POPULAR PHOTOGRAPHY POPULAR Balancing Act Into Thearctic Wild Find Your Voice by Sebastiancopelandandjoncornforth JANUARY 2016

Home , DxO ONE, Nikon F2, Nikon FM10, Pentax 645D, Pentax 645Z, Pentax K1000

ARCTIC ADVENTURE How to capture all the drama and beauty of the frozen north

Projects: Find Your Creative Voice 6 Easy Steps for a Simple Still Life Score a Slam-Dunk With Sun & Strobes

COVERS: BRIAN KLUTCH (CAMERAS); JON CORNFORTH (WALRUS). THIS PAGE: SEBASTIAN COPELAND (ARCTIC SCENE), RACHEL HULIN (FLYING CHILD), BRIAN KLUTCH (CAMERAS), CHRIS TENNANT (MISTY LANDSCAPE). NEXT PAGE: DUSTIN SNIPES (ATHLETE), ALINE SMITHSON (STARLET). FEATURES in handythiswinter. landscapes andwildlife above theArcticcircle.Theirtipsmay come Two top natureprosexplainthelogisticsandaesthetics ofshooting mean theworld to you. Here’show theprosdoit. way to dothat?Shootphoto essays aboutsubjectsorlocationsthat To becomebetter photographers, we mustpushourselves. One 64 The rightwhite balancedoesn’talways meana 62 49 nudge your images closerto perfection. balance. Learn how getting creative withcolortemperature can 4 JANUARY 2016 VOLUME 80,NO.1 POPULAR PHOTOGRAPHY POPULAR Balancing Act Into theArctic Wild Find Your Voice By SebastianCopelandandJonCornforth JANUARY 2016

By DebbieGrossman

neutral By Peter Kolonia white white

62 49 and contrastthesefive finalists editors wrestle with the annual editors wrestlewiththeannual Who Will Win? Who WillWin? to join usinthefray. Compare win itscoveted Cameraofthe camera hill. Year distinction,we invite you question of which model will question ofwhichmodelwill to determine which As Popular Photography’s should be king of the should beking of the Drumroll, please! 56 By PhilipRyan 64 POPPHOTO.COM you feel feel Shot with a Canon PowerShot G3X

Jennifer Wu is ready to capture the moment, no matter where her journey takes her. With relentless perseverance and the rugged, compact cameras in the PowerShot G Series, nothing stands between her and the image she wants—even heavy fog, dim lighting and a slippery mountain trail. It’s that attitude that helps you take the art of travel photography to new heights. Stay focused. Be creative. Canon is with you every step of the way.

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New 20 6 Carbon Fiber Tripods 36 Tips & Tricks Discover the powers DEPARTMENTS of Photoshop’s Motion Blur tool. New SRL - Speed Release Lock NEXT 38 Traveling Photographer 12 Just Out A sleek gimbal, two 21mm Visit Los Angeles to see that there’s far more lenses, and—what?—an adhesive camera! than movies to shoot in tinsel town.

16 Closer Look The Canon image- 40 Software Workshop Master these PROGRAF Pro-1000 makes great prints, and two Lightroom tools for comparing your photos. its new ink conservation tools really rock. 44 Lighting Learn how and when it can 624 CFL 18 Roundup Inkjet papers that will give pay off to overpower the sun with your lights. 634 CFL your prints a classic darkroom look and feel. LAB SHARE 72 ILC Test SONY ALPHA 7S II This New 8X Interlaced CF 20 My Project A photographer trans- Alpha scales the sensitivity peak to a dizzying forms everyday people into Hollywood stars. ISO 409,600, but how do its pictures look?

22 Point of View Rodney Lough Jr. has a 80 Lens Test FUJIFILM FUJINON bone to pick with many a landscape shooter. XF 35MM F/2 R WR A weather-resistant normal for Fujifilm’s X-series bodies is as 24 Photo Challenge Our fall-foliage compact as it is sharp and distortion-free. winner discovered what’s awesome in aspens. 82 Lens Test SIGMA 20MM F/1.4 723 CFL 26 Mentor Series Jim Coleman made a DG HSM This full-frame Art-series lens is the 724 CFL 360-degree turn to find a 100% better shot. fastest in its class, with the least edge falloff. 27 Your Turn Letters about the difference 84 Lens Test ZEISS MILVUS between reflection and refraction, and more. DISTAGON T* 50MM F/1.4 ZE Sharp, but New Larger Base Plate with a bit more distortion than the last Zeiss. 28 Your Best Shot Our winners? Three bold photos of wildly disparate subjects. DON’T MISS . . . 8 EDITOR’S LETTER HOW 10 SHOWCASE 34 You Can Do It Try this still life subject 86 TIME EXPOSURE that’s both beautiful and relatively easy. 90 BACKSTORY

