EXTREMELY HIGH

CONTRAST

VERY HIGH

LOW EXTREMELY HIGH

AF SPEED

0.48 0.51 0.54

0.57
0.63
0.75
0.84
0.97

1.18

1.29

82 POPULAR PHOTOGRAPHY DECEMBER 2014

IMAGING: 24.3MP effective, FX format
(full-frame) CMOS sensor captures
images at 6016x4016 pixels with 14
bits/color in RAW mode
STORAGE: Dual SD slots store JPEG, NEF
RAW, and RAW + JPEG files
BURST RATE: Full-sized JPEGs (Fine
mode), up to 87 shots at 6.5 fps; RAW
(14-bit losslessly compressed), up to 15
shots at 6.5 fps; RAW+JPEG, up to 10
shots at 6.5 fps
AF SYSTEM: TTL phase detection
with 51 illuminated focus points (15
cross-type); single-shot and continuous
AF with 3D focus tracking. AF points
can be grouped and selected by area.
Tested sensitivity down to EV 2 (at ISO
100, f/1.4).
LIVE VIEW: TTL contrast-detection
autofocus
SHUTTER SPEEDS: 1/4000 to 30 sec,
plus B (1/3-, 1/2-, or 1-EV increments);
150,000-cycle rating
METERING: TTL metering with
91,000-pixel RGB sensor; 3D Matrix
(evaluative), centerweighted, and spot
(approx. 1.5% of viewfinder). EV 020
(ISO 100).
ISO RANGE: Normal, ISO 10012,800
(in 1/3-EV increments); expanded, ISO
5051,200
VIDEO: Records at up to 1920x1080 at
60 fps; 1280x720 at 60 fps; in H.264
MPEG-4 MOV format; built-in stereo
microphone; stereo minijack input;
uncompressed output via HDMI
FLASH: Built-in pop-up with iTTL
autoflash and wireless control of optional
flash units, GN 39 (ISO 100; feet); flash
sync to 1/200 sec
VIEWFINDER: Fixed eye-level
pentaprism
LCD: 3.2-in. TFT with 1,129,000-dot
resolution; 5-step brightness adjustment
OUTPUT: USB 2.0, HDMI video,
composite video stereo minijack audio
BATTERY: Rechargeable EN-EL15 Li-ion,
CIPA rating 1230 shots (with optical
viewfinder)
SIZE/WEIGHT: 5.6x4.5x3.1 in., 1.9 lb
with a card and battery.
STREET PRICE: $2,297, body only
INFO: nikonusa.com
VIEWFINDER TEST:
Accuracy, 100% (Excellent);
Magnification, 0.7X (Very Good)
of the test and by about two tenths
in the dimmest portions. Our test
measures how fast the camera
is able to lock focus and capture
an image. It doesnt measure the
tracking capabilities.
In the Field
The D750 boasts a solid-feeling
magnesium-alloy body with a nice,
deep grip. A pair of programmable
function buttons on the front of
the body are easy to reach and
can come in handy if you like to
customize your DSLRs controls.
The D750 is designed for
two-handed shooting with three
buttons on the front left of the
body, as well as the usual Nikon
AF/M switch. The locking mode
dial finds its home on the left
side of the camera top, with the
drive mode selector underneath
it. Theres a pair of SD card slots
to record your images. Changing
between the optical finder and live
view/video is very simple and fast
thanks to the dedicated LV button
thats mounted within a switch to
select between still and video.
The biggest difference between
the D750s body and the D810s
especially significant for video
shootersis the tilting LCD screen.
Given that the D750 has most of
the same video features as the
D810, some videographers might
choose the D750 for the screen
alone. Plus, the video footage we
shot looked excellent. There were
very few artifacts and minimal Jello
effect. Fast-moving subjects were
rendered well. Footage of a trio of
flags in high winds showed their
vigorous flapping with aplomb.
With lesser cameras theyd likely
devolve into a mess of artifacts.
Still shooters should appreciate
the tilting LCD, too. We found it
helpful when shooting still images
of graffiti painted high up on a
wall. To combat the distortion that
comes with shooting upward at a
subject like that, we were able to
POPPHOTO.COM POPULAR PHOTOGRAPHY 83
 LAB * DSLR TEST NIKON D750
hold the camera high and frame
a better shot in less time than
would be possible shooting blind.
While photographing some
dancers, we were able to give
the D750s 3D tracking AF a nice
workout. It did a fantastic job of
keeping up with the their frantic
motion. Plus, as is always the case
with Nikons tracking, the camera
3i - 1 3 0 9 6 s l r 1
shows you the AF points it moves
to as it does so, which we found
really helpful and reassuring.
Burst shooters will appreciate
the D750s 6.5 fps burst rate. Plus,
you can shoot up to 87 large, fine
JPEGs, 15 losslessly compressed
14-bit RAW files, or 10 RAW+JPEG
frames before the buffer fills.
Since few of Nikons cameras
While have it, we were very pleased to see
87 JPEG that the D750 has built-in Wi-Fi.
frames is an
impressive You can transfer images from
number of the camera to your smartphone
shots in a and control many of the cameras
burst, we
would like to functions as well. We had no
have seen trouble using the Nikon app with a
the buffer Samsung Galaxy S3 smartphone.
hold more
RAW shots. It was particularly helpful to have
on hand when shooting long
exposures on a tripod without a
wired remote trigger on hand.
The Bottom Line
In our lab tests, its hard to say
whether the D750 or the 5D Mark
III really wins. Were inclined to
give the D750 a slight edge over the
Canon only because the Canons
advantage in noise control can
easily go away if you apply a
tad more noise reduction to the
Nikons files. The Nikons extra
resolving power coupled with
lower noise at lower ISOs cant be
matched by the Canon. Still, that
distinction is modest. For most
shooters, it wont make much
difference. Similarly, Nikons 3D
AF tracking edges out Canons
tracking a bit, especially in that it
provides feedback about active AF
points as you shoot. Both systems
have plenty of excellent lenses
and accessories and are supported
widely by third-party lens makers
and accessory manufacturers. In
the end, the D750 versus 5D Mark
III matchup is about as close a
contest as youll see in the camera
world. Any photographer would be
well served by either body, though
this Nikon would save you more
than $1,000.
Nikon shooters trying to choose
between the D750 and D610 ($1,797
street, body only) should consider
whether the D750s built-in Wi-Fi,
lower noise, faster bursts, deeper
buffer, more extensive weather
sealing, and more robust AF
system are worth the extra $500.
We tend to think that it is.
Philip Ryan
84 POPULAR PHOTOGRAPHY DECEMBER 2014
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LAB * SUPERZOOM TEST

BIG ZOOMER
PANASONIC LUMIX FZ1000 AMATEUR PRO

THE PANASONIC
LUMIX FZ1000
PROVES THAT SOME

sensor RX10, and now Panasonic

is offering up a direct competi-
tor in the form of the FZ1000,
also sporting a 1-inch, 20 MP
CMOS sensor.
Though the RX10 and FZ1000

The Panasonic also offers nearly

Sony, a full-frame equivalent of

Quick menu/ 25400mm; the Sony, 24200mm.
Fn3 button At its heart is a Venus Engine pro-
cessor, the same one thats in the
GH4. The FZ1000 also shares the
same 2.359 milliondot OLED EVF
as the GH4.

