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$Digital Photo | Dpmag.Com K QF \F \Q /\/QF F Y YQ H$

A Big Comeback Design Is Making Why Classic Camera dpmag.com RETROREVOLUTION ® IS 4K FOR U? The Future Of Digital Video Is Headed To Your Living Room

APRIL 2014

Studio Quality Anywhere Tools & Techniques For Power Of Monolights Explore The Portable Images After Sundown How To Get Awe-Inspiring Of Negative Space Night Shots! Discover The Positives YOUR #1 GUIDE TO BETTER PHOTOGRAPHY

Photos For Brilliant Pro Tips

® FEATURES /// MARCH/APRIL 2014 /// VOL. 18 NO. 2 28

/// HOW-TO /// 28 Shot In The Dark It has never been easier to create stunning astral photos TEXT & PHOTOGRAPHY BY TOM BOL

The Positives 34 Of Negative Space Consider the space surrounding your subject for more dynamic compositions TEXT & PHOTOGRAPHY BY J. DENNIS THOMAS 34 40 Workflow, Start To 40 Finish, Part 3 Use these tips for worry-free backup TEXT & PHOTOGRAPHY BY TOM BOL

Art of iPhoneography:: 43 Layers Of Emotion Blending scenes from the past to portray a feeling in the present TEXT & PHOTOGRAPHY BY STEPHANIE CALABRESE

4 Q Digital Photo | dpmag.com K QF \F \Q /\/QF F Y YQ H . iH i. i.H i

You coax a shy flower girl out of her shell. Put the brakes on a runaway ring bearer. Keep a beautiful bride completely at ease. And find a way to turn a spontaneous moment Into a memory that will last forever.

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Printed in the U.S.A. /// COLUMNS /// Digital Photo is published by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-1176, (310) 820-1500. E- mail us (editorial matters only) at [email protected] and visit our website at www.dpmag. 24 com. Copyright © 2014 by Werner Publishing Corp. No material may be reproduced without Notes From The Field written permission. This publication is purchased with the understanding that information presented is from many sources for which there can be no warranty or responsibility by the Displaying Your Photographs publisher as to accuracy, originality or completeness. It is sold with the understanding that the publisher is not engaged in rendering product endorsements or providing instruction as BY BRUCE DALE a substitute for appropriate training by qualified sources. EDITORIAL SUBMISSION: Digital Photo assumes no responsibility for solicited or unsolicited contributions and materials. Submissions for review should be limited to no more than 40 photos. Submit duplicates for our review. Otherwise, insurance for such materials, in transit or in our possession, must be 26 Point Of Focus the responsibility of the writer or photographer. Digital Photo does not accept or agree to 52 56 the conditions and stipulations printed on delivery memos, packing slips and related corre- Discovering Magic spondence as they are presented without prior notice accompanying submission materials. Exceptions to this disclaimer of liability on the part of Digital Photo must be prearranged, BY TRACEY CLARK OF executed in writing and signed by both parties prior to the shipment of materials in question. All submissions must be accompanied by a self-addressed, stamped envelope (SASE) with SHUTTER SISTERS sufficient postage to cover the cost of return. The class of mail and insurance coverage for returns will be determined by the amount provided for on the SASE. Writer/photographer guidelines are available on request, with the enclosure of an SASE. SUBSCRIBERS: Any obligation we owe to you, including delivery of your magazine, is contingent upon you pro- 64 Quick Fix viding us with your correct mailing address. If the Post Office notifies us that your magazine is undeliverable, we have no further obligation to you unless we receive a corrected address Dramatic Portrait Light from you within two years of the Post Office notification. BACK ISSUES are available for one year prior to the current issue. To order within the U.S., send $7.00 plus $4.00 postage and BY RICK SAMMON handling (Canada: $7.00 plus $5.00; International: $7.00 plus $10.00) for each issue to Back Issue Dept., Digital Photo Magazine, 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-1176, or go online and visit the eStore. No orders processed without proper funds and specific issue information. /// DEPARTMENTS /// Digital Photo, PCPhoto and Digital Camera & Photo are registered trademarks of Werner Publishing Corporation. Copyright © 2014 Werner Publishing Corporation. All rights reserved. Reproduction in whole or in part without permission is prohibited. 10 Ed-Mail 12 View To Subscribe Or For Subscription Questions: www.dpmag.com or (800) 537-4619 16 Next 66 Exit or e-mail [email protected]

Digital Photo (ISSN: 1948-5557)—Vol. 18 No. 2—is published bimonthly except November and December by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Periodicals Postage Paid at Los Angeles, Calif., and at additional mailing offices. Single-copy price—$4.99. Annual subscription in U.S., Possessions, APO/FPO—$19.94. Canada/foreign—$34.94, including postage and taxes. Payable in U.S. funds. For orders, address changes and all other customer service, phone toll-free (800) 537-4619. POSTMASTER: Send address changes to Digital Photo, Box 37857, Boone, IA 50037-0857. Canada Post Publications mail class agreement No. 1559753. See magazine mast for specific information on solicited and unsolicited contributions and the purchase of back issues.

6 Q Digital Photo | dpmag.com

® Inside and Out. dpmag.com ADVERTISING Los Angeles (310) 820-1500, Fax (310) 826-5008 3 i-13096slr1 Debra I. Levine Associate Publisher Scott Luksh Eastern Advertising Sales Manager Denine Gentilella Senior Advertising Sales Manager Mark Harris Senior Advertising Sales Manager Claudia Warren Senior Advertising Coordinator Siobhan Valentine Advertising Coordinator

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8 Q Digital Photo | dpmag.com

Edmail

ne of my favorite parts of the job as the editor of this maga- Ozine is my involvement with our photo contests. I love reviewing the submissions—being exposed to thousands of unique images, many of them quite stunning. It’s difficult, though, to select only a handful of finalists and even more challenging to choose a winner among those. There are often images that resonate for me person- ally that, for a variety of reasons, don’t make the cut. In this issue, we feature the winners of our 7th Annual Your Best Shot Photo Contest. Congratulations to those winners, who were selected from more than 3,000 entries. I encourage you to check out the Finalists gallery at www.dpmag.com/photo-contests/7th- annual-your-best-shot/finalists to see eration no matter the time of day or We also consider a recent trend some really beautiful images. subject. Negative space not only gives in camera design toward classic styl- We’re often asked why international your subject context, but it can create ing. Nikon’s new Dƒ is the first DSLR contestants aren’t eligible to win. Un- shapes and patterns of its own. In “The and latest in a series of cameras from fortunately, the complexities of interna- Positives Of Negative Space,” J. Dennis Olympus, Fujifilm and others to sport tional law, particularly when a prize is Thomas explores the ways photogra- a vintage makeover. What’s behind the involved, make it impractical for us to phers can use negative space creatively. trend? We examine the historical influ- award prizes internationally. However, On the technology front, we look at ence of rangefinders on modern camera don’t let that dissuade you from partici- the future of high-definition video. This design in “Retro Revolution.” pating in our contests. The image on this year at CES, 4K made its consumer de- Lastly, be sure to read our guide issue’s cover is a case in point: Though but, with relatively affordable displays to on-location photography, “Pop-Up the Ireland-based photographer was being introduced alongside the first Studio.” Whether you’re preparing for ineligible to win the contest, there’s no sub-$2,000 4K consumer video camera a shoot outdoors or at a client’s office, restriction on negotiating editorial use. from Sony. How quickly will 4K catch we talked to several pro photographers In fact, we often find new talent in our on broadly with consumers? It’s hard who routinely work outside of their contests and galleries. to say, with prices still out of reach of studios to cover everything you’ll need Also in this issue are many excel- many potential buyers, but if you’re to get perfect shots anywhere. Mix and lent how-to articles to get you think- contemplating video equipment pur- match our selected gear to solve just ing about your own contest-winning chases, it’s good to consider what’s next. about any photographic problem. photos. The winner of our Destinations —Wes Pitts, Editor Photo Contest was featured on our ON THE COVER December 2013 cover, a striking photo- A finalist in our 7th Annual Your Best arranged, with two octaboxes used for graph taken under Delicate Arch with a Shot Photo Contest, “Megan” by pho- the main light and fill. brilliant night sky in the background. tographer Vladimir Morozov was taken Of the composition, Morozov recalls, Night photography has its own unique in Morozov’s studio in Wexford, Ireland. “I thought it would be nice to change the challenges, and Tom Bol offers a com- The model, Megan O’Malley, “is a model composition to off-center because she plete primer to get you on your way to like no other,” says Morozov. “She has a has such unique and strong facial fea- creating nighttime magic in “Shot In very unique combination of fiery red hair tures contrasting with her red hair. Quint- The Dark.” and porcelain white skin, lovely blue-steel essential Irish! She’s my inspiration, and Night photography is a genre where eyes—and loads of hair.” I’ve had some lovely projects with her.” paying attention to negative space—the To create the lighting, O’Malley was You can find Vladimir Morozov areas of a frame not filled by the sub- in a horizontal position atop a white on Facebook at facebook.com/wedding ject—is particularly important. Actually, studio background, her hair carefully photographywexford. negative space is an important consid-

10 Q Digital Photo | dpmag.com Camera lens and accessories not included

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Learn more today www.blackmagicdesign.com/cinemacamera MICHAEL SHAEFER View

7TH ANNUAL YOUR BEST SHOT PHOTO CONTEST WINNERS

FIRST PLACE Congratulations to MICHAEL SHAEFER of Atlanta, Georgia, for taking the winning photograph in our 7th Annual Your Best Shot Photo Contest. Captured on the great plains of the southern Serengeti in Tanzania, two bull elephants battle for supremacy. “The light for this remarkable and dramatic scene was superb,” recalls Shaefer. “The dark blue storm clouds made for a perfect background. I wanted to capture these huge animals in their environment just as they made contact. The arena in which this drama was taking place was just as important as the subjects.” Nikon D600, Nikkor 70-200mm ƒ/4

12 Q Digital Photo | dpmag.com dpmag.com | March/April 2014 Q 13 NICHOLAI GO View

SECOND PLACE “Dreams are a curious thing,” explains Providence, Rhode Island, photographer NICHOLAI GO. “They’re ephemeral and seem to be without rules, where laws of physics don’t exist. However, I’ve noticed one constant: Time. Dreams are still bound by time, which connects both realities. We have a finite amount of time, no matter the reality.”

14 Q Digital Photo | dpmag.com DENNIS RAMOS View

THIRD PLACE “This is one of my favorite shots taken during our yearly family vacation,” notes photographer DENNIS RAMOS of Seffner, Florida. “While stopped in downtown Atlanta for the night, we were walking on a crowded intersection when I noticed, looking up at the sky, these towering buildings above me. The view reminded me of the Batman movie trailer for The Dark Knight, where the negative space of the cityscape creates the ‘bat.’” Nikon D300S, Tokina 12-24mm ƒ/4

Check out all of the finalists in the 7th Annual Your Best Shot Photo Contest at dpmag.com/photo-contests/7th-annual-your-best-shot/finalists.

dpmag.com | March/April 2014 Q 15 GEAR xt

PRO SLING STRAP When you’re constantly on the move, it’s important to have a camera strap that keeps your camera safe and secure. JOBY has created the Pro Sling Strap, using an adjustable length Speed Cinch pulley system to harness your camera to your body while it’s not in use, then quickly deploys it so you don’t miss a shot. You can use Fast Cinch mode for a quick release when you know time is of the essence, or Locked mode, to prevent tangles and scuffs while hiking, biking or maneuvering crowded spaces. JOBY has placed as much attention to their materials as they did to their product design by creating a custom textile for the strap providing for flexibility and durability. List Price: COMPACT CONTINUOUS LIGHT $69. Contact: JOBY, If you’re taking advantage of HD video capabilities on Nikon 1 and COOLPIX cameras, www.joby.com. the compact, even, continuous light performance of the LD-1000 LED Movie Light accessory may peak your interest. With a built in diffusion panel, the light provides consistent soft lighting, designed for supplementary video lighting while also being suitable for still photos. A removable bracket attaches the light to the camera for easy operation while allowing for removal for handheld control of lighting direction and height. List Price: $99. Contact: Nikon, www.nikonusa.com.

BARE-BULB PRO-FLASH The Strobies Pro-Flash One Eighty provides versatile lighting options at a budget friendly price. Used on or off camera, jut like a traditional speedlight, the 180Ws bare bulb flash spreads smooth and even light across your frame. The Pro Flash One Eighty is powered by an external 11.1V/4500 mAh lithium ion battery pack that provides 700 flashes with 1 a 2.2 sec. recycle time for shutter speeds as quick as ⁄8000 sec. The One Eighty can also be used with a variety of modifiers to vary the lighting look. List Price: $594 (Strobies Pro Flash One Eighty and Battery Pack); $405 (Strobies Pro Flash One Eighty Flash Head); $209 (Strobies Pro Flash Battery Pack, compatible with Canon, Nikon, Sony and Metz speedlights). Contact: Interfit, www.interfitphotographic.com.