823 CFL POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), January 2016, Volume 80, Issue 1, is published monthly by 824 CFL Bonnier Corporation, 2 Park Ave., New York, NY 10016. Copyright ©2015 by Bonnier Corp. All rights reserved. Reprinting in whole or in part is forbidden except by permission of Bonnier Corp. Periodicals postage paid at New York, NY and additional mailing offices. Authorized periodicals postage by the Post Office Department, Ottawa, Canada, and for payment in cash. POSTMASTER: Send address changes to Popular Photography, P.O. Box 6364, Harlan, IA 51593; [email protected]. If the postal service alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within Available in Stores Now one year. Publications Mail Agreement No. 40612608. Return undeliverable Canadian addresses to: IMEX, P.O. Box 25542, London, ON N6C 6B2. SUBSCRIPTION SERVICES: Visit www.PopPhoto.com/cs to manage your account 24/7. Exclusive Distribution By: WWW.KENKOTOKINAUSA.COM 6 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM Featured Photo By Chris Burkard *on select Slik Tripods - Ends 12-31-15 UV

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The Dif erence Is Clear EDITOR’S LETTER

A Fresh Start I’ve never believed much in New EDITOR-IN-CHIEF MIRIAM LEUCHTER Year’s resolutions. Year after ART DIRECTOR Jason Beckstead year, I i nd myself making the SENIOR EDITOR Peter Kolonia FEATURES EDITOR Debbie Grossman same vows—which means I SENIOR TECHNOLOGY EDITOR Philip Ryan usually fail to stick to them. TECHNOLOGY MANAGER Julia Silber

PETER HURLEY For instance, some of you may remember a promise ASSISTANT TECHNOLOGY EDITOR Adam Ryder ASSISTANT EDITOR Sara Cravatts I made to scan and share my family’s old photos. Still not done. A suitcase GROUP PHOTO EDITOR Thomas Payne stuffed with my dad’s slides sits waiting. PHOTO EDITOR Fiona Gardner But optimism reigns, at least as the New Year begins. So in 2016 I swear I CONTRIBUTING EDITORS Richard Bernabe, Tim Fitzharris, will scan all those old photos. But I have another resolution: Inspired by Peter Harold Martin, Ian Plant, Dan Richards, Jeff Wignall POPPHOTO.COM EDITOR Stan Horaczek Kolonia’s feature, “Find Your Voice” (page 64), I’m going to start a fresh photo ASSISTANT ONLINE EDITOR Jeanette D. Moses project. I won’t tell you what it is now, but I plan to follow his advice to shoot a EDITORIAL PRODUCTION MANAGER Glenn Orzepowski subject close to home and show my work in progress to a few helpful critics. IN MEMORIAM Herbert Keppler I’m not the only editor here making photographic resolutions. “Mine is to get BONNIER’S TECHNOLOGY GROUP all my old photos into my new catalog and backup system. Keeping everything where I can find it down the road and safe from data catastrophes seems VICE PRESIDENT, PUBLISHING DIRECTOR GREGORY D. GATTO pretty important,” says Stan Horaczek. “My other one is to not let photos sit on FINANCIAL DIRECTOR Tara Bisciello my memory cards or on my computer without finishing and sharing them.” GROUP NATIONAL ADVERTISING DIRECTOR Jeff Timm Dealing with archives is on many a list. Jeanette D. Moses plans to scan EASTERN SALES DIRECTOR Christine Sendelsky the film she’s shot in the past year, then she’ll rearrange her older images in ACCOUNT MANAGER Chip Parham MIDWEST MANAGER Doug Leipprandt Adobe Photoshop Lightroom to match her new system. Peter Kolonia wants to AD ASSISTANT Lindsay Kuhlmann scan his favorite negatives of family and friends, to convert his parents’ home WEST COAST SALES DIRECTOR Bob Meth videos to DVDs from VCR tapes, and to organize the thousands of images DETROIT SALES DIRECTOR Jeff Roberge he’s uploaded to Google Photos. Another resolution? “To finish my wedding DIRECTOR OF CUSTOM SOLUTIONS Noreen Myers EXECUTIVE DIRECTOR, INTEGRATED MARKETING Brenda Oliveri album,” he says. “I was married four years ago.” SALES DEVELOPMENT MANAGER Elspeth Lodge Similarly, Debbie Grossman resolves to make books. “I have this fantasy that DIGITAL SALES MANAGER Lee Verdecchia I will make a photo book for every year, and so far I only have 2011. Yikes!” She DIGITAL CAMPAIGN DIRECTOR Amanda Mays EXECUTIVE DIRECTOR, BRAND INTEGRATION Beth Hetrick also wants to “use a camera that’s not my phone at least once a week.” CREATIVE SERVICES DIRECTOR Ingrid M. Reslmaier Offers Adam Ryder, “I plan to consolidate the past several years’ projects MARKETING DESIGN DIRECTORS Jonathan Berger, Gabe Ramirez onto one portable drive and ensure it’s mirrored on my home drive and ASSOCIATE ART DIRECTOR Sarah Hughes DIGITAL DESIGN MANAGER backup, then put extra drives in storage as backups.” He also wants to Steve Gianaca BRAND INTEGRATION DIRECTOR Michelle Cast photograph more, looking for “images I can make at home on a table-top for ASSISTANT BRAND INTEGRATION MANAGER Vanessa Vazquez when it’s too cold to shoot outside.” CONSUMER MARKETING DIRECTOR Andrew Schulman As I learned from our projects story, focusing on a truly personal subject, RETAIL SINGLE COPY SALES: PROCIRC RETAIL SOLUTIONS GROUP Tony DiBisceglie with a lot of emotional resonance, can have profound repercussions. So I look HUMAN RESOURCES DIRECTOR Kim Putman forward to seeing how Philip Ryan fulfills his resolution to “complete, or at GROUP PRODUCTION DIRECTOR Michelle Doster least start, two projects in honor of my Grandmother Josephine.” SENIOR PRODUCTION MANAGER Alison Klein What are your photographic resolutions for 2016? Write to us at PopPhoto@ bonniercorp.com or join the conversation on our Facebook page. We’ll be asking about it there in the next few weeks and hope to hear from you! CHAIRMAN Tomas Franzén CHIEF EXECUTIVE OFFICER Eric Zinczenko CHIEF OPERATING OFFICER David Ritchie CHIEF MARKETING OFFICER Elizabeth Burnham Murphy CHIEF DIGITAL REVENUE OFFICER Sean Holzman VICE PRESIDENT, INTEGRATED SALES John Graney VICE PRESIDENT, PRODUCTION Lisa Earlywine NEWSSTAND Five groundbreakers, VICE PRESIDENT, CONSUMER MARKETING John Reese shot by Brian Klutch, vie to be our VICE PRESIDENT, DIGITAL AUDIENCE DEVELOPMENT Jennifer Anderson Camera of the Year, the model that VICE PRESIDENT, DIGITAL OPERATIONS David Butler best refined or redefined photography VICE PRESIDENT, PUBLIC RELATIONS Perri Dorset in 2015. Find out more on page 56. GENERAL COUNSEL Jeremy Thompson