In the Lab
The Panasonic FZ1000 earned
our second-highest rating of
Extremely High in image quality
at ISO 80400. At ISO 80 it scored a
total of 2420 lines of resolution, a
hair under the 2500-line cut off for
Excellent, the top rating.
We have not run the RX10
PANASONIC LUMIX FZ1000
WHATS HOT
Extremely High Image Quality to ISO
400, 4K video direct to memory card
WHATS NOT
Plastic body
WHO ITS FOR
Travel photographers, videographers

86 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

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 LAB * SUPERZOOM TEST PANASONIC LUMIX FZ1000

through our test lab yet, but a

similar 1-inch sensor compact,
800). The RX100 was only able
to score a Low or better up to
The FZ1000
offers an ISO TEST RESULTS
range of IMAGE QUALITY ISO 80400
the RX100, picked up 2270 lines ISO 200. By ISO 800, noise on the
12512800
of resolution at ISO 80, also Sony hit an Unacceptable rat- and EXTREMELY HIGH
putting it into Extremely High ing. The Panasonic, meanwhile, expandable
POOR EXCELLENT
territory at its lowest ISO. Unlike reached ISO 3200 when it hit to ISO
8025600, RESOLUTION ISO 100
the FZ1000, though, by ISO 400 Unacceptable territory. one stop
resolution on the RX100 had Both Highlight/Shadow Detail further than 2420 EXTREMELY HIGH
dropped below 2250 lines, bump- and Contrast fell squarely in the Sonys RX10 1500 2000 2500 3000 3500 4000
ing it down to Very High. High range; the Sony scored Aver- reaches.
POOR EXCELLENT
The FZ1000 scored Very High age and Normal, respectively.
COLOR ACCURACY
resolution numbers up to ISO 1600
with 2075 lines read, and it stayed In the Field EXCELLENT 7.8
in High territory up to ISO 3200 The FZ1000 feels quite a bit HIGH EXCELLENT
impressive for a superzoom. like an entry-level DSLR. The
In color accuracy, the front element on the Leica DC NOISE AT ISO
Panasonic scored Excellent, Vario-Elmarit lens is fairly large
EXTREMELY LOW 0.7 80
with an Average Delta E of 7.8. and takes a 62mm filter. The
The RX100 also scored an Excel- lens barrel itself has only one EXTREMELY LOW 0.8 100
lent, besting the Panasonic with ring; a toggle on the side of the
an Average Delta E of 6.6. barrel controls its functionality EXTREMELY LOW 0.9 200

Noise stayed Low or better (zoom or focus). The barrel also VERY LOW 1.2 400
up to ISO 1600 (it remained at contains a Power OIS switch.
Extremely Low to ISO 200 and The camera body offers five VERY LOW 1.2 800

was Very Low at ISO 400 and customizable buttons, two on top
LOW 1.8 1600

UNACCEPTABLE 3.0 3200

UNACCEPTABLE 4.5 6400

UNACCEPTABLE 8.7 12800

UNACCEPTABLE 12.5 25600

3.0 2.5 2.0 1.5 1.0 0.5

UNACCEPTABLE EXTREMELY LOW

HIGHLIGHT/SHADOW DETAIL

HIGH

LOW EXTREMELY HIGH

CONTRAST

HIGH

LOW EXTREMELY HIGH

and three on the back. The back of

the camera also contains a toggle
for focus mode, with an EF/AE lock
button located inside the toggle. A
four-way pad allocates a hard but-
ton for ISO, White Balance, Focus
Point type, and Macro modes.
There is only one click wheel on
the camera body, on the top right
of the back. A zoom control takes