ADOBE PHOTOSHOP ELEMENTS 12 Using the technology of Adobe Photoshop, Adobe Photoshop Elements 12 offers both organizational and editing tools. The Organizer provides a hub to catalog photo and video assets by location, person (with face recognition), event and personalized tags. With Elements Mobile Albums and Adobe Revel integration, it’s easy to view and edit your images while moving between your desktop, tablet and smartphone. Elements 12 continues to offer three levels of editing. Quick Mode includes new effects, textures and frames. Guided Mode offers tutorials for more advanced edits, such as Restore Old Photo editing. Expert adjustments include a new Pet Eye tool and Straightening with auto fill edges. A new Collaboration Mode offers the ability to invitea NEW SIGMA GLOBAL VISION LENSES group or team to collect and share photos from an event in one convenient Sigma has introduced two new lenses in their Global place. List Price: $99 (Full License/Elements 12); Free (50 uploads/month); Vision lineup: the 18-200mm ƒ/3.5-6.3 II DC OS HSM $4.99 (per month for unlimited space/Adobe Revel App). Contact: Contemporary and the 50mm ƒ/1.4 DG HSM Art. Adobe, www.adobe.com. The 18 200mm is smaller and lighter than its predecessor and improves macro capabilities (focusing down to 15.4 inches for a 1:3 reproduction ratio), with SPORTS-ACTION CAMS updated optics for corrected chromatic aberration and Polaroid introduces three new mountable, high definition sports action cameras, minimized distortion. The new 50mm ƒ/1.4 DG HSM is all with shockproof, waterproof technology and ultrawide angle lenses. The a pro level performer for full frame DSLRs, updated XS100i provides Wi Fi with iOS and Android apps, a distortion free lens with 170° with SLD glass and improved large aperture performance. of coverage, and can do 1080p, 960p and 720p video, plus 16 MP still images. An optimized autofocus algorithm and a floating The XS1000i features a unique, patented, quick change mounting system, a focusing system improve AF. Both lenses provide quiet 16 MP Aptina CMOS sensor and a 170° angle of view. It can do 1080p and high speed AF thanks to Sigma’s Hyper Sonic Motor 960p video at 30 fps and 720p at 60 fps, as well as still images. The Polaroid C (HSM), and are compatible with Sigma’s USB Dock and features a square design, 5 MP CMOS sensor and 120° angle of view, and can do Mount Conversion Service. List Price: TBA. Contact: 720p and 640x480 video, as well as 5 MP still images. List Price: $179 (XS100i); Sigma, www.sigmaphoto.com. TBA (XS1000i, Polaroid C). Contact: Polaroid, www.polaroid.com.

16 Q Digital Photo | dpmag.com check out www.dpmag.com/next for more info 2013 GEAR Next mobile apps

Lapse It is a full featured app for making time lapse and stop motion videos with your mobile device. There are no restrictions as to capture length or number of frames. You can insert soundtracks, adjust the frame rate, apply effects filters, and adjust focus, white balance and exposure. Projects can be HDR DARKROOM 3 rendered to MP4 and MOV, and uploaded directly Everimaging has improved their HDR software with the newest version of HDR Darkroom to your social networks. The Pro version lets you 3. While the software offers additional HDR styles, the real upgrade is in processing power.An make videos in resolutions from 240p to 1080p, the improved alignment algorithm consistently corrects any alignment issues that arise between free version, only a lower resolution. Lapse It is bracketed frames without you needing to intervene. Advanced ghost reduction technology also available native for iOS and Android. List Price: removes objects when they differ between frames. HDR Darkroom 3 supports over 150 cameras, $1.99 (Pro version); Free (basic version). Contact: including Canon, Nikon, Olympus and Panasonic models, and is available for both Mac and Lapse It, www.lapseit.com. Windows. List Price: $129. Contact: Everimaging, www.everimaging.com. PicPlayPost is an all in one app that lets you create multimedia collages from your smartphone combining still photos, video and audio tracks into a single frame. With video, you can add effects to videos and still images, play videos in sequence or simultaneously, choose from 36 fully adjustable frames, and rotate images and video inside frames, among other personalizations. The new iOS 7 version lets you add up to six videos per project (four in iOS 6 and earlier). Once you’ve finished your collage, share your project on social networking sites (Instagram, Facebook, YouTube, Tumblr, etc.). List Price: $1.99. Contact: Flambe Studios, www.flambestudios.com.

Bringing the classic analog flipbook into the digital world, Flipagram creates short videos from your PRIME LENS LINE digital images. This is a great platform for telling a The HD Pentax DA Limited prime lens series by Ricoh Imaging consists of five lenses short story using a small series of photos or recapping designed for K mount DSLRs. Each lens features Super Protect and high definition coating for sharp an entire event with “best of” images. Once you’ve images with reduced ghosting and flare. A round shaped diaphragm has been designed to produce identified the photos, music and desired length ofyour a natural bokeh effect. Created from high grade aluminum, each lens is hand machined to ensure video on your smart device, Flipagram will autoformat proportion and feel. Lenses are available in both black and silver. Estimated Street Price: $549 a microvideo for you to share on Facebook, Instagram, (HD Pentax DA 15mm ƒ/4 ED AL Limited); $699 (HD Pentax DA 21mm ƒ/3.2 AL Limited); $699 YouTube and other social media platforms. List Price: (HD Pentax DA 35mm ƒ/2.8 Macro Limited); $749 (HD Pentax DA 40mm ƒ/2.8 Limited); Free. Contact: Cheerful, Inc., www.flipagram.com. $749 (HD Pentax DA 70mm ƒ/2.4 Limited). Contact: Ricoh Imaging, www.us.ricoh imaging.com. TURNSTYLE 10 The Think Tank Photo TurnStyle 10 Sling FLEXFLASH MONOLIGHTS Camera Bag provides a lightweight, versatile and Ideal for indoor use with versatility to light large convenient way to carry your DSLR or mirrorless group portraits down to studio product camera and equipment. Designed in a body photography, the FlexFlash monolights, in conforming shape using lightweight poly ballistic both 200Ws and 400Ws options, are now water resistant fabric, the TurnStyle 10 can be worn being offered by Photoflex. With an as a shoulder sling or belt pack, shifting for oversized LCD screen, these monolights comfort, gear and location conditions. The sync with speedlights using a preflash customizable interior holds a standard DSLR, one detection system and contain an auto to three lenses and a small tablet. A front organizer cooling system. With auto voltage pocket stores batteries, memory cards, filters and protection for worldwide use, Continuous other small accessories with easy to access Mode allows for output control independent placement. The breathable air mesh back panel of the flash for continuous light, and Auto provides cooling airflow for all day wearability. The Power Save kicks in after 20 minutes of inactivity. shoulder strap is wide with a quick release buckle; The FlexFlash features the universal S type bayonet the bag comes with a seam sealed rain cover. mount for all sizes of softboxes. Estimated Street List Price: $84. Contact: Think Tank Photo, Price: $319 (FlexFlash 200Ws); $389 (FlexFlash www.thinktankphoto.com. 400Ws). Contact: Photoflex, www.photoflex.com.

18 Q Digital Photo | dpmag.com check out www.dpmag.com/next for more info the fifth annual

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DxO VIEWPOINT 2 For photographers who have a preference for wide angle lenses, DxO offers ViewPoint 2 for easily solving perspective problems caused by lens distortion. An eight point mode makes it possible to fix convergent lines, with a Natural setting shortcut to manage intensity. ViewPoint 2 provides a database categorizing over 15,000 combinations of cameras and lenses, and provides automatic calibrations to correct these distortions. Full manual control is also available. An Advanced Cropping feature gives a crop that preserves www.dpmag.com/digital photo proportions and resolves darkened areas. List Price: $79. Contact: DxO, www.dxo.com. Get your best images up on the wall.

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“The first time I picked up an OM-D and shot with it, I knew I washolding the future of photography.” —Olympus Trailblazer Jamie MacDonald

Olympus launched a revolution with the OM-D E-M5 and OM-D E-M1 inter- In-Body Image changeable-lens cameras. Now, the new ultra-slim, compact OM-D E-M10 is Stabilization poised to continue that legacy. A high-resolution 16-megapixel Live MOS sensor, Some cameras rely on in- TruePic VII image processor and M.ZUIKO lens compatibility combine to give you lens stabilization. The Olympus crisp, rich-toned, sharp photographs across the full range of lighting conditions. OM-D E-M10 has an advanced VCM in-body image stabili- High-Resolution 16-Megapixel Live MOS Image Sensor zation system derived from At the heart of the new OM-D E-M10 is a 16-megapixel Micro Four Thirds the flagship OM-D E-M1 Live MOS sensor. The high-resolution image sensor is the same as the one camera. With the Olympus Olympus uses in the OM-D E-M5 camera. With a maximum ISO of 25,600, the OM-D E-M10, every photo OM-D E-M10 will give you excellent detail and color reproduction with smooth has stabilization regardless tonal gradations in dimly lit situations, and in bright conditions, you can select of the lens used. The three- ISO 100 for expanded low-sensitivity shooting. This is particularly useful for axis VCM stabilization sys- shooting at maximum aperture for thin depth of field and beautiful bokeh effects. tem gives you approximately 3.5 stops of advantage over TruePic™ VII Image Processor non-stabilized shooting. The The high-resolution image sensor works with the camera’s TruePic VII image system even can correct for processor—which is inherited from the flagship Olympus OM-D E-M1—to optical rotational blur that in- generate highly detailed, rich-looking photographs. The image processor has lens stabilization can’t handle. Olympus’ Fine Detail Processing II technology, which maximizes lens perfor- In IS-Auto mode, the OM-D E-M10 automatically applies stabilization in chal- mance by optimizing optical properties of the attached lens. The image proces- lenging panning shots. Also, the M-IS mode uses the VCM stabilization system sor works with the lens to enhance its strengths. in movie mode.

Two New M.ZUIKO Lenses Fast AF Performance The super-slim M.ZUIKO DIGITAL 14-42mm f3.5-5.6 EZ pancake zoom lens The OM-D E-M10 has an 81-point FAST AF system and 8 fps maximum shoot- measures just .9 inches thick. It has a smooth electric zoom that’s suitable for ing speed that rivals the performance of the OM-D E-M1. The FAST AF system shooting movies, and can also be zoomed in and out remotely using compat- has improved Group Target AF, which makes use of the 81-point system to track ible smartphones through the updated Olympus Image Share app. The high- fast-moving, unpredictable subjects. Working in conjunction with the on-board performance M.ZUIKO DIGITAL 25mm f1.8 lens has a fixed focal length and is electronics, the OM-D E-M10 has the shortest shooting lag time in its class— ideal for capturing portraits or close-ups from as little as 9.8 inches away. approximately 44 milliseconds! This rivals many DSLRs with mechanical shutters. MEET THE NEWEST MEMBER OF OUR

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Move into a New World HOW-TO Notes From The Field Displaying Your Photographs PREVISUALIZING WITH PHOTOSHOP AND “VIRTUAL GALLERIES” BY BRUCE DALE

was recently asked to put together tograph. If I want to be precise, I use Ia collection of images to decorate Photoshop’s Vanishing Point filter. It the halls of a new medical center. superimposes an accurate grid to your To help me better visualize how the wall that your image snaps onto and pictures worked together, and at the renders a perfect perspective. With the same time, give my client an under- more advanced versions of Photoshop, standing of how they’d look, I decided you can even measure the final image to produce a virtual gallery of the im- on the wall using the Ruler option. ages hanging on the walls. I did a walk- I then make it more realistic by through of the area and made a collec- adding a drop shadow to each hang- tion of on-site images with my pocket ing photograph. Hint: If you’re adding camera, a Panasonic Lumix DMC-LX7. drop shadows to an image added via Next, in Photoshop, I took a framed the Vanishing Point filter, be sure to miniature image and layered it on top start by adding a new layer so the drop together photos for an exhibit or a dis- of one of the architectural scenes. For shadow effect will be active. If you want, play is to make miniature prints with a quick and dirty method, I use the you can even add a spotlight effect us- simulated mattes and frames. I know I Distort command to scale the image ing Photoshop’s Lighting Effects filter. can juggle the same images on my com- to match the perspective of my pho- A good starting point for putting puter screen, but I find I get a better idea

24 Q Digital Photo | dpmag.com scale using foam board. I can then hang the small prints on the walls to get an idea of how the final exhibit will appear. If you have someone in the family with a dollhouse, make a couple of prints to hang on their walls. For the very ultimate virtual gallery, you can do what I did for a show some years ago in Tampa, Florida. I measured the gallery walls, including the carpet- ing, windows and glass thickness. Using a 3D program, I constructed the gallery including light placement, window glass thickness and reflectivity. When I was finished, I was able to do a virtual walk-through and capture images with a selected lens (28mm, for example) from of relationships by seeing them in con- Go to Image > Canvas Size, with 2 inches eye level or whichever height I decided. text with one another on paper. for height and width, black selected and Warning—this isn’t for the faint of heart After I narrow down my selection Relative size checked. or the impatient computer user. It took to the ones I want to work with, I scale Another hint: You can build an ac- me weeks of learning and trial and error, down the images to a more manageable tion to handle the above steps with one but the result was incredible. You can see size. For example, if my gallery print were click of a button. it on my website (www.brucedale.com) to be 16x20 inches, I scale it down, mat Before you print the image, just re- under the Gallery tab. Note that for the and frame it as follows using Photoshop: scale the pixel size to 240, and you’ll get web version, I sized up the images to 1. Resize to 16x20 at 36 pixels/inch a nice print of a couple of inches. make them easier to view. In the actual (use 36 pixels or thereabouts to make In some cases, I simulate the rooms gallery, they were hung with more gener- file sizes manageable). or display space by building walls to ous spacing. DP 2. Save this file with a new name, i.e., “Arches sm framed.jpg”, so you don’t ac- cidentally overwrite the original image. 3. Add a ½-inch signature and ti- tle relief to the photo on each side at Image > Canvas Size. Be sure Relative size is checked and white is selected from the Canvas Extension Color menu, then enter 1 inch for both width and height. 4. Now, draw a small gray line to indicate the signature relief area by using Image > Canvas Size again, with a 0.05 height and width with gray selected and Relative size checked. 5. Next, show the mat size. For a 3.5- inch mat size, go to Image > Canvas Size, with 7 inches for height and width, white color selected and Relative size checked. 6. Add another ½-inch to the bottom mat for balance. Go to Image > Canvas Size, with 0.5 inches for height, white selected and Relative size checked. To apply this to the bottom of the canvas only, For 30 years, photographer BRUCE DALE worked for National Geographic Magazine, which published more than 2,000 of his pictures. An early convert to digital photography, be sure to click on the top-center arrow Dale has become an expert on the subject and teaches throughout the country on a regu- of the Anchor controls. lar basis. See more of his work at www.brucedale.com. 7. Finally, add a 1-inch black frame.