SUBSCRIBER With tips from Sebas- tian Copeland and Jon Cornforth, who snapped this walrus in Norway, your This product is from sustainably managed forests and controlled sources. Arctic adventure begins on page 49. FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS, such as Renewals, Address Changes, Email Preferences, Billing and Account Status, go to: PopPhoto.com/cs. You can also call 800–876–6636, email us at [email protected], or write to 8 POPULAR PHOTOGRAPHY JANUARY 2016 Popular Photography, P.O. Box 6364, Harlan, IA 51593 re, LLC. re,

Come see how much simpler digital photography can be.

Over the past 10 years we helped photographers develop styles based on © 2016 Alien Skin Software, LLC. All rights reserved. beautiful analog processes. Now Exposure X also handles the practical side of a

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10 POPULAR PHOTOGRAPHY JANUARY 2016 RODNEY LOUGH JR. LOUGH RODNEY All in the Timing Down to his last sheet of 8x10 Fujichrome Astia 100F film, Rodney Lough Jr. was about to capture one of the geysers in the background of this Yellowstone National Park scene, which was going off full-force. Then he heard a spurt to his right. He swiftly moved his tripod-mounted Arca Swiss 8x10 F-line with a 300mm lens (about a 40mm equivalent on this large-format camera) back a few feet, recomposed his shot, and managed to catch the peak of both the near geyser and the sunset. (We cropped the image, which he calls “Lion’s Heart,” slightly at top and bottom to better fit this page. You can see the original at rodneyloughjr.com.) His spur- of-the-moment exposure was 4 sec at f/64.5. Lough opines on truth in nature photography in this month’s Point of View column, page 22.