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 LAB * SUPERZOOM TEST
the place where a second might
be, in front of the shutter release.
A Quick Menu, accessed via one
of the custom keys (it was Fn3 by
default), lets users toggle between
different settings via the click
wheel; clicking it inward lets you
access those settings for adjust-
ments, allowing for changes to be
made with a single finger.
The body contains a dedicated
hot shoe as well as a pop-up flash
with a maximum range of 44.3
feet at its widest and 31 feet when
shooting telephoto. The flash can
also be used to command other
flash units. A dedicated video-
record button is located on the top
REFLECT. of the camera, to the right of the
DIFFUSE. mode dial.
DFD focusing, a feature we first
CREATE. saw on the GH4, has made its
way to the FZ1000; it helps the
camera focus more efficiently by
more accurately predicting its
refocus range instead of relying
solely on contrast-detect points.
In the field, it did have issues
autofocusing in fluorescent
indoor light at some of the longer
focal lengths. But overall, AF
speeds were impressive. Focus-
ing at wider focal lengths proved
even easier. The 5-axis power IOS
does a great job of keeping things
steady across the board, even at
400mm. We were surprised by
how easy it was to shoot hand-
held at the upper focal lengths,
though we noted that the maxi-
mum aperture of f/2.8 can be
achieved only when shooting at
25mm. It hits f/4 at 170mm.
The balance of the Panasonic
FZ1000 feels slightly off. The plas-
tic body is inadequate to counter-
weight the massive amount of
glass in the lens (though the
camera is pretty light). Another
quibble: The tripod thread isnt
centered with the lens. And
considering the $900 price tag, it
would be nice to have a dedicated
SD slot instead of sharing it with
sunbounce@hasselbladbron.com
90 POPULAR PHOTOGRAPHY DECEMBER 2014
PANASONIC LUMIX FZ1000
SPECIFICATIONS
IMAGING: 20.1MP effective, 1-inch CMOS
sensor captures images at 5472x3648
pixels with 12 bits/color in RAW mode
STORAGE: SD, SDHC, SDXC slot stores
JPG, RAW and RAW + JPG
BURST RATE: Full-sized JPEGs (Fine
mode), up to 18 shots at 12 fps; RAW (12-
bit), up to 8 shots at 12 fps
AF SYSTEM: Contrast-based with 49 focus
areas; single-shot and continuous AF with
face detect and subject tracking
SHUTTER SPEEDS: 1/4,000 to 60
sec, (mechanical); 1/16,000 to 1 sec
(Electronic), plus B (1/3-Ev increment); life
not rated
METERING: TTL metering with multi-field
(evaluative), center-weighted and spot (spot
size not specified); range not listed
ISO RANGE: 12512,800 (in 1 EV
increments); Expanded ISO 8025,600
VIDEO: Records up to 3,840x2,160 at
30p in 100MBs/MP4; 1920x1080 at 60p
in AVCHD and MP4; 1920x1080 at 30p
in AVCH and MP4; 1920x1080 at 24p
in AVCHD; 1920x1080 at 60i in AVCHD;
1280x720 at 30p in MP4; built-in stereo
mic; stereo 3.5mm jack; maximum clip
length 29 minutes 59 sec when recording
to a memory card; clean HDMI out
FLASH: Built-in pop-up flash GN 44.3 (feet,
ISO Auto), wide; GN 31 (feet, Auto ISO), tele;
flash sync to 1/4000 sec
VIEWFINDER: Fixed eye-level OLED with
2.36 milliondot resolution; 100% accuracy;
1.88X magnification (0.7X 35mm equiv.)
MONITOR: 3-inch articulating LCD with
921,000-dot resolution; 100% accuracy;
3-step brightness adjustment
OUTPUT: USB 2.0, micro HDMI video,
minijack stereo, headphone, Wi-Fi, NFC
BATTERY: Rechargeable DMW-BLC12PP
Li-ion, CIPA rating 360 shots
SIZE/WEIGHT: 5.39x3.88x5.15 in; 1.83
lb with a card and battery
STREET PRICE: $900
INFO: panasonic.com
the battery (the HDMI port is
where a card slot could be).
Panasonic cameras are quite
popular in the video world, and for
good reason: Theyre packed with
features. The FZ1000 captures
3840x2160 (4K) video in MP4 at
100MBs. It offers a built-in stereo
mic, clean HDMI out, a 3.5mm mic
POPPHOTO.COM
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 LAB * SUPERZOOM TEST
PANASONIC LUMIX FZ1000
jack, and features such as zebra
stripes to monitor highlights and
focus peaking. AVCHD capture is
also an option, though not in 4K.
You can pull 8MP stills from
the 4K video capture at 50 fps.
The only thing missing on the
video side is an Auto ISO setting,
which we would love to see in a
future firmware update.
In terms of speed, the FZ1000
can capture full-res bursts at up
to 12 fps7 fps with Continuous
AF engaged. The RX10 maxes out
at a 10 fps burst. The Continuous
AF during burst was very accu-
rate, though we only tested it in
outdoor lighting conditions.
Panasonic cameras have
gotten much better at handling
white balance in mixed light.
The FZ1000 uses a 1,728-zone
system, vastly better than the
companys old 144-zone system.
The difference is noticeable
we shot in quite a few scenarios
where daylight was mixed
U.S. POSTAL SERVICE STATEMENT OF OWNERSHIP, with indoor lighting, and the
MANAGEMENT, AND CIRCULATION FZ1000 handled all those scenes
(Required by 39 USC 3685) remarkably. We were also
especially fond of Silent Mode,
1. Publication Title: Popular Photography; 2. Publication No. 1542-0337; 3. Filing Date: which actually does what it
10/01/14; 4. Issue Frequency: Monthly; 5. No. of Issues Published Annually: 12; 6. Annual
says its going to do. The shutter
Subscription Price: $14.00; 7. Complete Mailing Address of Known Office of Publication:
Bonnier Corporation, 2 Park Avenue, New York, NY 10016; 8. Complete Mailing Address of was rendered inaudiblegreat
Headquarters or General Business Office of Publisher: Bonnier Corporation, 2 Park Avenue, for shooting candids.
New York, NY 10016; 9. Full Names and Complete Mailing Addresses of Publisher, Editor, and
Managing Editor: Publisher: Greg Gatto, Bonnier Corporation, 2 Park Avenue, New York, NY Bottom Line
10016; Editor: Miriam Leuchter, Bonnier Corporation, 2 Park Avenue, New York, NY 10016;
This is a lightweight, feature-
Managing Editor: None. , 2 Park Avenue, New York, NY 10016. 10. Owner: Bonnier Corporation,
460 N. Orlando Ave., Suite 200, Winter Park, Orange County, Florida 32789; 11. Known packed camera that can easily
Bondholders, Mortgagees, and Other Securities: None; 12. Tax Status (for completion by split its time between video and
nonprofit organizations authorized to mail at nonprofit rates): Has Not Changed During still capture. The plastic body does
Preceding 12 Months; 13. Publication Title: Popular Photography; 14. Issue Date for Circulation leave something to be desiredif
Data Below: September 2014; 15a. Total Number of Copies: 343,579 (September 2014: its build quality youre after, the
343,627); b. Paid Circulation: (1) Mailed Outside-County Paid Subscriptions Stated on PS Form
3541: 288,772 (September 2014: 285,064); (3) Paid Distribution Outside the Mails Including
RX10 may be a better option, but
Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Paid Distribution its hard to shake the appeal of the
Outside USPS: 9,435 (September 2014: 8,835), c. Total Paid Distribution: 298,207 (September FZ1000s features and test results.
2014: 293,899); d. Free or Nominal Rate Distribution: (1) Free or Nominal Rate Outside-County Fast maximum aperture, mas-
Copies Included on PS Form 3541: 7,777 (September 2014: 12,798); (3) Free or Nominal Rate sive zoom range, a decent-size
Copies Mailed at Other Classes Through the USPS: 102 (September 2014: 0); e. Total Free or
sensor, Extremely High image
Nominal Rate Distribution: 7,879 (September 2014: 12,798); f. Total Distribution: 306,086
(September 2014: 306,697); g. Copies not Distributed: 37,493 (September 2014: 36,930); h. quality to ISO 400, and 4K video