dpmag.com | March/April 2014 Q 25 HOW-TO Point of Focus Discovering Magic HOW A HAPPY ACCIDENT CAN UNLOCK NEW PHOTO TECHNIQUES BY TRACEY CLARK OF SHUTTER SISTERS

t’s amazing to me that after all these been done before—at least not by the I years immersed in the world of pho- one who, for the first time, discovered it tography, I still find myself stumbling for themselves. onto techniques—both technical and I’ve always enjoyed shooting out of creative—that I never knew existed. I focus (on purpose) for images that feel guess it shouldn’t surprise me, consider- more like dreams than reality. And it ing I’m neither a school-taught photog- goes double for shooting light out of fo- rapher nor an avid manual reader, and cus, as I’m also a sucker for the beauty of have always subscribed to the “learn-as- bokeh. Although I had long been using you-go” way of thinking. this technique with my DSLR, I hadn’t Especially with photography. I bring quite mastered consistent results with this up only because a recent accidental, my iPhone. I test, try, experiment and yet awesome, iPhone discovery got me explore with each shot, learning the ins giddy with new photographic potential and outs of the tiny, simple, little camera. and possibility. All that from one tiny Through trial and error, I’ve gotten “happy accident.” That’s the beauty more and more consistent with get- of any art medium, isn’t it? By work- ting the artistic results I’m looking for. ing it and working it, one can discover From lens flare to getting the exposure I and create things that may have never want (with or without the help of auto-

26 Q Digital Photo | dpmag.com command was hit or miss. I would fo- made and mind blown in a single sec- cus on something close by and then ond. The world of dreamy iPhone im- hastily move the camera, framing my ages was now open! desired subject and shooting as quickly I realize that something as simple as possible, in hopes to beat the auto- and seemingly obvious as my phone’s focus that always wants to focus on the focus controls might not blow every- subject for you. That is its job, after all. one’s mind like it did mine. (I honestly As for “tricking” the camera to shoot out thought I might be the only iPhone user of focus, sometimes the results were just on the planet who didn’t know about what I was hoping for, while other times it.) But that’s not really the point. The I would just hit delete. point is recognizing and being open Then, one day, while using my herky- to what’s possible with every click of jerky method, I focused on something your shutter. As we keep exploring, ex- close and pressed my ﬁnger to the perimenting, expressing ourselves in screen for just a second longer than nor- our work, we continue to learn, grow mal when—to my surprise—the focus and evolve as photographers. No mat- locked! And when I pointed the cam- ter how long we’ve been shooting, how era toward my intended subject, it was well we know our equipment or how magically and majestically out of focus many times we’ve read the manuals (or and it stayed that way until I touched the not), there’s always going to be more screen to focus again. Eureka! Discovery magic to discover. DP

SHUTTER SISTERS is a collaborative photo blog (www.shuttersisters.com) and thriving community of women, passionate about photography. Photographer, exposure) to ﬁnding apps that best match author, teacher Tracey Clark (www.traceyclark.com) is the founder of Shutter my creative sensibilities, I’ve gotten to Sisters and the author of Elevate the Everyday: A Photographic Guide to Picturing know my iPhone camera quite well. Motherhood (Focal Press). And, still, shooting out of focus on

dpmag.com | March/April 2014 Q 27 Shot IN THE Dark IT HAS NEVER BEEN EASIER TO CREATE STUNNING ASTRAL PHOTOS TEXT & PHOTOGRAPHY BY TOM BOL

28 Q Digital Photo | dpmag.com can’t see anything in my viewfinder.” photographer who struggles to get the the added light from a large aperture I “What’s the symbol for infinity fo- right composition and focus. opening, and chances are, depth of field cus?” “How do I turn on my long- After living in Alaska for years watch- isn’t as critical. For my white balance, I exposure noise reduction?” “What white ing the winter sun set at 4 p.m., I natu- prefer Incandescent. This white balance balance should I use?” rally shot a lot at night. I’ve learned a few will turn the night sky into a purple pin- A barrage of questions is hurling tricks for night shooting and found some cushion of stars and looks great for the my way in the frozen, ink-black night. useful tools to help. Let’s answer all the Milky Way. I’m teaching a photo workshop, and questions mentioned above. Don’t put Next, I’ll turn on my camera’s long- we couldn’t resist going out for a light- your camera away when the sun sets— exposure noise reduction. My shutter painting session. The stars overhead are grab a headlamp and your tripod and speeds are going to be slow, so turning so bright, I feel like I’m in a planetari- head out for some night shooting! on long-exposure noise reduction in- um, not standing at 9,000 feet by a de- camera greatly reduces noise over a long serted mine on Red Mountain Pass near BASIC SETTINGS exposure. Note that enabling this feature Ouray, Colorado. Before you venture out into the night, will double your exposure time, so if you “I think my battery just died.” “My figure out your camera settings in a nice, take a one-hour star-trail shot, your cam- shutter won’t fire; I think my camera bright room. Shooting at night requires era will process the shot for one hour af- is broken.” a sturdy tripod, cable release and fresh ter the shutter closes. The gauntlet of questions continues batteries. Since exposures are long, the in an almost comical scene: 14 photog- tripod and cable release (or another FOCUSING raphers stumbling around in the night means of remotely triggering the shut- This is the crux of night photography, blinding each other with their headlamps ter) are both critical to ensure sharp im- especially star trails without foreground. while I run through the scene flashing a ages. Also, batteries drain fast with long I always bring an inexpensive recharge- red light on a deserted shack. Oh, yeah, exposures in cold weather; make sure to able flashlight with me on night shoots. the joy of nighttime photography! bring spares. Sometimes I use this for light painting, Star photography and light painting I shoot all my night images in man- but other times I use this to shine on have become popular, and with good ual mode, which allows me to easily foreground subject matter to help me reason. Today’s DSLRs have excellent adjust exposure. Automatic modes like focus in the dark. high-ISO noise performance and in- aperture and shutter priority often mis- The first step with focusing at night camera settings to help reduce long- calculate the exposure, attempting to is turning off your autofocus. Your cam- exposure noise. In many cases, it’s not lighten a scene that should be dark. era autofocus won’t work, and if your the camera that performs badly in the I normally shoot wide open around shutter is linked to focus priority, your middle of a frozen, dark night, but the ƒ/2.8 or ƒ/4. Why? Because you need camera won’t shoot. I start by setting my focus to the infinity mark (the “figure 8” symbol located in the distance scale on your lens barrel). Line it up with the focus mark on your lens, and you’ve focused at infinity. But this may not be perfect focus. Infinity focus is a refer- ence, but will slightly vary on the lens. I often focus to infinity, then back off just a tiny amount and take a shot. I’ll review my image after capture on my LCD screen to check critical focus. If I’m off just a little, I’ll slightly adjust the focus and try again. If this sounds tedious, just think of it this way: Once you know where the accurate infinity focus is on your lens, memorize it. The next time you shoot at night, set your focus to that mark. I’ll even attach a piece of gaffer’s tape on my lens to hold the focus in place. A new tool that many photographers like for focusing at night is the CamRanger. This device allows you to set your focus using an iPad (or iPhone).

dpmag.com | March/April 2014 Q 29 HOW-TO: SHOT IN THE DARK

Viewing the larger screen is nice and dra- od. With this technique, your end goal exposure you can have before the stars matically helps with focus. You can tap is to freeze the stars in place and capture will show movement. For example, if I’m anywhere on your iPad screen, and the the Milky Way. Start with these settings: using a 20mm lens, 500 divided by 20 is camera will focus on this point. The ISO 3200, ƒ/4 at 25 seconds. This should 25; I can set an exposure of 25 seconds CamRanger goes a lot further than just let in enough light that you’ll get some and not have star movement. being a focus aid. It also allows you to ad- spectacular results very fast. Remember The Milky Way is one of my favorite just settings and remotely trigger your cam- to check your focus. subjects for this technique. On a dark era. Just imagine shooting that star-trail If you’re using a wide-angle lens like night with clear skies, the Milky Way shot from the warm interior of your car! a 20mm or wider, the stars shouldn’t will appear as a hazy white line running show movement during this exposure. across the sky. If you can’t ﬁnd the Milky SHOOTING TECHNIQUES Use the “500 rule” to make sure the stars Way, try using a smartphone app like The quickest method for immediate are frozen—500 divided by the focal Star Chart or Google Sky Map. star images is using the high-ISO meth- length of your lens equals the longest After you’ve photographed the Milky

30 Q Digital Photo | dpmag.com using a wide-angle lens like a 20mm. ing a series of short exposures to create Remember, the wider the lens, the more one star-trail shot. The advantage here is, night sky and star trails you can capture. you’re using shorter exposures with less Don’t worry if a plane flies through your noise to create the final image, but this shot or meteors fall from the sky; these will require more postprocessing to get items will add interesting streaks in the fi- the final shot. StarStaX software can help nal shot. It’s very important to have your you stack images together. A sample ex- long-exposure noise reduction on for this posure here might be ISO 3200, ƒ/4 at shot. Your results will look a lot less noisy 25 seconds for numerous frames. One using in-camera noise reduction. important point: Make sure your noise Another star-trail technique is stack- reduction is off or the processing time

Way and stars without movement in the night sky, how about trying star trails? Star-trail photography involves leaving your exposure open for an hour or longer to capture star movement through the night sky. The camera settings are similar except your exposure needs to be set at “Bulb” and your ISO will be lower. Also, use a cable release with a locking mechanism so you can lock the shutter open for as long as you need. To really capture star rotation, try these settings: ISO 100, ƒ/2.8 for 1 hour

dpmag.com | March/April 2014 Q 31 HOW-TO: SHOT IN THE DARK

might exceed the interval time you want POSTPROCESSING After reducing noise, your image to use between shots. There are a few things to consider will need some sharpening. I use two when processing your star images to help tools for sharpening. First, I apply some ADDING FOREGROUND them reach full potential. First, adjust the Clarity, which makes the stars pop out Once you’ve mastered star-trail white balance to your liking. I generally of the sky. Next, I’ll use Unsharp Mask shooting, you might decide to add some prefer to use Incandescent for my skies to sharpen the image. I start with these interesting foreground elements. Add- since I like the deep blue color it produc- settings: Amount of 100, Radius of 1 and ing foreground elements will make your es. But what happens to the foreground Threshold of 3. Experiment with your composition more dynamic and add tree when you use Incandescent? It turns settings until you like the results. Sharp- perspective to the image. I’ll often look a pasty blue—not good. To remedy ening makes star trails much more de- for an interesting tree or rock forma- this problem, I choose the Adjustment fined in the night sky. tion to use as a foreground element. I’ll brush (in Photoshop or Lightroom) The last thing I may try with a use my flashlight to illuminate the fore- and brush over the tree. Then I pull the star image is applying an effect from ground and help me focus. Sometimes Temperature slider toward the right and Topaz Adjust 5. I like to use actions I’ll put a colored gel like red or blue over warm up what I’ve brushed over. This like Heavy Pop Grunge and Dynamic my flashlight to add creative colors to will restore the color close to neutral. Pop at around 50% strength. These the foreground subject. Next up is noise reduction. The new actions bring vibrance and acuity to an I also use Litepanels LED lights for noise-reduction tools in Lightroom image, and look great on night shots. foreground illumination. These lights and Photoshop are fantastic. Pull the Ready to go out into the night with are small and run on AA batteries. I can Luminance and Color sliders to the right camera in hand? One last bit of advice: place them in various parts of my scene to reduce noise. For best results, enlarge Check the moon phase in your area. to illuminate rocks and trees while I your image to 100% so you can see the Stars look the best on a dark, moonless take the shot. This is a great technique effects. I also use Noiseware to reduce night. Have fun! DP when you’re by yourself and don’t want noise in my images. This plug-in has sss to run around trying to light-paint a va- preset actions that reduce noise. Try the To see more of Tom Bol’s photography, vis- riety of elements. Night Scene action for star-trail images. it his website at www.tombolphoto.com.

32 Q Digital Photo | dpmag.com

The P tives Of

While photographing this BMX competition, most of the area was covered with advertising, not to mention the thousands of spectators all around. I shot from many different locations until I found this spot with a simple building in the background, creating a relatively unobtrusive negative space.