POPULAR PHOTOGRAPHY 11 Rokinon Goes Wide P. 14 New Canon Printer P. 16 Baryta Paper Roundup P. 18 THE HOTTEST NEW STUFF AND THE TECH TRENDS BEHIND IT GIFTJUST OUT PICKS Benessimo! TELE ZENELLI CARBON ZX GIMBAL HEAD TOTER

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Stick ’Em Up PODO CAMERA Leave your regular compact at home and stick one of these adhesive 8MP cameras on virtually any surface for group photos or selfies. With eight LEDs ringing its lens and offering 720p video, the PODO won’t miss out on the action. Its 1.8-ounce body stores up to 4GB of fun, and it comes in blue, red, black, or white. $99, direct; podolabs.com Wide Appeal FULL ZEISS LOXIA 21MM F/2.8 VIEW Rounding out its full-frame Loxia line for Less is More Sony E-mount ILCs, Zeiss’s newest is ADOBE PHOTOSHOP ELEMENTS 14 aimed at Sony Alpha 7 system users. A fully Not ready to pull the trigger on a Photoshop weather-sealed metal housing encloses subscription? The latest version of Adobe’s more basic a wide-angle optic that includes four low- Elements includes some of the perks of the full-blown dispersion elements and one aspherical Photoshop CC for a fraction of the price. Camera shake one, designed to reduce chromatic reduction, haze removal, and application-based resizing fringing. Video shooters will delight in all contribute to beefing up this once-simple app. For PC its “de-clickable” (smoothly adjusting) and Mac. $90, download; adobe.com aperture. $1,499, street; zeiss.com

12 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM MYTH: Your new OM-D camera will be obsolete in a year.

Image shot with the Olympus OM-D E-M1 and an M.Zuiko ED 12-40mm f2.8 PRO lens by Olympus Trailblazer Peter Baumgarten.

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Get Power. Get Portable. Get Olympus. NEXT JUST OUT Domestic Digitizer FILM PLUSTEK OPTICFILM 135 F.Y.I. TOOL This wallet-friendly, dedicated VOIGTLÄNDER, the venerable lens- 35mm film scanner will turn maker, plans to your negatives and slides into release a new line of File Fitness digital image files in less than 3.5 Sony E-mount glass JPEGMINI PRO BY BEAMR minutes. To boot, its CCD sensor this spring. All in Slim down your jpegs with this image- the ultrawide-angle churns out 17.3MP files, easily range, a 10mm and compression software. As a stand-alone printable at 12x17 inches. Hook 12 mm (both f/5.6) app or Lightroom plug-in, it reduces image it up to your Mac or PC via USB 2 and a 15mm f/4.5 file sizes by up to 80 percent. It works with and get started with its included have been optimized JPEGs up to 50MB on PC or Mac. for full-frame Alpha Plustek QuickScan software. cameras. Video $149, download; jpegmini.com $399, street; plustek.com enthusiasts will be happy to know that all three allow New Tonemapper for stepless—or MACPHUN AURORA HDR de-clicked—aperture Photographer Trey Ratcliff worked with Macphun to control. create this Mac-only HDR editing program. Aurora ZEISS announced works with Lightroom, Photoshop, and Aperture as recently that it a plug-in or by itself. Layers, masking, brush tools, will roll out a new one-click presets and multiple file support make tone- addition to its mapping simple. $90, download; aurorahdr.com high-end Otus line sometime this spring. Rounding out the wide-angle end of the spectrum, which so far includes a 55mm and 85mm, its newest will be will be a 28mm f/1.4. No word yet on how much it might cost, but it’s a safe bet that you won’t be picking one up for cheap.

AN INDUSTRY-WIDE survey conducted by the Professional Photographers of America (PPA) reveals that 67 percent of pro STAND shooters have been TOUGH the victim of copyright infringement. However, the study Fast Glass also revealed that ROKINON 21MM F/1.4 96% of pros don’t Exclusively for the crop-sensor crowd—in regularly register mounts for Canon, Fujifilm, Micro Four Thirds copyrights even though all but 1% (Olympus and Panasonic), and Sony—this Tough and Tiny agreed that copyright wide-angle lens should deliver nice bokeh REALLY RIGHT STUFF SERIES 3 protection is crucial when stopped down courtesy of its rounded, TVC-32G GROUND TRIPOD The perfect companion for a day to their career. The nine-blade aperture. It’s manual focus only, trip, this mini carbon-fiber tripod can shoulder up to 50 pounds of PPA urges pros to but there’s nothing low-tech about its optical camera and extends to more than 2 feet in height—all in a package register all of their work (copyright.gov) design: One extra low-dispersion and three that weighs less than 3 pounds and collapses down to 10 inches. CNC- and to mark all their aspherical elements work to fight chromatic machined pivot bearings ensure that you’ll get many years of use out of images with copyright aberration. $499, street; rokinon.com your investment. From $450, direct; reallyrightstuff.com notices.

14 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM “The SanDisk memory cards truly enable the highest quality on-board 4K recording in the new Canon 4K cameras. That is why we insist on the SanDisk Extreme PRO CFast 2.0 cards.”