Total: 343,579 (September 2014: 343,627); i. Percent Paid: 97.43% (September 2014: 95.83%). capture, all in one unit, for under
PS FORM 3526: a: Requested and Paid Electronic Copies: 44,708, (September 2014: 40,167); $1K? Seems like a solid buy.
b. total Requested and Paid Print copies & Paid Electronic copies: 342,915, (September 2014: Dan Bracaglia
334,066); c. Total Print Distribution & Paid Electronic copies: 350,794, (September 2014:
346,864); d. Percent Paid and/or Requested Circulation: 97.8%, (September 2014: 96.3%).
92 POPULAR PHOTOGRAPHY DECEMBER 2014
 LAB * LENS TEST
SHOOT WET
FUJIFILM XF 18135MM F/3.55.6 R LM OIS WR
ONE TOUGH
AND WIDE
ZOOM
WEATHER--SEALED lenses are
invaluable, and the Fujifilm XF
18135mm f/3.55.6 R LM OIS WR
is as close to everything-resistant
as they come. With a field of view
equivalent to a 27206mm
full-frame lens, it features 20
separate seals, internal focusing,
and a one-way air vent to keep the
elements out and glass protected.
The metal lens body is solid
in hand, though the lens is not
particularly heavy. The zoom ring
is rubberized and the focus ring
is metal; the aperture ring has a
disappointingly plastic feel to it.
When zoomed out to 18mm the
lens is about 4 inches in length;
at 135mm, 6.2 inches. Despite its
external zooming, lens creep was
never an issue for us.
In the field, the lens performed
well. We used it on an X-T1 and
found the lenss build quality to be
on par with the camera. Autofocus
was snappy at the wider focal
lengths. It did slow down consider-
ably when zoomed in, especially
past 100mm, but that is common
for lenses in this class.
On our optical bench, the
18135 scored SQF numbers that
put it in Excellent territory at all
tested focal lengths (18, 70, and
135mm). In our DxO analyzer 5.3
distortion test, the Fujifilm also
did quite well. It showed Slight
FUJIFILM XF 18135MM F/3.55.6 R LM OIS WR
WHATS HOT
Excellent Image stabilization, optics
WHATS NOT
Pricey, cheap-feeling aperture ring
DAN BRACAGLIA
WHO ITS FOR
Fujifilm shooters looking for a
versatile, weather-sealed lens
94 POPULAR PHOTOGRAPHY DECEMBER 2014
2.97 in.
distortion at 18mm (0.25%) and 0.52 in.
Imperceptible pincushioning
6.20 in.
at 70mm and 135mm (0.02%).
Compared to similar wide zooms
from Nikon (18140mm f/3.55.6
3.87 in.
VR), Pentax (18135mm f/3.55.6 0.83 in.
WR) and Canon (18135mm
f/3.55.6 IS), this Fujifilm lens had
the least amount of distortion.
It beat out the pack in our light
falloff test too, vignetting only
at 18mm and gone by f/5.6, and
was on par in close focusing to
the Canon and Nikon, at 16.25
inches. The Pentax close focuses
to 11.78 inches.
With maximum magnification
ratios of 1:17.32 at 18mm,1:5.03 at
70mm, and 1:3.26 at 135mm, the
A toggle
Fujifilm beat out the competition on the lens stabilization, besting the rest. The
at 135mm and was on par at barrel lets Nikon came in second with 3 stops.
the other tested focal lengths. It users switch This is a sophisticated, well-built
between
scored an average of 3.33 stops of manual and
lens. Yes, it is about $300 more
automatic than comparable lenses from other
aperture manufacturers, but it is optically
control. on par or better in all departments;
SPECIFICATIONS plus, it is weather sealed. If a
18135MM (18.54139.64mm tested), versatile companion to your XT-1 is
f/3.5-5.6 (f/3.475.71 tested), 16 elements what you seek, this may be a match
in 12 groups. Focus ring turns 160 degrees.
made in heaven.
Zoom ring turns 90 degrees. Focal length
marked at 18-, 23-, 35-, 55-, 70-, and 135mm. Dan Bracaglia and Julia Silber
DIAGONAL VIEW ANGLE: 7612 degrees
WEIGHT: 1.13 lbs Filter size: 67mm
MOUNTS: Fujifilm Fujinon X
INCLUDED: Lenshood
STREET PRICE: $899
WEBSITE: fujifilmusa.com
TEST RESULTS
DISTORTION: At 18mm, 0.25% (Slight) 18
barrel; at 70mm, 0.02% (Imperceptible) MM
pincushion; at 135mm, 0.02%
(Imperceptible) pincushion
LIGHT FALLOFF: At 18mm, gone by f/5.6;
at 70mm, none; at 135mm, none 70
MM
CLOSE-FOCUSING
DISTANCE: 16.25 inches
MAXIMUM MAGNIFICATION RATIO:
At 18mm, 1:17.32; at 70mm, 1:5.03; at 135
135mm, 1:3.26 MM
IMAGE STABILIZATION: 3.33 stops
POPPHOTO.COM
 LAB * LENS TEST
WIDE, FAST
SAMSUNG 1650MM F/22.8 ED OIS S LENS
A SNAZZY
COMPANION
TO THE NX1
SAMSUNG CONTINUES to build out
a lens arsenal for its NX system,
and the 1650mm f/22.8 ED OIS
is the first in the high-end S-series
line. With an equivalent focal
length of a 2477mm, this lens
offers a pro-level build quality
with a fast maximum aperture.
In hand, it is fairly hefty,
weighing in at 1.43 pounds.
The body is made of metal
and the front element takes
a 72mm filter. When zoomed
out to 16mm, the lens is just
under 4 inches in length, and at
50mm, 5 inches. The zoom ring
is rubberized and well-sized;
the focus ring turns in both
directions past infinity.
We used it on an NX20 and
found it to be a bit too big for
the camera, though on an NX1
it should feel about right. In
the field, the lens suffered from
zoom creep from time to time.
The AF proved extremely fast
and quiet. The focus ring is well
damped and turns smoothly.
In the lab, the Samsung scored
Excellent SQF ratings at all
tested focal lengths (16, 35, and
50mm). This category of lenses
is known for testing well. We
compared the Samsung to the
Nikon 1750mm f/2.8G, Sigma
1750mm f/2.8 OS, Tamron
1750mm f/2.8 VC, and APS
SAMSUNG 16-50MM F/2-2.8 ED OIS S LENS
WHATS HOT
Class-leading IS
WHATS NOT
Heavy, slight lens creep
DAN BRACAGLIA
WHO ITS FOR
Samsung shooters looking for a
wide pro-level lens
96 POPULAR PHOTOGRAPHY DECEMBER 2014
3.18 in.
0.57 in.
Pentax 1650mm f/2.8; all
3.79 in.
of these lenses churned out
comparable SQF numbers.
The Samsung also tested well
in DxO Analyzer 5.3, with only
4.82 in.
Visible barrel distortion at 16mm
(0.41%) and Imperceptible
pincushioning at 35mm and
50mm (0.07% and 0.09%). This is
again on par with the rest. 1.03 in.
In our light falloff test the lens
really began to shine, besting
the others at all focal lengths
and displaying vignetting only
at 16mm, gone by f/2.5. Its
maximum magnification ratio
at 16mm was 1:10.4, at 35mm,
1:5.23, and at 50mm 1:4.44 the Sigma offered 1.75 (the Nikon
solid numbers, and you guessed While this and Pentax have no built-in IS).
it, on par with the rest. is the first This lens is well built and
lens in
It gave us a total of 2.75 stops optically on par with or better
Samsungs
of shutter speed advantage, new high- than comparable glass. Plus,
while the Tamron offered 2 and end S-series, it maintains f/2 to 18mm, hits
the company f/2.2 at 20mm, f/2.5 at 24mm,
has also
and f/2.8 at 35mm. That alone is
announced
a 50150mm pretty impressive. Add in class-
SPECIFICATIONS f/2.8 that
should be
leading image stabilization, and
1650MM (17.1149.99mm tested), you have a winner.
f/22.8 (f/2.122.99 tested), 18 elements in in stores
as you read Dan Bracaglia and Julia Silber
12 groups. Focus ring turns 90 degrees.
this issue.
Zoom ring turns 80 degrees. Focal length
marked at 16-, 20-, 24-, 28-, 35-, and 50mm.
DIAGONAL VIEW ANGLE: 8231 degrees
WEIGHT: 1.43 lbs Filter size: 72mm
MOUNTS: Samsung NX
INCLUDED: Lenshood
STREET PRICE: $1,133
WEBSITE: samsung.com
TEST RESULTS 16
MM
DISTORTION: At 16mm, 0.41% (Visible)
barrel; at 35mm, 0.07% (Imperceptible)
pincushion; at 50mm, 0.09% (Imperceptible)
pincushion
LIGHT FALLOFF: At 16mm, gone by f/2.5; 35
MM
at 35mm, none; at 50mm, none
CLOSE-FOCUSING
DISTANCE: 10.66 inches
MAXIMUM MAGNIFICATION RATIO:
At 16mm, 1:10.4; at 35mm, 1:5.23; 50
MM
at 50mm, 1:4.44
IMAGE STABILIZATION: 2.75 stops
POPPHOTO.COM
800-947-9980 420 Ninth Avenue
212-444-6666 Corner of 34th Street
Fax: 212-239-7770 New York, N.Y 10001