34 Q Digital Photo | dpmag.com NEGATIVE SPACE CONSIDER THE SPACE SURROUNDING YOUR SUBJECT FOR MORE DYNAMIC COMPOSITIONS | TEXT & PHOTOGRAPHY BY J. DENNIS THOMAS

s photographers, we often get so important to an image? Well, negative infringing on the actual subject matter. A involved in selecting, positioning space has a number of useful aspects Negative space creates a dynamic ten- and composing for the subject when it comes to photographic compo- sion between the subject and the back- that we can forget the unrelated factors sition. First of all, negative space can add ground by creating a point/counterpoint that have just as much of an impact on a sense of balance to a composition by element that makes the image more dra- the composition as the main subject providing a counterweight to the subject. matic, therefore attracting and holding itself. In many cases, the often forgotten Negative space typically should have lit- the eye of the viewer. element is the negative space. tle intricate detail so that it not only pro- Negative space is the area of a com- vides balance to the image, but also can DEFINING THE position that doesn’t contain the subject. be effectively used to draw the viewer’s NEGATIVE SPACE You often see the definition of negative attention to the main subject. By default, Obviously, the positive space is the space given as “the space that surrounds the subject becomes the most important primary defining factor of the negative the subject,” but this isn’t necessarily an part of the composition because there- space, but the negative space is also accurate assessment. Usually, negative in lie the details that provide the point defined by something that may not be space surrounds the subject, but in some of interest in the composition. In quite so obvious to the casual observer: cases, the subject can surround the nega- product photography, a photographer the edges or borders of the frame. In tive space, and in rarer cases, the negative often creates ample negative space retrospect, this may seem evident, but space actually can become the subject. within the composition to allow the when actively composing, it’s easy to fix- So what makes negative space so designers a place to add copy without ate on the subject and dismiss the edges of the frame as irrelevant. This is typical of the way a normal human brain func- This on-location portrait of musician tions and is why casual “snapshooters” Britt Daniel was taken at a huge festival often place the subject smack-dab in the with more than 150,000 people. In order middle of the photograph—they aren’t to create negative space and minimize conscious of the edges of the composi- distraction from the chaotic surround- tion because the brain simply doesn’t let ings, I shot from a lower angle to use the them see it. As a photographer, you must cloudy sky as the background. train yourself to see and use the borders of your image to frame and contain the negative space, thus further defining it and giving it shape within the confines of the composition. As previously mentioned, there are times when the subject surrounds and defines the negative space and the same guidelines apply. Negative space isn’t always a solid, featureless area surrounding the subject. It can be divided and segmented by other elements of the composition such as leading lines, tonal variations and color differentials. Furthermore, the positive space of an image contains the subject, but also can contain other elements that aren’t part of the subject, but elements

dpmag.com | March/April 2014 Q 35 HOW-TO: THE POSITIVES OF NEGATIVE SPACE

In this semi-abstract cityscape, the buildings act as the bounding area of the negative space in the middle of the image. The buildings framing the negative space create a figure-ground effect that allows you to see either the buildings or the negative space as the main subject.

that support the subject, and these sup- ject, but using colored elements in the matic separation between the subject porting elements are also used to subdi- negative space can add an interesting and the background. Furthermore, us- vide negative space. effect. For example, using a contrasting ing complementary colors also creates Using a neutral background like gray, color, also known as a complementary a visual sensation in which the subject white or black can easily deﬁne the sub- color, allows you to create a more dra- appears to be advancing or receding.

36 Q Digital Photo | dpmag.com COMPOSING FOR NEGATIVE SPACE Composing an image to take advantage of negative space is accomplished in many different ways. First and foremost, you must actively visualize the negative space as you’re composing. This means not only looking at the subject in the viewfinder, but also observing the background as well as the edges of the frame, and considering how all of these combine to make a complete image. Negative space doesn’t always exist organically in a scene. Often, negative space needs to be sought out. There are a number of techniques that photographers employ to create negative space within their images. Here are a few of the best ways: Subject Placement. Placing your subject in an area that has a relatively uncluttered background is important to creating an area of negative space. You can accomplish this by actively moving the subject to a different area, by plan- ning ahead and choosing an appropriate scene, or even by simply using a plain background of seamless paper or another similar backdrop. Photographer Placement. There may be times when you’re photographing an event that you have no control over. In cases like this, you may have to scout shooting locations that provide less visually distracting backgrounds. Shooting Angle. Sometimes the sur- roundings aren’t very conducive to an uncluttered background and changing locations isn’t an option. In this case, get creative with your angles. Compose from down low to use the sky as negative space, or conversely, elevate yourself, aiming down at the subject and use the floor or ground as negative space background. Use A Wide Aperture. Many photographers already know that using a wide aperture creates shallow depth of field, which blurs the background. Shooting wide open can transform the background into negative space. You still need to pay attention, though, as even out-of-focus backgrounds can be busy with indistinct Using a cool-colored negative space with subject, which makes the subject appear blobs of colors that can distract the view- a warm-colored subject makes the sub- to be receding. You also have the option er from the main subject. ject appear to be “popping” off the page, of using analogous colors for the nega- As you can see, negative space can whereas the opposite is true when using tive space. This gives the composition a have a positive impact on your images. a warm background and a cool-colored much more harmonious presence. Make a concerted effort to see the space

dpmag.com | March/April 2014 Q 37 HOW-TO: THE POSITIVES OF NEGATIVE SPACE

I often incorporate negative space around performers in my live music photography to make the subject stand out—in this case, rocker Billy Idol—as well as to provide an asymmetrical balance that makes the image more interesting as a composition.

Using negative space in a product photo allows graphic designers to add text and graphics to the photo without impinging on the actual subject. Most often, these backgrounds are black or white so the negative space can easily be expanded, if needed.

For this shot, the negative space was divided into two separate areas to create dynamic around your subject and utilize it as a Publishing’s Nikon Digital Field Guide tension by adding an element of asymmetri- compositional element, too. DP Series, as well as Concert and Live cal balance to the composition. Although the sss negative space is a dominating element of the Music Photography and Urban and composition, it still allows the viewer to easily J. Dennis Thomas is a freelance photog- Rural Decay Photography published by discern the main subject. rapher and an author based in Austin, Focal Press. Find him at www.NikonDFG Texas. He’s the author of Wiley .com and @JDennisThomas on Twitter.

38 Q Digital Photo | dpmag.com shoot for perfection at

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Your headquarters for free creative education. • Daily original videos • Workshops • Online tutorials • Product reviews • Gear guides Scan and go straight to video here WORKFLOW, START TO FINISH PART 3 USE THESE TIPS FOR WORRY-FREE BACKUP | TEXT & PHOTOGRAPHY BY TOM BOL

ackup is the stuff of nightmares, images shot on assignment for a client, the field—I have enough card space to B or dreams, depending on how some of which might be very hard and keep shooting on new cards. The flash you back up. As with all workflow, expensive to reproduce. It’s time to back cards I’ve already shot become another backup will vary from photographer up in the field! source of image backup since I don’t to photographer based on shooting One guideline I use in my backup reformat them in the field. And flash habits, computer systems, work envi- strategy is the Rule of 2. I always have ronment and your own conscience. But my images backed up in at least two dif- with all things considered, backup has ferent locations. Sometimes I even back one end goal: If your hard drive crashes, up to three locations for peace of mind. all your files, programs and images are You have to decide what works for you. safely stored on other drives and can be When I’m on assignment, I carry 200 quickly restored. gigabytes of flash cards, my MacBook Air I break my backup workflow into two and external 500 GB hard drives. After areas: “in the field” and “back at home.” a day of shooting, I return to my hotel PRO TIP: With high-grade cards more affordable than ever, they’re an option for I’ll start simple with field backup and and download my images onto my lap- both short- and long-term backups. then look at home backup. No matter top and my external hard drive. Remem- if you’re a beginning photographer or ber, downloading can take a lot of time, card prices keep dropping, making them a seasoned pro, these guidelines will so choose fast flash cards, card readers more affordable. I now have three back- ensure you never suffer from “the back- and external hard drives that use your ups of my images: my laptop, an exter- up nightmare.” computer’s fastest connection, like USB nal hard drive and flash cards. 3.0 or Thunderbolt. At this point, I now What happens if your computer dies FIELD BACKUP have my images on my computer and on or gets stolen? Well, the good news is Backup first starts in the field. After an external hard drive. that you have your images on flash cards a few days of shooting on vacation or Why do I carry 200 gigabytes of flash and portable hard drives, so you haven’t working on assignment, flash cards start cards? First, I may actually shoot that lost your images. First, you can continue filling up. Wouldn’t it be a disaster if you amount of images on a long commercial to keep images on flash cards as one lost your European family vacation pic- assignment. But another benefit is that I source of backup. You could also carry a tures? Or, my worst-case scenario, losing don’t have to reformat my flash cards in multimedia image viewer like the Sanho

40 Q Digital Photo | dpmag.com them regularly to make prints, send out out from my G-SPEED Q and replace it submissions or share online. It might with another. The G-SPEED Q will re- be your home or an office outside your store the data using the three function- home—but the Rule of 2 still applies. ing drives and nothing will be lost. RAID You need to have your images backed systems can also be configured other up in at least two different locations, ways, but generally don’t offer as much and maybe a third location to be really redundancy and data protection as RAID safe. And just as important as how many 5 systems (unless they’re higher than places your images are backed up is how RAID 5). My G-SPEED Q is connected they’re backed up. On-site and off-site to our main computer in the office, al- backup are both important. lowing instant access to over 250,000 When I first converted to digital images. When we fill up the 8-terabyte many years ago, my image backup con- drive, we move everything over to larger sisted of burning archival DVDs and 12-terabyte G-SPEED Q drives. storing images on a hard drive. Technol- Since this drive is RAID 5 and offers ogy advancements prompted me to im- protection if one drive fails, I should prove my office backup. First, hard drive be backed up, right? Yes...and no. The connection speeds rapidly increased, images on this drive are, in essence, on making backup speed very fast, much multiple drives, but what happens if my faster than burning DVDs. Second, digi- office burns down? Hasta luego to my

HyperDrive, which allows you to download your flash card directly without the need of a computer, or use a friend’s computer to download images to your external hard drives. When I’m on commercial shoots, we bring two laptops. I’m not recommend- ing everyone go out and buy a second laptop! But when I’m on big-budget shoots, it’s expected that I have redundancy in everything to ensure a flawless shoot, including cameras, lenses, lighting, etc. If one computer goes down, we have a working clone already on-site and ready to go. On normal photo ex- cursions, I carry one laptop, two external 500 GB hard drives and lots of flash cards for field backup. Smart traveling habits also ensure solid field backup. I always put my lap- tal camera file size kept increasing. My images! To ensure I can sleep at night, top out of sight when I leave my hotel main camera today is a Nikon D800, we have a second G-SPEED Q 8-terabyte room and put my external hard drives in which shoots 36-megapixel files. I can with all our images stored in another my room safe. My flash cards stay with easily shoot many gigabytes of images location off-site. We regularly down- me in my photo pack. By putting your on a one-day shoot. Backing up to DVDs load new images to this drive, as well backup devices in different areas, you’re would be too slow and take numerous as our office drive, to make sure we’re helping to ensure one will survive any DVDs for all the files. And newer Mac safely backed up. If one RAID system is catastrophe. I’ve been known to carry my computers don’t even have DVD drives. completely destroyed, we have a second external hard drive with me at all times. It was time to change our backup system. RAID system stored safely off-site. Some There’s just something warm and fuzzy Today, our on-site office image back- photographers even use three separate knowing my entire shoot is with me. up consists of all hard drives. We use RAID systems stored in different areas. G-Technology G-SPEED Q RAID (redun- You have to decide what you’re comfort- HOME BACKUP dant array of individual disks) 8-terabyte able with in your system. Once I get back from a shoot, it’s time drives. These four-bay drives are config- So far we’ve talked about image back- to download the images onto my prima- ured for RAID 5, which means data is up, but what happens to all our docu- ry computer. This is the location where distributed across four hard drives. If ments and applications if our computer your images “live” and where you access one hard drive crashes, I simply pull it hard drive crashes? This brings up another

dpmag.com | March/April 2014 Q 41 HOW TO: WORKFLOW, START TO FINISH, PART 3

Apple AirPort G-Technology Time Capsule G-SPEED Q RAID

it crashes, but it’s simple to use and you can access your files anywhere you have an Internet connection. It’s also popular for file sharing with clients and friends. PEACE OF MIND Backup is a critical part of your workflow. All the work you’ve done in the early stages of workflow is saved aspect of our backup system: protecting our computer drives. For this task, we use two items, Apple’s Time Capsule and OS X Time Machine software. AirPort Time Capsule is a wireless hard drive that backs up our computers via Wi-Fi. Used with OS X Time Ma- chine, Time Capsule automatically backs up our files on a regular interval so we won’t lose any data if a computer hard drive fails. Once a bad hard drive is re- placed, Time Machine will allow you to restore the data you lost. Windows users also have an option similar to Time Machine. In Windows 8, choose the File History option. This allows you to automatically back up your files to an external hard drive. You then can restore your files using the external hard drive if you have problems.