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* SanDisk Extreme PRO CFast 2.0 128GB model: up to 515MB/s read speed, up to 440MB/s write speed; 64GB model: up to 515MB/s read speed, up to 240MB/s write speed. Based on internal testing; performance may be lower depending upon host device. 1MB=1,000,000 bytes. 1 1GB=1,000,000,000 bytes. Actual user storage less. 2 Based on host device manufacturers’ published data and SanDisk internal testing. Approximations: results will vary based on fi le size, resolution, compression, bit rate, content, host device, pre-loaded fi les and other factors. SanDisk and SanDisk Extreme PRO are trademarks of SanDisk Corporation, registered in the United States and other countries. CFast is a trademark of CompactFlash Association. Telling Life’s Stories From Memory - Trusting Them to SanDisk is a trademark of SanDisk Corporation. All other trademarks are used for identifi cation purposes only and may be the property of their respective owners. © 2015 SanDisk Corporation. All rights reserved. NEXT CLOSER LOOK CANON IMAGEPROGRAF PRO-1000

BIGGER PICTURE A new pro-level inkjet printer IF THE RED line decorating Canon’s STANDOUT (cyan, photo cyan, magenta, photo over time. And its image processor new imagePROGRAF Pro-1000 SPECS magenta, yellow, red, blue, gray, works with 1GB of internal memory reminds you of the company’s MAXIMUM SHEET photo gray, photo black, and matte to chew through large image queues. L-series lenses, it’s no accident. SIZE: Standard black), it has a Chroma Optimizer Alas, it does not accept roll paper, Canon clearly wants to remind cut sheets, 17x22 to reduce metamerism. Nozzles but it takes sheets up to 10.75 feet in.; custom sheets, photographers who trust its DSLR 17x129 in. dedicated to each black ink will save long for panoramas. Two feeds systems that photos aren’t finished INKSET: 11 you money and time by not having let you use thicker papers; a new until they’re printed. The Pro-1000, pigment-based to swap cartridges. vacuum feed and skew sensor usher which prints on paper sheets up inks, plus Chroma Other features are designed to media through without damage. Optimizer; 80ml to 17 inches wide, offers some cartridges conserve both ink and media. Taking On a press trip hosted by Canon, I plusses for small studios and serious DIMENSIONS: some time off from the studio? Put made several prints on the Pro-1000 enthusiasts. Weighing 70 pounds 28.5x11.2x17.0 in. the Pro-1000 on standby mode and and was taken aback by its speed and selling for $1,300 (street), it’s (closed); 70.5 lbs it will periodically agitate the ink and silence. A few times I had to put heavier and pricier than a desktop PRICE: $1,300, tanks and warm up the print head, a hand on it to check that it was on. street; replacement inkjet but delivers results that aren’t inks, $60; Chroma keeping the precious ink from drying Considering the print quality, it was possible with smaller printers such Optimizer, $55 up and clogging nozzles. For when remarkably fast, making a 17x22- as Canon’s 13-inch Pixma Pro-1. INFO: usa.canon.com some nozzles do stop up, Canon has inch at the highest resolution in just The new head has 18,423 nozzles devised a clog-detection system: 6 minutes. (50 percent more than the Pro-1) and The printer fires backup nozzles to We recently got a full production can lay down 32 million droplets of prevent drop-outs during printing. sample of the Pro-1000 into the ink per second. Canon rolled out a The Pro-1000 has a built-in Popular Photography Test Lab, so new 12-tank Lucia Pro inkset, too. color-density sensor and calibration check back for a full review.

ADAM RYDER (PRINT IMAGE) (PRINT IMAGE) RYDER ADAM Along with the usual pigments function to keep hues consistent —Adam Ryder

16 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM THE POWER OF THE MOMENT.

Photographed by Sony Artisan Scott Robert Lim using the 7S f/1.8, 1/125, ISO 800, Lens: FE 55mm F1.8 ZA Sony 7 Series

The Future Of Digital Imaging. And A World Beyond DSLR. MEET OUR EVER-EXPANDING LINEUP OF FULL-FRAME, E-MOUNT LENSES. The moment arrives. The shutter fires. And the line between what you can see and what you can capture disappears. 5-axis image stabilization, superior low light sensitivity, stills up to 42.4MP, genuine 4K video—the choice is yours. This is the Sony 7 Series. Full frame. Total package. sony.com/alpha @sonyalpha

Not all features listed relate to each camera. Please check individual camera specifications for more details.