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New York, N.Y. 10001 MEMORY CARDS
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demands of broadcast, cinema, and 60GB ....................................... $649.95 32GB .......$179.99 128GB .... $879.99 16GB 10.95 8.95 9.95 9.76
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FILTERS in stock

B&H SPECIAL! Buy 3 or more

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420 Ninth Ave.

FILM B&W AND COLOR
COLOR PRINT
Superia
CA 200 135-24 ..........2.49
CH 400 135-24..........2.25
CH 400 135-36..........3.99
CZ 800 135-24 ..........3.99
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400 220 Roll ............15.19
400 220 PP (5) .........75.95
800 135-36 ...............9.99
800 120 Roll ..............8.98
Corner of 34th Street
New York, N.Y. 10001
COLOR SLIDE BLACK & WHITE PRINT
Infrared
Pan F+ 50 135-36.....6.50 SFX 200 135-36 ........7.99
Provia Velvia RVP Pan F+ 50 120 Roll....4.75
SFX 200 120 Roll .......6.99
RDP 100F 135-36 ...10.51 Pro 50 135-36.........11.69 FP4+ 125 135-36......4.99
FP4+ 125 120 Roll.....4.39 We Buy, Sell and Trade
135-36PP (5) .......52.55 Pro 50 120 Roll..........8.55
HP5+ 400 135-36 .....4.75 Acros 100 135-36 .....6.25
RDP 100F 120 Roll ....7.19 100 135-36 .............10.64 HP5+ 400 120 Roll ....4.09 Acros 100 120 Roll....5.15
Delta Pro
135-36PP (5) .......35.95 100 120 Roll ..............7.69
100 135-36 ...............6.25
100 120 Roll ..............4.50 Tri-X 400 135-36 ......4.99
PROCESSING MAILERS 400 135-36 ...............6.29 Tri-X 400 120 Roll .....4.85
400 120 Roll ..............4.95
TMX 100 135-36 .......4.95
3200 135-36 ...........10.99
3200 120 Roll ............5.99 TMX 100 120 Roll ......4.49
Slide Print C41 35mm ......13.49 TMY 400 135-36 .......4.95
XP-2 Super Page 7
36 Exposures Print C41 120 Roll ...15.49 400 135-36 ...............6.49 TMY 400 120 Roll ......4.59
(35mm) ..................10.59 Print C41 220 Roll ...30.95 400 120 Roll ..............4.75 BW 400CN 135-36 ....8.89

122014
check our website or call for up-to-the-minute prices & information! email your order or inquiry to us at: sales@beachcamera.com

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Cameras and Lenses

EOS Rebel T5 D3300 a5000 Mirrorless

AF18-270mm F/3.5-6.3
DSC Camera Di II VC (Vibration Compensation)
EOS Performance Made Simple Big Power, Small Size DSLR quality. Wi-Fi convenience. LD Aspherical (IF) Macro
The Longest Steadiest Lens on Earth

The ILCE-5000 includes refined capabilities in a pocket-

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 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.
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
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.

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Camcorders INSTANT REBATES AND PROMOTIONS

Vixia HF G30 Vixia HF R52

The Flagship of the VIXIA Series Powerfully Equipped
VIXIA HF G30 offers a Genuine Canon 20x HD Video Lens and 8-Blade Circular The VIXIA HF R52 with built-in Wi-Fi and 57X zoom is all the
Aperture for superb video quality and natural, beautiful background blur. The new camcorder you need to preserve and share special moments
DIGIC DV 4 Image Processor enables recording in MP4 up to 35 Mbps and AVCHD both big and small. Record up to 12 hours of video on the 32GB
up to 28 Mbps and even simultaneously with Dual Recording thanks to two SDXC internal flash drive, and enjoy extra storage capacity by record-
memory card slots. A 3.5-inch OLED Touch Panel Display and Built-in Wi-Fi technol- ing directly to a removable SD card. Improved built-in Wi-Fi* with the new CameraAccess plus app makes it
ogy including remote control functionality via web browser are included. An optional easier than ever to share recorded video or live stream it on your Android or iOS device**, and even con-
accessory adds GPS location data to video files. trol the camcorder remotely.

Vixia HF R500 Camcorder Vixia Mini

A World of New Shooting Possibilities Share your talents with the World
The VIXIA HF R500 camcorder's giant 57x Advanced Zoom! Capture truly The VIXIA mini is super slim and weighs approximately 5.6 ounces, so you can
Camcorders
impressive, amazingly realistic 1920 x 1080 Full HD video with the capture beautiful, high-quality video and stills wherever you go. To match its out-
Canon 3.28 Megapixel Full HD CMOS Image Sensor and DIGIC DV 4 standing image quality, the VIXIA mini features a built-in microphone to liven
Image Processor. Even the fastest moving subjects are rendered with and enhance your video with superb stereo sound. Get creative with
crisp detail thanks to 1080/60p recording in easy-to-share MP4 (35 Mbps) a genuine Canon f/2.8 fisheye lens for ultra-wide scenes, then switch to
and AVCHD Progressive (28 Mbps) formats, directly to a convenient, removable SD memory card. grounds. Close-up mode simply by touching the screen.

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R ! 3-IN-1 PORTABLE R ! R ! R ! 6500 PEAK/

PE ON PE ON PE ON PE ON
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 TIME EXPOSURE * DECEMBER 1954

Zeiss Biotar f/2 lens. The exposure,

on Super XX film, was 1/25 sec at f/4
under natural daylight.

Kitchen Photo Fun

The world of Popular Photography
extends from the most deluxe
pro laboratories to an amateurs
makeshift darkroom, as evinced
by this major feature story, Guide
to Enlarging. We showed how the
average amateur could set up a
makeshift darkroom and turn out
very good prints in a kitchen by
following the advice in this article.

Dream City
This wonderful picture of New York
Citys East River won Arthur M.
Rapoport of Bridgeton, New Jersey,
the second prize in color ($1,000
savings bond), proving that its the
photographers eye that makes
the picturethe photo came to
Put On a Happy Face won a prize (a $50 U.S. savings be simply because Rapoport liked
If you cant find a subject, why
not try yourself? The jester on
our cover was a costumed self-
60
YEARS
bond) in our annual photo contest.