OTHER OPTIONS computer, similar to Time Machine. An- in backup. What exact system you use So far we’ve looked at how I back up other benefit of these services is that you is up to you, but make sure you re- my computer and image files, but there can access your files anywhere in the member the Rule of 2 and use both are other options to consider in con- world as long as you have an Internet on-site and off-site backup methods. junction with the methods mentioned connection, and you can back up in the Once you have reliable and secure earlier for even more secure backup. field, as well. If you combine using your backup in place, you’ll be able to sleep One popular way photographers own RAID system with online services, better at night. DP back up is by using online services like you’re a role model of backup! sss CrashPlan or Carbonite. These services Another off-site data-storage option Check out the previous articles in this se- charge you a fee for storing images and is Dropbox. Dropbox offers secure data ries on our website, dpmag.com/how-to. backing up data on their industrial- storage for all your files and documents. For an in-depth look at Tom Bol’s work- grade servers, offering secure backup Once your files are downloaded to flow, pick up a copy of his book, Adventure and encryption of your files. What’s Dropbox, they’re automatically backed Sports Photography: Creating Dramatic really nice is that these services can au- up at regular intervals. Dropbox doesn’t Images in Wild Places. Visit Tom’s web- tomatically back up your data on your automatically restore your hard drive if site at tombolphoto.com.

42 Q Digital Photo | dpmag.com HOW-TO Art of iPhoneography Layers Of Emotion BLENDING SCENES FROM THE PAST TO PORTRAY A FEELING IN THE PRESENT TEXT & PHOTOGRAPHY BY STEPHANIE CALABRESE

ach year, I choose one word to guide me through the year. It’s E a self-reflective practice I began five years ago, inspired by Ali Edwards and her “One Little Word” blog posts (aliedwards.com/2013/12/one-little- word-2014.html). Unlike a resolution, my one-word intention can’t be broken. Much like a compass, it guides me, particularly when I’m feeling stuck or uncertain. I don’t put any expecta- tions around the word or what it might bring, but I do find that experiences throughout the year tend to unfold in accord with it. The selection of my word has typically been a mind-bending process. It starts as a collection of words in mid- December. Then I squeeze it down to a handful. I roll the words around, hold each one up to the light, extro-

vert a subset with my soul sisters, and This ﬁrst image is a composite of ture of the color palette, image contrast eventually land on one on 1/1. In past four images—disparate scenes from my and sharpness. years, I’ve chosen words such as seek, past. To simplify the subjects, I used the When you feel the urge to create, but stretch and joy. This year’s selection— VSCO Cam app to convert each pho- lack subject matter that interests you in love—was remarkably easy. There were tograph to black-and-white. I used the the moment, scan your iPhone Camera no contenders. I’m not sure why, but Blender app to blend images 1 and 2 Roll for elements that might portray the this four-letter sequence appeared re- together. Then I opened the resulting current state of your heart or mind. Can peatedly in my physical world and sort blended image and blended it with im- you blend moments of your past to of surrendered itself. age 3. I repeated this process to blend evoke a feeling in the present? DP But what does love look like be- in image 4, making minor zoom and sss yond the four-letter composition? We positioning adjustments to create the Stephanie Calabrese (www.stephanie can feel it, but is it possible to visually illusion of my interlocking hands. calabrese.com) is an award-winning represent its complexity and intensity Next, I opened the blended image documentary photographer and the in a two-dimensional image? Can one in the Mextures app and added a Light author of the best-selling The Art of evoke the feeling of it in a photograph Leak ﬁlter, adjusting the saturation iPhoneography: A Guide to Mobile without actually seeing it? I’m not cer- and blend mode to add a subtle color Creativity, 2nd Edition, and Lens tain, but I’ll be exploring these ques- palette. Finally, I opened the image in on Life: Documenting Your World tions in a series of images this year. VSCO Cam and increased the tempera- Through Photography.

dpmag.com | March/April 2014 Q 43 RetroREVOLUTION CLASSIC CAMERA STYLING IS MAKING A COMEBACK BY J. DENNIS THOMAS

any photographers—even sea- etable, but with small sensors and slow, on. Some dismiss this as “hipster” form- M soned pros who once revered built-in zoom lenses that weren’t very over-function aesthetic snobbery, but the their large pro DSLRs with all good for much more than snapshots. truth is, these iconic designs are coming the bells and whistles and huge, fast The growing trend at the moment is to back because they actually function very zooms—are starting to take notice of fit a larger sensor into a camera that’s well. They’re compact, yet comfortable. the trend toward smaller, simpler, in- relatively diminutive, while still allow- Let’s take a look at some of the op- terchangeable-lens systems sparked by ing room for buttons for dedicated functions available, and the strengths and mirrorless cameras, and are downsizing tions, as well as keeping it large enough weaknesses of each. their systems for much of their work. to be handled comfortably. Not all subjects can be covered effective- The most interesting part of this RANGEFINDERS ly with a smaller system, but many, if not trend, however, is the retro-styling as- The real rangefinder digital cam- most subjects, can. pect. Camera designers have one eye to era is about as close to the experience For many years, compact cameras the past while designing these cameras of shooting a film camera as you can were sleek and small, made to be pock- for the future, and it has really caught get. This realm is dominated by one

44 Q Digital Photo | dpmag.com The Nikon Df is currently the only retro-style DSLR on the market. It combines the style of a vintage Nikon F with the outstanding image quality of Nikon’s ﬂagship camera, the D4.

Olympus PEN E-P5

company: Leica. Introduced in 2007, ter-weighted meter to select the shutter the 10-megapixel APS-H-sensor Leica speed, but that’s about the most auto- M8 had quite a few bugs, but was still mation you’ll find for exposure settings. a success. Leica built upon that success The main drawback to the digital with a much improved 18-megapixel, M series is the price. The M (Typ 240) full-frame CCD-sensor M9, which is car- camera is about $7,000 (add $1,000 for ried on (slightly modified) into the cur- the M Monochrom), and the cheapest rent line as the M-E, and they have since current camera, the M-E, comes in at released their flagship model, the 24- $5,400. Leica lenses are expensive, as megapixel, CMOS-sensor, full-frame Leica well, ranging from $1,650 to $10,000 M (Typ 240), as well as the unprecedent- new. Fortunately, you can find a few ed black-and-white-only camera based on somewhat less expensive older lenses in the M9, the Leica M Monochrom. the used market, and some good third- The Leica M-series digital rangefinder party Voigtländer and Zeiss lenses, too. cameras are for all practical purposes The main advantage of going with a fully manual. There’s no autofocus, Leica system is that it’s an investment. and the aperture is set manually on the The lenses are expensive, but they hold lens. The cameras do have an aperture- their value. Being digital, the cameras priority auto setting, which uses a cen- themselves hold their value for less time, but longer than a typical digital

J. DENNIS THOMAS camera does. HYBRID RANGEFINDERS Leica M The hybrid rangefinder camera is an invention of Fujifilm, first introduced with the revolutionary X100 camera. The styling of the camera is 100% vintage, but these cameras represent cutting-edge technology. It’s a brilliant fusion of optical and electronic viewfinder (EVF). The cameras feature an optical viewfinder that has electronic shooting information overlaid on it, including traditional-looking “bright lines” that outline how much of the frame is captured. A flip of a switch turns on the EVF, allowing you to see exactly what the sensor sees with the addition of the shooting info. Currently, the hybrid market consists

dpmag.com | March/April 2014 Q 45 EQUIPMENT: RETRO REVOLUTION of only two cameras, the Fujifilm X100S and X-Pro1. The main difference between these cameras is that the X100S is a fixed- lens camera, while the X-Pro1 is an interchangeable-lens camera that can be used with Fujifilm’s X-series lenses. MIRRORLESS CAMERAS Sony recently broke new ground by adding full-frame sensors to relatively small mirrorless cameras. The newest cameras to Sony’s arsenal are the a7 and a7R. On the outside, the a7 and a7R have the same retro look, but on the inside the differences lie. The a7R features a 36-megapixel sensor, no low-pass filter and contrast-detect autofocus; the a7 sports a 24-megapixel sensor with a low-pass filter. Fujifilm’s newest camera, the X-E2, is an update to the highly regarded X-E1, which is basically the X-Pro1 without the hybrid finder. The X-E2 takes the form factor of the X-Pro1 and adds some of the X100 technological advances such as on-sensor phase-detection AF for faster, more accurate focusing. The X-E2 also takes Fujifilm’s line of X-mount lenses, as well as just about any other type of lenses with adapters. The little sister to the X-E2 is the X-M1, which omits the viewfinder and adds a tilt-screen LCD for composition. Fujifilm X-Pro1

Sony a7 The Olympus PEN E-P5 has a behind this camera is to make a classi- vintage rangefinder look that bor- cally styled design with top-of-the-line rows from the styling of Olympus current technology and fuse them into PEN F 35mm cameras pro- one relatively small professional-grade duced in the late 1960s camera body. The main exposure setting and early 1970s, but has controls are placed right on top of the thoroughly modern fea- camera where they’re immediately and tures like built-in Wi-Fi. easily accessible. There’s no built-in view- Another great feature is that the finder, but an optional Df is the first Nikon DSLR that’s fully EVF can be mounted to compatible with pre-AI Nikkor lenses, the hot-shoe. which opens a new life for some old, but excellent glass that can’t be used on DSLRS most Nikon pro DSLRs. This camera is So far the only com- for those who want the retro styling and pany to jump on the controls, but still need the strengths of a retro-style bandwagon DSLR system, such as proven, consistent with a DSLR is Nikon with AF, a TTL optical viewfinder, weather- the Df, which combines the guts of sealing and a strong build, as well as the their full-frame D4 inside a smaller, compatibility with the lenses in their film-camera-style body. The premise existing Nikon system. DP

46 Q Digital Photo | dpmag.com EQUIPMENT Cameras

NIKON D3300 Nikon’s new D3300 improves on the excellent D3200 entry-level DSLR in a number of ways. There’s a new EXPEED 4 image processor (vs. the EXPEED 3 in the D3200), and normal ISO range is now 100- 12800 (vs. 100-6400), expandable to 25600 (vs. 12800). While the pixel count remains a whopping 24.2 megapixels, the D3300’s sensor has no OLPF (optical low-pass filter), increasing sharpness potential. It can shoot at 5 fps (up from 4 fps with the D3200) and can do 1080 full HD video with full-time AF at 60p (vs. 30p for the D3200). The new camera is slightly smaller and comes with a new retractable 18-55mm VR II kit zoom that makes the camera/lens package considerably slim- mer than the D3200 with its 18-55mm kit zoom. And the specs indicate that the D3300 can do about 30% more shots per battery charge per CIPA testing standards. Like its predecessor (which remains in the Nikon DSLR lineup), the D3300 employs a 420-pixel RGB metering system and 11-point STANDOUT FEATURE: This easy-to-use, entry-level DSLR AF system that functions in light as dim as EV -1. Like other entry- provides excellent image quality. level Nikon DSLRs, the D3300 has no AF motor, relying on lenses that have one—the AF-S and AF-I optics—which currently range from a 10-24mm superwide zoom to an 800mm supertelephoto. The eye-level pentamirror viewfinder shows about 95% of the actual image area, while the 3-inch LCD monitor shows 100% (in 1 Live View mode). Shutter speeds range from 30 to ⁄4000 sec. Images are stored on SD/SDHC/SDXC cards (one slot). The optional WU-1a Wireless Mobile Adapter adds Wi-Fi connectivity for instant upload- INTRODUCED 1|The D3300 is available in red, black or gray. 2|The mode dial also provides access to an expanded Guide Mode, ing of images and videos to a smart device, which can also be used 1/2014 which helps the user become a better, more knowledge- to operate the D3300 remotely. The camera is compatible with the optional GP-1A GPS. Dimensions are 4.9x3.9x3.0 inches and 15.1 able photographer. 3|The optional WU-1a Wireless Mobile Adapter adds Wi-Fi uploading and remote operation. ounces (body only). Estimated Street Price: $649 (with 18-55mm VR II kit zoom). SAMSUNG NX30 Samsung offers mirrorless interchangeable-lens cameras in two form factors: DSLR-style and ﬂat compact-style. Interestingly, all feature 20.3-megapixel Samsung APS-C CMOS sensors. The new NX30 replaces the NX20 as the ﬂagship DSLR-style model. It improves on its predecessor in a number of ways, including a more powerful image processor, better EVF and external monitor, and improved video and wireless capabilities. (The higher- priced Samsung Galaxy NX uses a similar form factor, but is larger—almost DSLR size—to accommodate its built-in Android operating system and 4.8-inch screen.) The eye-level EVF features XGA resolution and tilts up to 80° upward for easy low-angle shooting. The new 3-inch Super AMOLED touch-screen monitor swings 180° horizontally and swivels 270° for easy all-angle shooting. Benefits of the new DRIMeIV processor include 9 fps shooting at full 20.3-megapixel resolution, ISO settings from 100-25,600, 1080/60p full HD video capability (with OIS Duo stabilization), and STANDOUT FEATURE: The 20.3 MP APS-C DSLR-style mirror- 2D/3D capture with the optional Samsung 45mm ƒ/1.8 2D/3D lens. less camera makes it easy to capture and share images. Integrated NFC and the Photo Beam feature let you transfer images and videos from the NX30 to a compatible smartphone or tablet just by touching the devices together. AutoShare sends each photo to your smartphone or tablet automatically, while MobileLink allows you to send selected images to four smart devices simultaneously. Remote Viewfinder Pro lets you operate the NX30 remotely via smartphone. Images are stored on SD/SDHC/SDXC media with UHS-I com- 1|The new eye-level EVF and external Super AMOLED patibility. Lens focal lengths from 16mm to 200mm are available for touch-screen monitor are both adjustable. 2|A big hand- Samsung’s NX cameras (with the sensor’s 1.5X focal-length factor, INTRODUCED grip provides good ergonomics. 3|The new 16-50mm this is a range equivalent to 24-300mm on a 35mm camera or full- ƒ/2-2.8 S ED OIS zoom is the first in Samsung’s premium frame DSLR). Dimensions are 5.0x3.8x1.6 inches and 13.2 ounces 1/2014 S-series. (body only). List Price TBA.