© 2015 Sony Electronics Inc. Sony and the Sony logo are trademarks of Sony Corporation. All rights reserved. Reproduction in whole or in part without written permission is prohibited. All other trademarks are trademarks of their respective owners. NEXT ROUNDUP FINE-ART INKJET PAPERS BARYTA DAY REMEMBER THE RICH tonal range and texture of fiber-based darkroom photo paper? A key ingredient, Baryta (also called barium sulfate), helps turn that regular fine-art paper into a bright substrate. The same stuff that helps inkjet paper makers bring such qualities to digital prints. Here are six, some new, that we think are worth a try. (All street prices are for a 25-count box of 8.5x11-inch sheets.) —Adam Ryder

Red River San Gabriel SemiGloss Fiber $24 Red River released this Baryta paper a few years ago with the aim of making high-end fiber affordable. A lightly textured surface and slightly warm tonality give it a natural look. HOT: It contains no optical brightener agents (“OBAs”). NOT: Unless you live in Dallas, you’ll have to order online—Red River doesn’t do retail sales. redrivercatalog.com

Innova FibaPrint Baryta $28 The newcomer of the bunch, Innova has been quick to respond to the latest trends in inkjet paper. It offers an astounding 11 variations of Baryta paper—this one is its flagship. HOT: With a D-max rating of 2.7, the surface promises great contrast and rich blacks. NOT: Its glossy surface is easy to scratch, so use cotton gloves when handling it. innovaart.com

Sihl Masterclass Satin Baryta $29 The group of companies that make this paper trace their roots to 15th century Switzerland, as the quality attests. Designed for black-and-white, it offers excellent contrast and tonal differentiation. HOT: A micro-porous coating lets it dry quickly. NOT: Looking for ultra-heavyweight media? You might not like its 290 gsm thickness. sihlusa.com

Canson Infinity Baryta $29 Made from 100-percent alpha-cellulose plant fibers, this acid-free Baryta paper is, at 310 gsm, one of the thickest we sampled. Its satin finish is unusual for this class and gives the surface a smoother feel. HOT: Dries immediately and is available at up to 50 inches wide. NOT: The less-textured finish feels a bit like older RC darkroom papers—not to everyone’s taste. canson-infinity.com

Moab Juniper Baryta Cotton Rag $34 Legion’s venerable Moab brand is just now releasing a Baryta option. Unlike its competitors, this one is a cotton-based rag paper. HOT: Because it’s made from cotton instead of from wood, its fibers are shorter, allowing the paper to bend easily while still keeping its thickness at 305 gsm. NOT: Some photographers might not like the way light breaks on its textured but glossy surface. moabpaper.com

Hahnemühle FineArt Baryta Satin $37 A recognized name in paper for more than 400 years, Hahnemühle, brings its expertise to the inkjet world with its third Baryta release. The mild satin finish cuts down on the traditionally glossy surface seen in similar papers while still retaining some visible texture. HOT: This is the first Hahnemühle Baryta without optical brighteners. NOT: If you’re only experimenting, you may find it pricey. hahnemuehle.com

18 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM 300mm

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For Canon, Nikon and Sony* mounts *Sony mount without VC www.tamron-usa.com Fall Colors P. 24 Find the Light P. 26 Your Best Shot P. 28 CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED

MY PROJECT BRIGHT STARS An independent celebrities in the films of the the art world because of her Hollywood remake 1940s and ’50s. The idea for her passion for and education in series Hollywood at Home began abstract painting, Smithson was GROWING UP in Los Angeles and when she started to question how transformed into a photographer Aline working her first retail job on the much of a movie star’s image was the moment she picked up an old Smithson corner of Hollywood and Vine, based on the movies and how family Rolleiflex and some Kodak A U.C. Santa Barbara graduate, Aline Smithson became enamored much was solely the styling and Portra film. “A light bulb went off Smithson originally with the Technicolor portrayals posing of their still photographs. in my head as soon as I started pursued a career as of Hollywood’s most glamorous Though she originally entered shooting,” she recalls. an abstract painter.

20 POPULAR PHOTOGRAPHY JANUARY 2016 ALINE SMITHSON (13)

SELECTIONS FROM Once she found her calling, expanded rapidly and she kept and costumes are all me, and I HOLLYWOOD Smithson needed to find her a constant eye peeled for future work really fast,” she says of the AT HOME movie stars to glamorize. To starlets to shoot. “Once, I was varied and unique shots. Smithson regularly expands her series. prove that with the right clothing, in the hospital and one of my Whether she supplies the “I want to continue lighting, and posing anyone can nurses became a subject for me,” costumes or her subjects bring making work for be elevated to celebrity status, she says. “Everyone always loves their own, the clothing and all of my projects,” she enlisted friends and even the results.” scenery always come second to she says. “When someone is a good strangers to be her subjects. Smithson still shoots with the the person in the frame. “Really subject, why not?” Once she realized how easily same fixed-lens Rolleiflex and for me it is about capturing the everyday person can become takes fewer than a dozen shots the person in a beautiful way,” an apparent celebrity, her series for each subject. “The makeup Smithson says. —Sara Cravatts