Portrait
to take pictures. He used a Leica
IIIf with a 50mm f/3.5 Elmar lens,
loaded with Kodachrome film.
portrait of London photographer AGO This appealing portrait of Jan took A Weston meter provided the
Percival C. Poynter. He used a Challenging second prize in black-and-white exposure reading. Harold Martin
self-timer with his Microcord (a readers to ($1,000 savings bond) in this years
British-made TLR) and 75mm Find the contest. Lies
Flash, we
f/3.5 Ross Xpres lens. He took showed six Wiegman of New
the exposure on 120 Daylight photos and York City shot
Ferraniacolor film with the help (85 pages the photo with an
later) lighting
of a Weston meter. Proving that diagrams for Exakta II 35mm
imagination can pay, the photo each. SLR and a 58mm

106 POPULAR PHOTOGRAPHY DECEMBER 2014 POPPHOTO.COM

The leader of tripod head ARCA-SWISS monoball p series
design for over 45 years
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ARCA-SWISS p is a unique
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combines precision, ease
of use, and a powerful,
concentric, uniform locking
force. Featuring our patented
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sation, sudden camera
movements altering camera
position are prevented. The
ARCA-SWISS p is stylish,
precise and strong, yet
weighs under 10 ounces.
A hand of steel in a velvet
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A R C A
S W I S S

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Phone: 480 755-3364
E-mail: support@arca-swiss.com

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PLEASE NOTE: It is impossible for us to

verify all the claims of advertisers, including
product availability and existence of war-
       
authorized to sell a product, we suggest you
contact the manufacturer directly.
New, Used, Refurbished, Preowned Collectables At Discounted Prices TESTIMONIAL OF THE MONTH

50
We Buy, Trade, Export, Import Anything Photographic, Online Sales & Wholesale
ITEM ARRIVED QUICKLY AND
IS AS DESCRIBED. THANKS!
f
rs o e
PETER M,
WE WILL BEAT AND MEET DISCOUNT PRICES! Yea rienc RANCHO CORDOVA, CA
pe
CALL OR EMAIL US AND WE WILL SAVE YOU $$$$$$$$$$$$$$$$$ Ex See more testimonials on our website.
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4, 4s, 5 & 5S & Samsung Galaxy S4 as well as the NEW SERIES 1 LENSES 5000 INSTRUCTION BOOKS
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1-800-221-2253 AND ASK
High ResolutionTop Quality Lenese 35mm F1.4499.95 85mm F1.4199.99
500mm F8.99.99 500mm F6.3..124.99 FOR PAUL OR EMAIL US AT
2X Telephoto Lens Macro Lens
Wide Angle Lens All for $229 650-1300mm F8-16
Zoom Lens...239.99
25mm T2.1 Xenon FF Lens
35mm T2.1 Xenon FF Lens
800mm F8...189.00
8mm F3.8....189.00
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sales@cambridgeworld.com or CALL 1-800-221-2253 and we will
assist you and SAVE you $$$$$$. No item is too small or large.
NEW FLASHES
50mm T2.1 Xenon FF Lens 16M19.95 DF 183 AF.44.95 NEW SIGMA LENSES for Listing is very partial.
75mm T2.1 Xenon FF Lens DF 283 AF89.95 285HV...87.00 MINOLTA MAXXUM & Bronica S2A, EC...... Call Bronica GSI...............399.50 Canon 24mm F1.4 ........989.00 Olympus XA........79.99
100mm T2.1 Xenon FF Lens DF 293 AF89.95 DF 383 AF124.95 SONY ALPHA FILM & Bronica ETR...........99.95 Bronica SQ camera.....199.99 Minolta 160.......69.99
385 HV.........149.95 DF 483 AF159.95 Canon 50mm F1.4 ..........79.50
DIGITAL CAMERAS Canon A2E .............79.99 Canon 1V....................499.99 Minolta 70........49.99
Canon 85mm F1.2 .....1,299.00
Canon Elan.....49.99 Canon 1X......................69.99