dpmag.com | March/April 2014 Q 47 BUILD A KIT OF ESSENTIAL GEAR FOR SHOOTING ON LOCATION | BY WES PITTS udio

The Interfit Photographic Strobies Modi-Lite Kit offers 18 different modifier combinations to achieve a wide variety of lighting effects. The kit includes the Uni-Mount universal adapter that will fit any ﬂash unit.

hat does it take to get pro results the light through diffusion, shape and W practically anywhere? This on- directional control, and color correc- location shooting guide covers tion. Diffusers reduce and spread the all the bases for shooting outdoors, at light from your flash for a softer effect events or in your subject’s home or of- and less contrast. They’re especially use- fice. Much of this gear also is useful for ful for portraiture and for fill lighting. creating an instant studio at home. In the studio, you can bounce flash off the ceilings or walls. For outdoor FLASH MODIFIERS shoots or really big spaces, bounces, Achieving perfect light on location snoots and grids, and beauty dishes help is one of the primary challenges versus you refine your flash output to blend the controlled environment of a studio. seamlessly with the ambient light or to For the ultimate in on-location lighting, create dramatic effects. Modifiers that monolights are relatively portable, af- bounce light are reflective and allow you fordable and easy to use. (See our cov- to redirect the angle of your flash output. erage of high-powered models suitable Snoots and grids create a spotlight effect, for outdoor use in this issue. Also check shaping and restricting the flash output out the article featuring battery-powered to a specific area of your composition. monolights in our sister publication, Beauty dishes reflect light for a soft effect Digital Photo Pro: tinyurl.com/photo- and create flattering catchlights in your pro-monolights.) Harbor Digital Design’s Ultimate Light Box Kit subject’s eyes, ideal for portraiture. If you’re working with flash, modifi- transforms your flash to create a soft, diffused Essential for outdoor work or mixed- ers are extremely helpful for fine-tuning light source. A set of six color filters designed for lighting environments, gels let you flash output. Modifiers help you control the Ultimate Light Box is also available. change the color of light from your flash.

48 Q Digital Photo | dpmag.com Use them to match your flash output to backdrop choices, you’ll be able to turn the ambient light or for creative effect by almost any room or outdoor space into adding color contrast to the scene. a studio. REFLECTORS, SCRIMS POWER SOLUTIONS AND FLAGS Bringing a laptop or tablet along In addition to modifying your flash gives you options for remote camera output, it’s good to have tools to redirect control, image review on a big screen, or restrict ambient light, too. Reflectors and even editing and backup in the field. are one of the most important accessories You might be able to get by with a single for on-location photography. They’re easy to use, require no power and are ideal for redirecting available light to fill shadows for more even light on your subject. For still and video lighting, the Flashpoint 500C Conversely, there may be situations LED is daylight-balanced, includes barn doors to where you want to reduce or block control light direction and can be powered by AC or by an optional rechargeable battery.

for natural-looking results, and because they’re always on, you can readily see and adjust their effect. That continuous lighting ability is also what makes them an excellent choice for video work. Goal Zero’s Yeti 150 Solar Generator can power laptops and lights, and recharge cameras and tab- PORTABLE BACKDROP lets anywhere. Charge the Yeti 150 in just a few hours using a wall or car outlet, or pair it with a Sometimes you’ll find the perfect set- Nomad solar panel for total energy independence. ting on location, and sometimes you won’t. A portable backdrop, muslin or charge, but there are portable solar-powered options for recharging your gear on location. While an extension cord is always smart to carry with you, if you won’t be near an outlet, the solar power option can power up all of your devices, plus recharge camera and flash batteries. LOUPE Camera LCDs are incredibly conve- The Photoflex MultiDisc Kit includes a 42-inch nient and continue to improve, but they 5-in-1 MultiDisc reflector, plus a LiteStand remain difficult to use in bright sunlight. and LiteDisc—everything you need to redirect An LCD loupe is critical for checking fo- ambient light. ambient light (overhead sunlight, for example). Scrims soften and reduce ambient light, similar to a flash diffuser, while flags can be used to completely block a light source. All-in-one products are available that combine reflectors, scrims and flags in a The F.J. Westcott X-Drop is an extremely por- convenient, unified design. table 5x7-foot backdrop system that assembles in about a minute, weighs less than three pounds LED LIGHTS FOR and comes with its own travel case. Multiple FILL & VIDEO backdrop patterns are available for variety. The Hoodman HoodLoupe 3.0 is compatible with Though typically less powerful than 3-inch LCDs to block glare and give you a clear flash or strobes, LED lights are excellent roll of seamless paper is wise to have on 1:1 magnification of your camera’s display. for providing fill light and are particu- hand, especially for portraiture. Whether larly ideal for video. Adjustable output you choose a convenient kit or build cus, exposure and image details under lets you dial in the strength of the light your own with a pair of stands and a few bright outdoor conditions—even more

dpmag.com | March/April 2014 Q 49 HOW-TO: POP-UP STUDIO so when working with mirrorless cameras that omit an eye-level viewfinder outdoors—and it’s a much more contemporary and elegant solution than a black drape over your head. FILTERS Optical filters still have their place in the photographer’s toolbox despite the proliferation of special-effects software. One filter you must have in your kit is a polarizer. There’s no magic software bul- let to handle unwanted reflections, and you can’t re-create detail in the computer when glare blows out the highlights of your exposure. A polarizer handles this instantly. Another practical filter for outdoor use is a graduated neutral- The midsized BH-40 LR Ballhead from Really density filter, which can help you rein Right Stuff is an ideal choice for keeping weight in extreme contrast for better exposures down without sacrificing adjustments—in addi- and less postprocessing. tion to the full movement of the ball with dual drop notches, the base pans, as well. TRIPOD & HEAD A good tripod and head are essen- ticular camera and lens combination, tial for on-location photography. While the size and weight of the tripod itself the most important characteristics of become a consideration for fieldwork. a tripod are its stability, sturdiness and You want to put your energy toward cre- ability to support the weight of your par- ativity, not gear portage. The weight of everything in your kit The LensCoat RainCoat 2 Pro shields your cam- adds up, and a tripod is one piece of era and lens from rain, snow, salty air and sand equipment where you can shed a few while allowing easy access to controls, even your lens zoom. The lightweight waterproof material pounds by choosing a lightweight car- is available in several colors, including four cam- bon-fiber model. A typical carbon-fiber ouflage options. model might weigh 30% less than a comparable aluminum design, and yet a light, unexpected shower can wreak support 20% more weight from your havoc on cameras that lack weather seal- camera and lens. ing. It’s not just water to protect against, You also need a head for your tripod. either. Extended exposure to direct sun- If you’re shooting strictly still photos, light, salty seaside air, and windy or ballheads are popular for their ability dusty environments are all distractions, to position the camera in just about any at best, and potential damage to your orientation quickly. For a heavier cam- camera system, at worst. If photography era and weighty telephoto lens combi- frequently takes you outdoors for hours nation, a gimbal head may be a better at a time, camera protection is a worth- choice for balancing the weight—you while investment. Plus, waterproof op- don’t want your tripod tipping over! tions let you get creative for portraits If you plan to do any video, you’re poolside or in stormy weather. going to want a fluid head. These pan/ tilt heads use a hydraulic system to LENS CLEANING dampen vibration for the smooth pans OPTIONS essential to video work. Outside the controlled environment of a studio, you’re practically guaranteed CAMERA & LENS to get dust on your lens. That can be a PROTECTION Gitzo’s Traveler Series 2 carbon-fiber tripod relatively minor problem (more time weighs just 4.2 pounds, but can support more You don’t have to be drenched in a spent retouching photos) or a major than three times its weight and can be used with torrential downpour to appreciate pro- bummer (scratched lens). You’ve invest- lenses up to a 200mm telephoto prime. tection for your camera and lens—even ed in precision optics, so make the extra

50 Q Digital Photo | dpmag.com BAGS FOR TRIPODS & STANDS If you’ll be bringing more than one tripod, or a tripod and stands for re- ﬂectors, backdrops and the like, an additional bag to keep organized is a wise

The LensPen DSLR Pro Kit includes three unique LensPen tools for keeping your lenses, filters With room to carry tripods or stands up to 19.7 and viewfinder spot-free. The kit travels in a inches long (folded), the 3LT Choobz Tripod Bag microfiber pouch that can be used to keep your 570mm from 3 Legged Thing has a detachable tablet screen clean, too. shoulder strap and an integrated compartment for tools and spare parts. investment in cleaning products specifi- Manfrotto’s new Professional Bags Collection cally designed for photographic lenses. includes the Professional Roller Bag 70, with investment. It simplifies carrying these room for two pro DSLRs, plus up to seven lenses, The ability to efficiently care for your somewhat unwieldy—yet indispens- two flashes and a 17-inch laptop. There’s even a optics as you shoot protects your gear strap for securing your tripod. able—supports, especially if you’re and can save you a lot of time fixing working alone and need to carry several spots in postprocessing. at once. Even when I’m only bringing CAMERA BAGS & CASES a single tripod, I still like to use a bag, One of the most important consid- and keep a pair of pliers, the adjustment erations working on location is organi- tools supplied by my tripod’s manufac- zation—that’s why so many pros have turer and a sandbag or two for stabiliz- assistants in tow. If you don’t have that ing my tripod in there, as well. luxury, then it’s doubly important to choose a bag or case that keeps all your GAFFER’S TAPE gear organized and easily accessible. The Every pro we talked to agrees: Gaffer’s right bag for you depends on the gear tape is awesome, and you need to carry you typically use. If you carry a big-range zoom lens and few accessories, your or- ganization needs will be different than if you prefer to work with a variety of primes or specialty lenses. Most camera bags are designed to stack gear, with padded dividers, to economize the bag’s volume. An ideal bag or case will have room for all the tools you most frequently use on the top level, where they’re easily accessible— you don’t want to be fumbling to find the right lens or filter. it for gear first-aid and “best-alternative” Choose a bag or case with plenty of solutions. Fix a broken battery door, im- room for your gear, and spend some provise a snoot, hang backdrops, secure Waterproof hard cases like the iSeries DSLR Pro time thoughtfully arranging your kit. If extension cords, strap a bag with a bro- models from SKB provide custom-cut organiza- everything has its place and if you keep ken zipper—gaffer’s tape can handle a tion for your camera, lenses and accessories it there, you’ll never be digging through lot of field emergencies so you can get with rugged, all-conditions protection. your bag while the talent waits. the shot. DP

dpmag.com | March/April 2014 Q 51 Toolbox CAMERAS, SOFTWARE AND HARDWARE The 4K Resolution AVAILABLE NOW FOR CAPTURING AND PRODUCING ULTRA HD VIDEO Revolutio BY DAVID WILLIS

ffering four times the image information of high-definition video, this O holiday season saw a big push for consumer-level 4K televisions from com- panies like Panasonic and Sony. While content is still in short supply, it’s likely this year will see an even bigger explosion of new projects, as the means with which to capture and play back 4K are starting to come down to affordable levels. Popular movie rental and streaming ser- Sony 4K Handycam FDR-AX100 vice Netﬂix, for example, has been testing 4K video streams, and many of their original content shows, like House of Cards, are being shot in 4K. Amazon has also announced by each frame, which offers four times the fps, though this is technically a workaround several new 4K productions, while Google image information of a 1920x1080 high- on the electronic bursting mode and cap- and YouTube have been showing off a new definition frame. 4K video is also useful for tured videos are very, very short. video-compression format called VP9, HD productions, as well, because frames Even though most current DSLR sensors making high-quality compression a reality are large enough in terms of resolution that can capture stills at resolutions above 4K, for streaming 4K video over the Internet you can reframe or crop for editing into HD the processing needs for capturing, con- much faster and with better reliability. resolution projects. verting, compressing and outputting such Huge new 4K television sets from LG, While the terms are often used in- huge files at so many frames per second re- Panasonic, Samsung, Sharp, Sony and oth- terchangeably, Ultra HD refers to the quires much faster camera mechanics than ers are capable of playing back this con- more broadcast-friendly UHD resolu- are available. DSLRs capture in the H.264 tent, as well as upscaling high-definition tion of 3840x2160, while true 4K video is codec while its upcoming successor, H.265, content, and there are also a few new 4K 4096x2160 pixels or more. Frame rates of is much more compression-friendly when it projectors, like the Sony 4K Ultra Short up to 60 fps are currently available, which is comes to 4K and other files, so it’s likely that Throw Projector, which will turn a blank a very fast frame rate more suited to action we’ll be seeing DSLRs and mirrorless mod- wall into a 147-inch 4K display. Several Blu- sequences. Peter Jackson recently used els capable of 4K video soon. Panasonic, ray sets and 3D systems will upscale high- the format for his latest Hobbit films. Other for example, has confirmed that its next GH definition content for playback on these frame rates are also available; 24 fps and 25 model will be capable of 4K video resolution. new sets, as well. fps are most commonly used for DSLR video Sony’s 4K Handycam FDR-AX100 So while you may not feel you’re ready because the look is very smooth and cine- was announced in January as a more for 4K, if you have any interest in future- matic, while 30 fps is a slightly faster frame compact 4K camcorder solution over proofing your video content, you should rate for a crisp video look. their previously announced 4K-capable consider a look. Current offerings actually model, the FDR-AX1. Notable for its price make 4K productions a possibility, thanks 4K CAMCORDERS under $2,000 and offering a brand-new to new and affordable camcorders and Ironically, some of the very first devices 14.2-megapixel Exmor R CMOS sensor, it monitors. Up until 2013, there were a num- capable of capturing 4K video were smart- captures UHD at 3840x2160 in 24 fps and ber of 4K-capable cinema cameras from phones like the Samsung Galaxy Note III 30 fps, as well as 120 fps for slow-motion RED and Sony available for 4K movie pro- and the Acer Liquid S2, though the video effects. The 12x optical zoom Zeiss Vario- ductions, but these solutions were priced compression is so high that the advantage Sonnar T* lens starts wide at 29mm, and for professional filmmaking, and they re- over HD video is questionable. The Nikon J1 while the XAVC S file format will play back quire a dedicated digital workﬂow to man- and V1 mirrorless cameras are also capable on Sony 4K Bravia TVs through the cam- age the massive amounts of data created of capturing 4K sensor output at up to 60 corder’s HDMI connection, the camera can