POPPHOTO.COM POPULAR PHOTOGRAPHY 21 KURT LAWSON THE IMPLICITLIE SHARE 22 shutter wassnapped. before the“artist”attime do notrepresentthescenethatwas altered dramatically.Suchimages they didn’tgrow.Colorsoffoliage composited in.Treesaddedwhere season ortimeofnightand photographed fromadifferent anyone couldbelievethem.Skies go sooverthetop,Iwonderhow the bordersofbelievability.Others manipulated butstayjustwithin images thatIseetodayarehighly photography isallabout. His ideaisthatcreativitywhat could thinkthesceneaccurate. realistic, andanunsuspectingviewer when ithasbeenalteredtoappear scene astheysawit.Noteven their artreflectstherealityof no responsibilitytodisclosewhether suggested thatphotographershave landscapes andwildernessimages, conversation wehadaboutshooting A PHOTOGRAPHER, are manipulated When natureimages He is not alone. Many landscape He isnotalone.Manylandscape POPULAR PHOTOGRAPHY POPULAR POINTOFVIEW in a recent inarecent JANUARY 2016 RODNEY LOUGH JR. their actions: “The negative is the their actions:“Thenegativeisthe an AnselAdamsquotetoqualify one likesbeingliedtoo,dothey? photographer wouldbelying.And no depicts realitywhenitdoesnot, the the vieweroutrightthatimage that ifthephotographerweretotell deception. Certainlyweallbelieve that itisnottantamountto skirts realitywithoutdisclosing or explicit.Creatinganimagethat could beverbalornonverbal,implicit intent todeceive. lie isanycommunicationgivenwiththe always adheredtothisdefinition: when itlooksplausible.Ihave they arelookingatisreal,especially communication toviewersthatwhat silence isanimplicit,nonverbal viewers explicitly?Ibelievetheydo. they havearesponsibilitytoinform photographers alteranimage,do an exquisitecomposition.If comes fromframing,notinventing, representative. Thecreativepart photography isinherently Many artist/photographers use Many artist/photographersuse For me,aphotographer’s But landscapeandnature This communication Thiscommunication A at rodneyloughjr.com. Institution. Seemore as theSmithsonian in museumssuch private galleriesand work canbefoundin landscapes. His of wilderness in boldviews Lough Jr.specializes Oregon, Rodney Based inPortland, Author About the released soon. video seriestobe of atraining during thefilming Lake, California, shores ofMono sunrise alongthe digital back,at a PhaseOneIQ180 modified toaccept RL3d 4x5camera and hisArcaSwiss Rodney LoughJr. photographed Kurt Lawson NATURAL WORLD CAPTURING THE back towhatIsaw,not images, explicitinourimplicitness. the content—andmanipulation—of it’s timewebecomeexplicitabout it isgoodfortheartform.Perhaps policy toemploy,nordoIbelievethat tricking viewerscouldeverbeagood remains silent?Idonotseehow photographer whoknowsbut The unsuspectingviewerorthe they don’tevenknowit. a way,underassault.What’sworse, from itisnotdisclosed,viewersare,in represented asrealitybutitsdeviation So whenaphotographisvisually as truthfulrepresentationsofnature. communication oflandscapeimages perceive thevisual,nonverbal people believephotographs.”Viewers “Not everyonetrustspaintings,but know Adams’sotherfamousremark: that hecreatedbeforehispassing. limited amountofcolorphotography either inblack-and-whiteorthe look naturalwithintheircontext— any ofhisworks,wefindimagesthat photography. Yetwhenwelookat white, ahighlyinterpretiveformof was ofcoursereferringtoblack-and- referred tothisspecificgenre.He photographer; wecaninferthathe Remember, Adamswasalandscape and theprintperformance.” equivalent ofthecomposer’sscore, as Idoyours. hope thatyoucanrespectmychoice But Ineededtostatemyposition and to choosebetweenrightandwrong. strongly believeinaperson’sfreedom not sureIwouldevenifcould, since I do tocontrolwhatishappening.I’m what Isaw,”andnotbelyingaboutit. of anyoneandbeabletosay,“Thatis but Iwanttobeablestandinfront to see.HowIgettheredon’tcare, My goal has always been to get My goalhasalwaysbeentoget So whoistobeheldaccountable? These artistseitherignoreordon’t I realize there is nothing that I can I realizethereisnothingthatcan —Rodney Lough Jr. POPPHOTO.COM wanted

These are the 1,197 eye movements a photographer made while obsessing over the details.

BECAUSE IT’S ALL ABOUT THE DETAILS.

To prove how pro photographers obsess over the details, we invited world-renowned photographer Joel Grimes to print one of his most stunning photographs and have it be scrutinized by his toughest critic – himself. Using eye-tracking technology, we mapped every single eye movement of his relentless attention to detail, ultimately proving how obsessed he really is.