LENSES
24-70mm F3.5-5.6 AF ASPHERICAL..........129.99 Canon 300mm F2.8 ...2,199.00 Canon 120.........79.99
28-105mm F3.8-5.6 AF UC III COMPACT ...99.99 Canon rebel 2000......89.99 Canon Elan....................69.99 Canon 105.........49.99
28-200mm F3.8-5.6 AF COMPACT................99.99 Canon 16-35mm F2.8 ...889.00
Canon F1...............119.99 Canon VT....................299.99 Leica minilux.....199.99
35-135mm F4-5.6 AF UC COMPACT............79.99 Canon 24-105mm F4 ....789.00
Canon rebel XT.....299.99 Canon XTi .................399.99 Contax T2.........199.99
Canon 28-300mm F3.5 ...1,299
We Offer MORE THAN 1,000 DIFFERENT Contax G2.............699.99 Contax N1...........349.99
Canon 70-200mm F2.8 ...1,199
Yashica T4.........99.99
Exakta RTL................149.99 Nikon lite touch...49.99
LENSES at LOW DISCOUNT PRICES!!! Headquaters Contax RTS III........699.99
Fuji Digital S3....299.95 Canon 100-400mm F4.5 ....1,199
Konica 120.........49.99
C a non, Cosina , Niko n, Penta x , Olympus, Le ic a, Sony, Minolt a, * Large selsctions of new Exakta VX..............99.99
Fuji S5 digital.......599.95
Exakta VX 1000......129.50 Canon 430EX ...............129.00 Nikonos II.........99.99
V i vitar, Schneider, M a miy a , Ha s selblad, Rode nst oc k, Zeiss, e t c . and used Rollei and Rolleiflex Hasselblad 503CW.....499.95 Canon 580EX................269.00 Olympus 140........49.99
Hasselblad 500C..149.99
cameras,lenses and accessories Retina Reflex ................99.99 Canon 24-70mm F2.8 ...899.95 Pentax 115.........59.99
4.5mm F2.8..........838.95 50mm F1.4..........358.95 LENSES FOR MOST MANUAL at discount prices!!!!! Kodak Retina IIIc...99.95 Leica IIIG....................699.99 50mm F1.4 Zeiss Planar...209.00 Minox GT...........199.99
Leica IF.................499.99
8mm F3.5.............828.95 50mm F2.8..........234.95 & AUTOFOCUS AF CAMERAS CALL William 1-800-221-2253 Leica IIIF...............299.99
Leica M3.....................499.99
Leica R8......................749.99
80-200mm F4 sonnar.....199.00 Rollei 35..........129.99
Hasselblad 150mm F4 ..299.00 Canon rebel X.......49.99
10mm F2.8...........598.95 70mm F2.8..........468.95 8mm F3.5.............199.99 14mm F2.8..........349.99 Special Prices on Leica R3................199.99 Minolta X700................99.99
24mm F2.8.............79.95 135mm F3.5..........29.95 Leica 35mm F2 Summicron M...899 Minota 7000.........39.99
15mm F2.8...........568.95 105mm F2.8........458.95 Mamiya 110mm RZ lens...229.99 Leica 50mm F2 Summicron M...399
19mm F2.8...........178.95 150mm F2.8.......688.95 28mm F2.8.............49.95 135mm F2.8..........49.95 Rollei 6000 Series Mamiya RB67.......199.99
Minolta XTi............59.95 Maxxum HTsi...........69.99
Petri V.............79.99
20mm F1.8...........588.95 35mm F2.8.............39.95 200mm F3.5..........79.95 Leica 135mm F4.5 Hektor Screw..129 Exa.................69.99
180mm F2.8.......1488.95 Maxxum 7000.........49.95 Maxxum 5000...............39.95
24mm F1.8...........498.95 50mm F1.8.............69.95 300mm F5.6..........99.95 Adapters Lenses Leica 50mm F2 Summicron R..349.50 Praktica TL.........69.99
28mm F1.8...........308.95
300mm F2.8.......2998.95
500mm F4.5.......4598.95
50mm F1.4...........189.95 400mm F6.3..........99.95
85mm F1.4...........308.95 500mm F8.............99.95
NOVOFLEX CALL
Accessories.................. Maxxum 9000.........69.95
Maxxum 5D..........199.95
Maxxum 700I.............119.95
Maxxum 7D................299.99
Mamiya 55mm F2.8 ........99.00 Ricoh XRP...........99.99
30mm F1.4...........278.95 Mamiya 180mm F4.5....149.00 Canon canonet.......49.99
10-20mm F4-5.6....478.95 100mm F3.5.........119.95 500mm F6.3........124.95 Nikkormat FTN.......99.95 Nikkormat FT2...........119.94
30 mm F2.8174.95 Minolta 50mm F1.7.........19.00 Canon dial..........49.99
10-20mm F3.5........548.95 800mm F8............219.95 1000mm F11.......799.95 Nikon F...................99.99 Nikon F2.....................119.99
35mm F1.4.848.95 Cambron, Gossen, Kenko, Sekonic, Minolta, Pentax, Minolta 80-200mm F4.5..69.00 Canon P............239.99
500mm 1000mm combination.........................129.95 Nikon F100.................199.99
10-20mm F4.398.95 Polaris, Shepard, Soligor, Spectra, Wein, Etc. - CALL Nikon FA..............169.99 Minolta 5400HS...............79.00 Hasselblad x-pan...999.99
60mm F2.8...........278.95 19-35mm F3.5-4.5....149.95 28-80mm F3.5-5.6...79.95 Nikon FM10...............129.99
400mm F5.6.299.95 17-70mm F2.8-4.5...458.95 Nikon F3...............129.99
Nikon D40..................199.99 Maxxum 50mm F1.7 .......69.95 Mamiya 500 DTL......79.99
18-35mm F1.8.748.95 28-105mm Zoom...99.95 28-210mm F3.5-5.6...99.95 Ansmann, BRNO, Canon, Nikon F5...............349.99 Leica c-lux.........299.99
85mm F1.4...........848.95 28-300mm F4-6.3..169.95 35-105mm Zoom.....119.95 Cambron, Elinchrome, Gary Fong, Metz, Minolta, Nikon N55....................66.99 Nikon 50mm F1.4............69.00
18-200mm F3.5-5.6..238.95 Nikon D200..........499.99 Leica C1........... 199.99
800mm F5.6.......6698.95 70-210mm Zoom...79.95 75-150mm F3.5.......49.95 Multiblitz, Nikon, Novacon, Norman,Novatron, Nikon N8008................79.95 Nikon 18-200mm F3.5..349.00
18-250mm F3.5-5.6.358.95 75-300mm F4.5 Macro Zoom Lens..................89.95 Olympus, Pentax, Photogenic, Quantum, Sigma, Nikon N90..............99.99 Mamiya 7............699.99
12-24mm F4.5-5.6..748.95 Nikonos II.....................79.95 Nikon 80-200mm F2.8 ......399
24-70mm F2.8.....798.95 Nikonos V.............179.99 Mamiya 645E.........199.99
18-50mm F2.8-4........188.95 100-300mm F5.6-6.7....99.95 100-500mm F5.6-8...395.95 Stroboframe,Stratos, Smithvictor, Olympus OM4............179.99 Nikon SB600 ................269.00
17-50mm F2.8
18-50mm F2.8............375.95
EX DCOS HSM..548.95
650-1300mm F8 Long Zoom Lens...................249.95 Sunpak, Sony, Vivitar, Etc.
1000-4000mm zoom.........................................349.95
CALL Olympus OM1........99.99
Pentax K1000..........99.99
Pentax 80-160mm645zoom.229.99 Nikon SB900 ................349.00
Pentax 120mm 645macro..399.99 Olympus 50mm F1.8 Zuiko...39.00
Mamiya C220..........99.99
Yashicamat..........129.99
8-16mm F4.5-5.6 DC...618.95 28-70mm F2.8.....318.95
1.4X Teleconverter..............................................99.95 Pentax LX...................299.99 Minolta 70...........59.99
28-70mm F2.8-4....88.95 28-300mm F3.5-6.3...234.95 Braun, Canon, Epson, GEPE, Kodak Carousel & Pentax 645.............249.99 Olympus 70-210mm F4.5.......99.00
2X Teleconverter......29.95 3X Converter...69.95 Rollei 35M..................119.99 Minolta 9Xi..........149.99
28-200mm F3.5-5.6...174.95 50-150mm F2.8....698.95 Ektagraphic,Kaiser, Panasonic, Optoma, Sanyo, Rolleicord V..........149.99 Olympus 50mm F1.4.......99.95 Kodak C800............49.99
35-135mm F4-5.6...99.95 1.5X Teleconverter...69.95 1.7X.Converter..99.95 Sharp, Telex, Da-Lite Screens, Topcon super RE249.99 Rolleiflex F3.5............499.99 Panasonic 14-50mm F2.8....479.00
50-150mm F2.8968.95
55-200mm F4-5.6...124.95 0.42X Fisheye Lens............................................39.95 Slide Mounts,Vue-all Etc. CALL Voigtlander Bessa...599.99 Topcon UNI..................79.95
Pentax 28-80mm F3.5.....39.00
Samsung 170...........69.99
Pentax auto 110.......69.99
50-200mm F4-5.6.148.95 70-300 F4-5.6......138.95 0.45X Wide Angle Lens.....................................39.95 Vitomatic II..................99.95
Voigtlander Bessamatic...129.99 Pentax 35-80mm F4........44.00 Nikon F100............169.99
50-500mm F4-6.3...948.95 70-300mmDGOS.248.95 Beseler, Durst, Fujimoto, KAISER, LPL, Yashica FX3............69.99
Vittesa......................99.95
Sigma 70mm F2.8.........379.00 Olympus IS.............79.99
70-200mm F2.8....888.95 100-300mm F4-5.6...99.95 Yashica FR1..................69.95
14mm F2.8...........989.99 90mm F2.8..........348.95 Omega, Etc. Enlarging Lenses & Darkroom Zeiss Contarex.........299.99 Zeiss Icarex................149.99 Sony 16-80mm F3.5......499.00 Miranda FV.............99.99
70-300 F4-5.6 APO...188.95 120-300mm F2.8...2698.95 28mm F2.5.............99.99 180mm F3.5........628.95 Accessories. Large selection of papers available Canon 5D.....999.00 Sony 55-200mm F4.........99.00 Pentax PZ1.............109.99
Nikon 35TI.....369.50
70-200/2.8OS..1148.95 150-500mm F5-6.3...948.95 24mm F2.5.............79.95 500mm F8...........198.95
100-300mm F4....1098.95 120-400 F4.5-5.6...938.95
(Kodak, Ilford, Fuji, Forte, Etc.) CALL Canon 40D.299.00
Contax Aria299.95
Nikon FM 3A.399.00
Nikon F4.299.00
Vivitar 500mm F8 ..........69.00 Contax IIa.............139.99
11-18mm F4.5-5.6...434.95 10-24mm F3.5-4.5...429.95 Exakta 66....999.99
Vivitar 283 Flash..................29.95 Contarex...............249.99
200-500mm F2.8 APO EX DG...................25998.95 Nikon D300........699.00
300-800mm F5.6 EX BE HSM.....................7698.95 18-200mm F3.5-6.3...158.95 17-50mm F2.8.....334.94 Alpa, Arca Swiss, Bronica, Contax, Fuji, Cambron, Leica M6.....999.99 Nikon D200....499.00 2X Teleconverter Extended Lens..29.95 Nikon 35Ti.............299.50