52 Q Digital Photo | dpmag.com also work in a Dual Video Recording mode Camera 4K with a Super 35mm-sized for simultaneously acquiring a high-def sensor (21.12x11.88mm). The dedicated copy for HDTVs and Blu-ray discs. video solution can capture Ultra HD in The more expensive FDR-AX1 includes compressed ProRes 422 or CinemaDNG several professional options like Sony RAW video, which, much like a RAW still Vegas Pro 12 editing software, dual XQD file, offers very high image quality and more memory card slots and two high-quality leverage in editing, especially when adding XLR jacks for working with advanced mi- effects or working with computer graphics crophone systems. like greenscreen. The Canon EF-compati- For professional filmmakers, Sony pro- ble lens mount will communicate with elec- duces the highly capable NEX-FS700R, tronic Canon EF lenses for TTL metering PMW-F5, PMW-F55 and F65 cameras, and abilities. The BMPC captures to solid- which require dedicated (and expensive) state drives that can be removed to work SxS memory cards or video recorders to with files from a computer while they’re still capture 4K. List Price: $1,999 (FDR-AX100); on the drive. It also includes the highly re- $4,999 (FDR-AX1); $7,699 (NEX-FS700R), garded DaVinci Resolve color-grading soft- Canon EOS-1D C $19,400 (PMW-F5); $34,927 (PMW-F55); ware. List Price: $3,995. $65,000 (F65). The JVC GY-HMQ10 camcorder will minals), and there are two XLR connectors As part of the Canon Cinema EOS line record up to two hours of 4K video to af- with phantom power for working with au- of EF lens-mount cameras and camcorders, fordable and readily available SDHC/ SDXC dio. You’ll also find pro features like focus the Canon EOS-1D C is an 18.1-megapixel, memory cards. Delivering Ultra HD resolu- assists, manual and auto control of focus, iris, gain, shutter, gamma, color matrix and white balance. List Price: $4,995. One of the most affordable 4K camera solutions available is the diminutive GoPro HERO3 Black Edition, but the only full- resolution frame rates available are 15 fps, 12 fps and 12.5 fps for adding slow-motion effects. That being said, there are a number of frame rates available for HD video, and the camera is designed as a durable video camera that can be placed almost anywhere, making it an ideal choice as a Blackmagic Design Production Camera 4K B-camera for 4K projects. List Price: $399. top-of-the-line, full-frame DSLR capable of tion at 24p, 50p or 60p frame rates, the With pricing to match, RED cameras are capturing full 4K video resolution at 24/25 system also captures HD at 60i/60p and designed for use by professional filmmak- fps with high-definition video capture avail- 50p/50i. Live 4K productions can be live- ers. The latest DRAGON sensor actually able at up to 60 fps. streamed (the system works by splitting will capture video at up to 6K resolution at The Canon EOS C500, also compat- the signal output through four HDMI ter- 6144x3160. The RED SCARLET X is the ible with EF lenses, is a dedicated cam- most affordable option from the company corder solution capable of both full 4K and to offer 4K, but a body purchase requires Ultra HD resolutions at a frame rate of up a number of extra items to be able to piece to 60 fps. together the dedicated cinema systems, There are several new Cinema Lenses like RED’s very expensive lenses and the developed to meet the heightened resolu- REDMAG solid-state drives. This modular tion requirements of 4K video. This line is design allows you to adapt the camera body available in EF mount for Canon cameras as technology advances. RED also manu- as well as PL mount, a common lens mount factures the very first 4K-capable camcord- for cinema lenses and movie cameras. (The er, the RED ONE, as well as the RED EPIC. C500 is also available with a PL mount.) List Price: $7,950 (SCARLET-X, BRAIN These solutions are priced for professional only); $725 (REDMAG 1.8-inch SSD drive). users. List Price: $11,999 (Canon EOS-1D C, body only); $19,999 (Canon EOS C500). TABLETS AND For those invested in Canon lenses, you COMPUTER DISPLAYS have another much more affordable option There has been a lot of criticism of 4K in the Blackmagic Design Production GoPro HERO3 Black Edition televisions, since you have to be sitting

dpmag.com | March/April 2014 Q 53 Toolbox very close to a display to notice the heightened resolution and sharpness. People sit very close to computer displays and tablets, however, and with affordable options finally available on the market, they’re quickly becoming some of the most excit- ing ways to enjoy 4K material. Currently, the only options for full 4K resolution are professional editing monitors available Panasonic Toughpad 4K UT-MA6 20-inch tablet Windows 8.1 Pro, and an optional Bluetooth Panasonic Electronic Touch Pen is available for sketching or adding handwritten notes. A lower-cost 4K model, the 20- inch Toughpad 4K UT-MB5, offers similar abilities. List Price: $6,999 (Toughpad 4K UT-MA6); $5,999 (Toughpad 4K UT-MB5). Apple has finally unveiled an update to their long-awaited professional desktop computer solution, the Mac Pro, which is capable of supporting multiple 4K displays through both HDMI and Thunderbolt connections (3840x2160 at a 30 Hz refresh rate and 4096x2160 at a 24 Hz refresh rate, though display mirroring isn’t support- ed at this resolution). In 60 Hz operation, Dell UP2414Q UltraSharp 24-inch monitor the Mac Pro supports the 32-inch Sharp PN-K321 and 31.5-inch ASUS PQ321Q moni- from Panasonic, Sony, TVLogic and a Dell is currently producing three tors through the DisplayPort connection. few others, though these systems cost UHD monitors: the budget-oriented The latest MacBook Pro will also work with tens of thousands of UP2414Q UltraSharp a 4K display or Ultra HD television at the dollars. Right now, UHD systems are avail- 24-inch monitor (which can be swiveled to same specs, but the Mac Pro will support able at much more accessible pricing. portrait mode), the 28-inch P2815Q and playback on up to three 4K displays. List The 28-inch PB287Q from ASUS the 31.5-inch UP3214Q. For photo and Price: Begins at $2,999 (Mac Pro); begins is one of the most affordable 4K display video editing, the UP3214Q and the small- at $1,199 (MacBook Pro); $3,595 (Sharp options around at an expected street er UP2414Q cover 99% of the AdobeRGB PN-K321); $2,999 (ASUS PQ321Q). DP price of $799. At the same resolution of and 100% of the sRGB color spaces with 3840x2160, ASUS also offers the larger a wide viewing angle of 176º and 178º, re- 31.5-inch PQ321Q display with dual HDMI spectively. You can also set up Custom ports instead of the single HDMI connection Color modes, and advanced editors can you’ll find in the PB287Q, though the price even download look-up tables (LUT) for is much higher (see the Apple entry). viewing footage in commonly used filmic Also priced aggressively, the Ultra “looks.” Connections include an HDMI, HD resolution Lenovo ThinkVision USB 3.0 and a six-in-one media card read- Pro2840m monitor with articulating er, as well as DisplayPort ports for work- stand houses three HDMI connections ing with additional monitors. List Price: and four USB ports for use with multiple $3,499 (UP3214Q); $1,299 (UP2414Q); external devices. Announced at the same $699 (P2815Q). time, the ThinkVision 28 (as in 28-inch) On the higher end of the performance “smart display” has the same specifica- spectrum, Panasonic’s Toughpad 4K tions, but it can also function on its own as UT-MA6 20-inch tablet packs a dense a tablet of sorts that runs on the Android pixel count of 230 ppi (pixels per inch) into 4.3 operating system with multi-touch ca- the 3840x2560 display for top-of-class pabilities. (It won’t be available until July, resolution and sharpness. With the op- however.) List Price: $799 (ThinkVision tional Panasonic desktop cradle, the tablet Pro2840m); $1,199 (ThinkVision 28). can be used as a desktop solution. It runs Apple Mac Pro 54 Q Digital Photo | dpmag.com

HIGH-POWER MONOL TS FOR VERSATILITY IN AND OUT OF THE STUDIO, THESE HIGH-OUTPUT STROBES ARE IDEAL BY WILLIAM SAWALICH

hen it comes time to invest W in serious strobe lighting, many photographers opt for the versatility of monolights. Whereas pack-based systems typically provide greater output (measured in watt seconds, or ws, equivalent to joules), monolights are modular, self- contained and less expensive—making them the ideal entrée into the studio strobe lighting universe. But the typical monolight is limited by power. The most prevalent monolights are under 600ws, commonly in the 300ws range. While these relatively low-power lights can work fine in the studio, they can present a major problem outside of it: They’re practically impossible to balance with daylight. 1 A typical sunny-day exposure is ⁄100 sec., ƒ/16, ISO 100. This requires a lot of light from a strobe to equal the sun’s intensity. The workaround with an under- powered strobe is to position it very close to the subject. To overpower daylight— Paul C. Buff Einstein E640 that is, eliminate its influence in the image and rely solely on the strobe expo- systems, they can be purchased one light Adjusting one monolight’s output sure—even more power is needed. For at a time, and different brands of lights has no impact on the power available to lighting flexibility, high-power strobes are can work together. Although you’re not other lights, and if one monolight fails, crucial. Thankfully, high-power mono- locked into a single system with mono- the remaining heads continue to func- light options are increasing. lights, it can still be wise to consider the tion. If you’re using multiple lights over variety of modifiers available—from um- a large area, monolights can be help- MONOLIGHT BENEFITS brellas to reflectors, snoots to softboxes— ful. They have built-in photo sensors AND DRAWBACKS before investing in a particular brand. for slaved triggering across distances, Monolights are inexpensive and Proprietary speedrings and connectors and better units have integrated (or at modular because, unlike pack and head could tie you to a specific line, anyway. least optional) radio receivers for sync-

56 Q Digital Photo | dpmag.com ing multiple units without hav- ing to maintain line of sight. Some of these remotes can also adjust output settings, as well. As long as there’s electricity near the position of each monolight— or an optional battery pack, a popular monolight accessory, is used—they can be placed as far from one another as necessary. By comparison, a pack and head system tethers each light to the same pack, limiting their spread, and isn’t as easily powered by battery. Interfit Stellar X High-end monolights increasingly offer more features and benefits over their entry-level cousins. Color consis- and recycle time. A full-power flash may high-output monolight tency—the ability to precisely reproduce take five seconds to recycle in an inex- outdoors, short flash du- the same color temperature every time, pensive unit, but only two seconds in a rations for freezing motion flash after flash, even as bulbs age and high-end model. are extremely helpful. voltage changes—is the mark of a well- Flash duration is also a useful mea- Another useful flash fea- made monolight. Other indicators of surement of a monolight’s performance, ture is called “auto-dumping.” the best lights are build quality, “fine- as the ability to produce brighter light With it, strobes automatically tunability” (the ability to make very in a shorter time makes stopping fast discharge excess power from small adjustments to the light’s output) action easier. When working with a the capacitors when the output level is dialed down. With- out this feature, the photographer has to manually discharge (i.e., fire the strobe) when decreasing power in order to emp- ty the capacitor of the excess power. Fan cooling in monolights is helpful for dissipating heat from model lamps and high-strobe wattages, as well as when using light modifiers that re- tain heat—like snoots, softboxes and grids. While it’s increasingly rare to find a flash head that requires factory service to replace model lamps and flash tubes, keep an eye out when shopping for monolights (or any kind of strobe), as you’d hate to have to pay for a repair for something as simple as changing a light bulb. HIGH-POWER MONOLIGHT MODELS Profoto D1 Air 1000 The Flashpoint 1820A is an inexpensive 900ws fan-cooled monolight. It features stepless power down to 1/8 output—approximately 112ws— and low sync voltage to make the strobe safe for digital cameras via a regular PC connection without requiring an in- line Safesync voltage regulator. Flash