1.4X APO............218.95 2X APO...............278.95 18-270mm............398.95 18-250mm F3.5-6.3...414.95 Hasselblad, Linhof, Kiev, Mamiya, Minolta SRT 101..69.95 Olympus E-520..249.00 3X Teleconverter Extended Lens..39.95 Nikon 28Ti.............349.95
20-40mm F2.7-3.5...298.95 19-35mm F3.5=4.5...159.95 Pentax 645D Digital Camera, Rollei,
16-28mm F2.8 .....748.00 12-28mm F4598.95
300mm F6.3.299.95 17-35mm F4........719.00
28-105mm F2.8....298.95
24-70mm F3.3-5.6...89.95
24-135mm F3.5-5.6...398.95
28-200mm F3.8-5.6...118.95 Rolleiflex, Toyo, Wista, Yashica, Etc.CALL
28-75mm F2.8.......348.95
FILTERS
WE HAVE MORE THAN 10,000 FILTERS
10-17mm F3.5-4.5...444.95 100mm F2.8.........384.95 24-70mm F2.8......1195.00 28-300mm F3.8-5.6...294.95 IN STOCK. CALL ADAM 1-800-221-2253
11-16mm F2.8......564.95 28-200mm F3.5-5.6....99.95 Arca Swiss, Bogen, Cambron, Cullman, Berlebach, Top Quality screw in optical Glass Filters
28-80mm F3.5-5.6...68.95 70-300mm F4-5.6 329.95 We offer one of the Largest selections of BINOCULARS,
Giottos, Davis & Sanford, Gitzo, Impact, Linhof, TELESCOPES, RANGEFINDERS AND RIFLESCOPES 19-37mm19.95 67-82mm..19.95
12-24mm F4.........424.95 50-135mm F2.8....674.95 40-49mm..9.95 86-95mm..59.95
28-300mm F3.8-5.6 VC....584.95 200-400mm F5.6......298.95 Manfrotto, Slik, Sunpak, Tiltall,
16-50mm F2.8......594.95 80-400mm F4.5-5.6....638.95 52-62mm.14.95 105-122mm129.95
KENKO TELECONVERTER 55-200mm F4-5.6...128.95 75-300mm F4-5.6...128.95
70-200mm F2.8...664.95 200-500mm F5-6.3..758.95
Vanguard, Velbon, Etc. - CALL at LOW DISCOUNT PRICES!!! We also offer you more
than 500 DIFFERENT BINOCULARS!!!!!!! Sun Shade Lens Hoods
19-37mm...9.95 67-82mm..19.95
1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95 BUSHNELL, BAUSCH&LOMB,
40-49mm...6.95 86-95mm..69.95
SAMYANG/ROKINON/BOWER 60mm F2 Macro........399.95 10-24mm F3.5-4.5....458.99
CALL CAMBRON, CANON, CARSON, 52-62mm...9.95 105-122mm..99.95
7.5mm F3.5...299.00 8mm F3.5299.00 14mm F2.8399.00 1.4X Converter....124.95 2X Tele Converter.....138.95 Kodak, Ilford, Fuji, Polaroid, AGFA, Etc. CELESTRON, DOCTER, FUJI, FUJINON, 3 Lens Close-up Macro Lens Sets
35mm F1.4499.00 85mm F1.4299.00 500mm F8...99.99 1.4X SP Converter...178.95 2X SP Converter...208.95 JASON, KOWA, LEITZ, LEICA, LEOPOLD, MEOPTA, 19-37mm..29.95 52-62mm.29.95
500mm mirror..119.99 500mm F6.3..159.99 800mm F8...219.99 MINOLTA, MINOX, OLYMPUS, PENTAX, SAMSUNG, 40-49mm..19.95 67-82mm.39.95
150-600mm F56.3 for $999.99
24mm F1.4...$699.00 24mm F3.5 Tilt and Shift..999.00 Billingham, BobLBee, Domke, Lowepro, SPALDING, STEINER, SWIFT, TASCO, VANGUARD, B+W, HELIOPAN, CANON, CAMBRON, COKIN,
650-1300mm f8-16 Zoom Lens....279.99 NEW SCHNEIDER PC TS LENSES VIVITAR, VIXEN, VORTEX, WEENS & PLATH, ZEISS,
CINE LENSES 50/2.8 HM Super Angulon.........................................3498.99
8mm T3.8...329.00 14mm...T3.1...449.00 24mm T1.5 749.00 90/4.0 HM Makro-Symmar.......................................3198.99
3.5mm T1.5...549.00 85mm...T1.5...349.00 120/5.6 HM Aspheric Apo-Digitar...........................4698.99
Pelican, Rimowa, Tamrac,
Tenba, Zero Halliburton CALL CALL
HOYA, KENKO, LECIA, NIKON,
SINGH-RAY,TIFFEN, ZEISS, ETC CALL
email: Sales@CambridgeWorld.com
 RIDE ON
I WAS SHOOTING at Canadas
Banff National Park for a few
days in February 2013 and
really wanted to try to cap-
ture a winter railroad scene
while I was there. So I went
to a spot known as Morants
Curve and sat in the snow
shooting various perspectives
BRIAN DONOVAN
110 POPULAR PHOTOGRAPHY DECEMBER 2014
Brian Donovan catches rail
cars snaking across Canada
of trains as they funneled
past. They arrived unpredict-
I estimated 2 to 3 seconds to
blend the cargo containers
ably and few were photoge- together and get some trans-
nic. This train came during lucency. I stacked the 2- and
the only time I saw blue sky. 3-stop ND filters I had with
The red stood out, creating me, then quickly dropped the
an interesting contrast to this ISO and stopped down the
winter scene. After getting lens. Its apt title: Snake on a
an initial shot of the engine, Train. As told to Meg Ryan
POPPHOTO.COM
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