dpmag.com | March/April 2014 Q 57 Tamron EQUIPMENT: HIGH-POWER MONOLIGHTS Macro Hensel Integra 1000 Plus Think Big, Shoot Small ©Rick Lieder, BugDreams.com 1 1 duration varies from ⁄600 to ⁄1000 sec., and Explore the macro world and create the Flashpoint 1820A recycles in three stunning, high-impact photos of seconds to full power. The unit weighs tiny subjects with Tamron’s 90mm six pounds, measures 13x8x6 inches and and 180mm lenses. Rendering the ships with a long, 15-foot power cable. smallest details with clarity and sharpness the SP 90mm F/2.8 Di VC USD A 1200ws model is also available. Esti- MACRO and the SP AF180mm F/3.5 mated Street Price: $299. Di LD [IF] MACRO give you true Bowens makes the Gemini 750 Pro, 1:1 macro capability on full-frame or 1 a 750ws monolight with a short ⁄2300 APS-C DSLRs. sec. flash duration. Five-stop adjustabil- “I often photograph in non-ideal and ity is available in tenth-stop increments, difficult conditions, and it helps to down to 13ws. An optional Travelpak know I can depend on the sharpness and smooth focus of Tamron’s 90mm battery makes the unit useful even in 1 and 180mm macro lenses, even when remote locations, and the 1.5-second power are unacceptable. It has a fast ⁄1450 I can’t use a tripod. Each lens has a recycle time is fast for full-power sec. flash duration and a 2.3-second re- beautiful bokeh, essential to my visual style and approach. These lenses are flashes. Another notable feature is the cycle time in a fairly compact 7.6-pound, my partners in vision.” Pulsar/PocketWizard card slot to in- 12x6x6-inch unit. Low-voltage (5v) sync tegrate an optional radio receiver. The eliminates the need for a voltage regula- —Rick Lieder, BugDreams.com unit’s multi-voltage power system au- tor, too. Estimated Street Price: $1,399. 1 tomatically selects the correct voltage With its ⁄2000 sec. flash duration and when plugged in, making it adaptable 2.1 seconds to full recycle, the Hensel to anywhere there’s electricity, anywhere Integra 1000 Plus is a high-performance, in the world. Measuring 16x7x6 inches, feature-rich monolight. Built-in four- the Gemini 750 Pro weighs 8.8 pounds. channel radio receivers augment stan- Estimated Street Price: $1,049. dard optical slaves, and multi-voltage Elinchrom’s Digital Style 1200RX is compatibility makes the unit useful a compact fan-cooled flash unit. From worldwide. It has a six-stop range down full 1200ws output down to just 36ws, to 1/32 power in tenth-stop increments, it offers a six-stop range in tenth-stop in- and the LED display makes for easy crements. An optional two-way remote reading of adjustments. The aluminum control allows the power settings to be housing on the 16x9x6-inch unit is adjusted remotely from the camera posi- heavy-duty without being heavy, weigh- tion—taking advantage of the ability to ing in at 8.6 pounds. Estimated Street move monolights far afield—and it can Price: $1,110. even be controlled by PC and Mac com- Interfit’s Stellar X monolight offers To learn more, go to: puters when tethering. Ultra-consistent 1000ws of power with easy-to-use ana- flash output is ideal for multi-shot ap- log controls. Stepless power adjustments tamron-usa.com 1 plications where even small variations in cover a five-stop range, down to ⁄16 sec.,

58 Q Digital Photo | dpmag.com (roughly 30ws), with a three-second re- at just 8x7x5 inches. Estimated Street cycle time at full power. The fan-cooled Price: $499. unit is 20x10x6 inches and weighs just The StarFlash 650ws monolight from six pounds. Estimated Street Price: $479. Photoflex offers adjustability down to The Einstein E640 from Paul C. 1/8 power—a five-stop range—and a 1 Buff offers 640ws of power adjustable ⁄1700 sec. flash duration at full power, in tenth-stop increments over a nine- which recharges in four to five seconds. stop range—down to 1/256 power, or It has a rugged aluminum chassis with a miniscule 2.5ws (useful for balanc- a rubberized finish for durability, and ing with low-level ambience). The short a proportional model lamp for a what- 1.7-second recycle time at full power you-see-is-what-you-get look at the 1 is complemented by a superfast ⁄13,000 light’s output. The StarFlash 650 mea- sec. flash duration for efficient action- sures 16x6x5 inches and weighs 7.1 stopping power. Color Consistency pounds. Estimated Street Price: $499. mode lengthens that flash For professonials with bigger budgets, duration, but ensures color Profoto’s D1 Air 1000 promises quality precision, making the unit and performance. The 1000ws unit is ad- customizable for a given justable in tenth-stop increments across shot’s needs. With all- a seven-stop range, down to 15.6ws 1 digital controls and an (1/32 power). Color consistency at ⁄1800 LCD display, the fan- sec. flash duration, as well as fast two- cooled Einstein E640 second full power recycling and integrat- has low-voltage safe ed Profoto Air radio sync control, make sync and automatically the unit useful for a variety of pro assign- senses input voltage to ments. At 12x12x7 inches, the D1 Air work worldwide (from 1000 weighs just 6.5 pounds. Estimated 95 to 265 volts). Re- Street Price: $1,749. DP mote-control capability is optional via Cybersync, and the unit’s Easy Set button makes returning to default settings a snap. A Micro SD card slot readies the unit for firmware updates in the future. This feature-filled light is also compact and light, weighing just 4.3 pounds

Bowens Gemini 750 Pro

dpmag.com | March/April 2014 Q 59 SOFTWARE onOne Software Perfect Photo Suite 8 A COLLECTION OF SLICK APPS TO HANDLE YOUR COMPLETE PHOTO WORKFLOW BY THE EDITORS

istorically, photo software could be divided into three Hbasic types: organizers, editors and special-effects filters. Over the years, the lines have blurred, with each type adding functions from the other two. onOne Software’s Perfect Photo Suite 8 is an example of all three types coming together in one package. Eight apps, organized into Modules, form a single workflow that many photographers will find offers every necessary tool for their typical photo enhance- ments. Among many new features in version 8 are 13 new adjustable filters, Perfect Eraser to quickly remove unwanted objects from an image and customizable presets for effects. This software is available in three editions. The Standard Edition works as a standalone app, the Lightroom & Aperture Edition integrates with those applications, and the Premium Edition also offers integration with Photoshop. List Price: $79 (Standard); LEFT SIDEBAR $129 (Lightroom & Aperture); $179 In the Browser Module, you’ll find all of (Premium). Contact: onOne Software, your available files. In the Layers Module, this www.ononesoftware.com. area also serves as a file browser, handy if you’re compositing multiple images. In all other EIGHT MODULES Modules, this area displays preset effects, with BROWSER: The Browser Module the exception of the Mask Module, which omits is where you get access to your files, the left sidebar entirely in favor of expanded with tools to search and sort. It also workspace for a larger view of your image. displays basic metadata for a selected file. Browser also integrates with cloud storage services like Dropbox, Google Drive and iCloud Photo Stream for di- ENHANCE: In the Enhance work- detects faces in the scene, and specific fa- rect access to those files—very handy if space (shown here), you have access cial features to enhance (you can manu- you use those services. to a variety of preset effects in the left ally add faces it doesn’t detect). Tools are LAYERS: This Module lets you sidebar, and controls to refine those ef- available to retouch skin, whiten eyes work with multiple layers, either copies fects or create your own. This Module and teeth, and correct color tones. of the same photo or for compositing is where you’ll probably spend most of EFFECTS: Here, you’ll find lots multiple images. The Layers workspace your time. of additional effects you can apply to has tools to crop, mask and retouch, PORTRAIT: Open a portrait in the a photo: vignettes, borders and more along with layer blending controls. Portrait Module, and it automatically wild visual effects to achieve a particular

60 Q Digital Photo | dpmag.com MODULE SELECTOR Here’s where you select the task at hand. Choosing a Module displays tools specific to that activity so you can focus on just those adjustments. It’s a somewhat guided approach as opposed to Photoshop, where you’re left to search among menus for the tool you need.

RIGHT SIDEBAR In every Module except for Browser, this area displays controls to fine-tune preset effects, or create your own. This is where most of your adjustments will be made. There’s also an information panel at the top for image navigation and zoom, fine detail inspection with a loupe, and histogram and metadata info.

aesthetic. Each effect is applied on its contrast, brightness and other refine- Mask does all of the heavy-lifting. own layer so you have blending con- ments to select areas of your photo. RESIZE: Need a larger file for print- trols to fine-tune the results. MASK: Use the Mask Module ing? Use Resize to enlarge older, low- B&W: This Module makes conver- when you want to knock out a sub- er-resolution digital photos, or blow sion to black-and-white as easy or as ject from its background. Paint over up a favorite image for poster-sized detailed as you’d like. You can apply nu- objects you want to remove (the sky, printing. You can control grain and merous presets, or use slider controls to for example), and Mask analyzes the sharpness, and even create a “gallery control every aspect of the conversion. color data and removes just that area. wrap” with borders for printing to a There are also brushes that let you paint Another brush lets you refine the edge. wrapped canvas. DP

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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditionsiration (includingexp dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp. Alpha A7 DSLR OM-D E-M1 Mirrorless System Camera t'VMM'SBNF&YNPS$.044FOTPS t 5JMUJOH -$% 5PVDITDSFFO t%JSFDU$PNQBUJCJMJUZXJUI&NPVOU-FOTFT t.JDSP'PVS5IJSET4ZTUFN t5JMUBCMF5'5-$%t.VMUJ*OUFSGBDF4IPF t 4%4%)$4%9$ $BSE 4MPU t 4%4%)$4%9$ .4 1SP %VP t'VMM)%Q7JEFP Pro HG-DuoCard Slots t #VJMU*O 8JSFMFTT $POOFDUJWJUZ t'VMMQXJUI6ODPNQSFTTFE0VUQVU t %VTU4QMBTI'SFF[FQSPPG t #VJMU*O 8J'J BOE /'$ t %JSFDU "DDFTT *OUFSGBDF Magnesium Alloy Body Body Only #SOA7B Mega Mega ,JUXJUINN-FOT #SOA7KB 24 Pixels #OLEM1* 16 Pixels

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NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906 032014 HOW-TO Quick Fix Dramatic Portrait Light TURN A SNAPSHOT INTO A COOL SHOT WITH SIMPLE, CREATIVE LIGHTING | BY RICK SAMMON

here’s an old adage about por- T traiture: If you want an interesting portrait, don’t light the entire subject. In other words, you can create interesting lighting by creating interesting shadows. And when it comes to shadows, keep this adage in mind: Shadows are the soul of the picture. Here’s something else important to keep in mind when it comes to light and shadows. A photograph isn’t a picture of an object. It’s a picture of light on a subject. Creative lighting is often the quick ﬁx for a boring portrait.

The opening image for this column was taken in a warehouse. My friend and I set up a cool, painted background and then drove his car into position.

64 Q Digital Photo | dpmag.com Here’s a shot that illustrates boring lighting, as well as a boring pose. To create the much more dramatic image, I set up two Westcott Ice Lights, one in front of the model to light her face and one behind the model as a hair/separation light. I dialed down the natural light exposure so the added lights became the main lights and created shadows. To add extra interest to the photograph, I used what’s called the disequilibrium effect, tilt- ing the camera down to the side, which puts the equilibrium of the image off just a bit. I also got closer to the subject. When it comes to people that improved the photo is the much cooler pose. plug-ins that are available for noise reduction. photography, the closer you are to the subject, For both photographs, I had my ISO set at Newer versions of Lightroom and Adobe Camera the more intimate the photograph becomes. I 4000. That relatively high ISO setting was re- Raw also do a good job of reducing noise. photographed the model with my Canon EOS 5D quired for a handheld shot due to the low light. As an aside, my dad had a wonderful expres- Mark III and Canon 24-105mm lens set at 24mm My original file did have a bit of noise. I removed sion about noise. If a picture is so boring that you for a wide perspective. Of course, the other factor the noise with Topaz DeNoise, just one of several notice the noise, it’s a boring picture.

Hey, one of the reasons why you’re reading Digital Photo magazine is be- the Duplex filter in Nik Color Efex Pro and then added a digital frame using cause you like how digital effects can enhance a photograph. I’m with you. Image Borders. Explore plug-ins—they can help to awaken the artist within. As much as I may like an image, any image, I usually experiment with plug- So, play with light for a quick fix for boring portraits, and remember, ins to see how they can make it even more creative. For this photo, I applied shadows are your friend! DP

Our friend RICK SAMMON has been writing for this magazine for more than 10 years. Visit with Rick at ricksammon.com to learn more about digital imaging.

dpmag.com | March/April 2014 Q 65 Exit

TOM GILLESPIE “X” Marks The Spot

A ﬁnalist in our 7th Annual Your Best Shot Photo Contest, white snow and the design of the ‘X’ element immediately this photo was taken from a helicopter while photographer caught my eye. Because of the speed of the helicopter, I had TOM GILLESPIE of Trinity, North Carolina, was en route time for only a few frames, and this one was the only one that to an assignment. “I don’t remember much at all about the properly caught the design elements I wanted.” shots from the assignment,” Gillespie conﬁdes, “but I sure remember this one! The contrast of the black road against the Nikon D300, Nikkor 55-200mm ƒ/4-5.6

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Improve your photo and video experience, from start to finish. Lexar® Professional memory cards let you shoot more, faster—including stunning high-quality photos and 1080p full-HD, 3D, and 4K video. And when you’re done, transfer files at USB 3.0 speeds from up to four cards at once with the customizable Lexar Professional Workflow Reader Solution. With professional-level performance, quality, and reliability, Lexar Professional products help you make the most of your photography and videography, from start to finish.

Lexar. When Memory Matters.™

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333 457 DP