Anti-clogging technology for consistent, high quality prints Stunning shadow reproduction and higher density blacks Remarkably precise and accurate color recreation usa.canon.com/proprinters SHARE PHOTO CHALLENGE FALL FOLIAGE

A vibrant grove ASPEN HUES wins our prize WHILE HIS career might be in ROAD TRIP of the Sierra Nevada region of Cali- of 1.4 sec at f/14 and ISO 100. He inance, Jay Huang’s real passion To photograph fornia, on the hunt for the perfect later made small adjustments in autumn color at just is photographing majestic land- the right time of day, autumn scene. “After I inished Adobe Photoshop CC. scapes. His interest in photog- Jay Huang made the my sunrise shooting at North Lake “I enjoy photographing the raphy blossomed early when as five-hour drive to in Bishop, I scouted the surround- stunning, grand scenes in the Bishop, California, a child he began shooting and where he happened ing area and came across this sunrise and sunset peak times as a exploring urban scenery with upon this group of patch of aspen trees in full fall landscape enthusiast,” Huang says, his parents. “Both of my parents aspen trees. colors,” Huang recalls. “The dark “but once in a while I also want to are civil engineering profession- markings in the main chunk of try some heart-touching, abstract als, so I have been taking photos these aspens caught my eye, and I photos, and this is one of them.” with them of city and architec- felt like I was chatting with a group Our judges found his stirring tural subjects since I was a kid,” of tree geniuses.” composition the best of a strong Huang says, “But I became more The white, wavy trunks with group of contenders in October’s serious in landscape and nature sharp black details made for a Photo Challenge. —Sara Cravatts photography six years ago when visually exciting contrast against In this month's my own kids grew up.” the iery yellow leaves and bright You Can Do It His newfound leisure time greenery on the forest oor. on page 34, photographer allowed for plenty of exploration, Huang relied solely on the beau- Sue Tallon shares her tips for a fresh and Huang ventured ive hours tiful natural light blanketing the take on the still life. Send us your from his home in Pleasanton, group of trees to capture the shot best fruit or vegetable shot against a white background by January 31, and California, to Bishop Creek Valley with his Nikon D800 and 50mm you could win $100. Read the rules at PopPhoto.com/contests. JAY HUANG JAY in the Eastern Sierra, the far side f/1.8G Nikkor lens at an exposure

24 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM 4.6K digital ﬁ lm camera with 15 stops of dynamic range!

Introducing URSA Mini, a handheld Super 35 digital fi lm camera Completely Customizable with an incredible 4.6K image sensor, global shutter and a massive Blackmagic URSA Mini is completely customizable so you 15 stops of dynamic range! The super compact and lightweight can create a rig that’s built specifi cally for your production! design is perfectly balanced, making it comfortable enough for Add accessories like the Blackmagic URSA Viewfi nder and all day shooting. URSA Mini lets you shoot at up to 60fps, features Blackmagic URSA Mini Shoulder Kit, or choose from hundreds a 5" foldout viewfi nder, dual RAW and ProRes recorders, and more! of third party accessories. URSA Mini has 9 standard ¼" threaded Incredible 4.6K Sensor mounting points on the top and bottom of the camera so you can mount it directly to a tripod as well as add accessories URSA Mini can capture images at a resolution and dynamic range such as rails, matte boxes and more. that goes well beyond that of traditional motion picture fi lm so you can shoot your own epic, cinematic masterpiece! You can capture Non-Stop Recording images up to 4608 x 2592, which is larger than 4K DCI, with 15 You never have to stop recording because URSA Mini features stops of dynamic range so you get incredibly clean pictures with two CFast 2.0 recorders! When one card is full, recording amazing detail in everything from the darkest shadows to the automatically continues onto the next. URSA Mini uses the latest, brightest highlights! URSA Mini can record 4.6K at up to 60fps, incredibly fast CFast 2.0 technology for recording speeds up to or 1080 HD at up to 120fps. 350 MB/s. Wide dynamic range images are saved as 12-bit RAW Lightweight and Portable fi les, which are perfect for high end grading and ef ects work, or as broadcast quality ProRes, for easy post production URSA Mini’s perfectly balanced body is made out of space aged workfl ows with minimum storage requirements! magnesium alloys so it’s rugged, yet lightweight and comfortable enough to be used all day. You get a super bright 5" fold out touch screen for on-set monitoring, that can also display overlays for timecode, histograms, audio meters, focus peaking and more! Blackmagic URSA Mini Models URSA Mini features full size, professional connectors, even Blackmagic URSA Mini 4K EF $2,995 12G-SDI, so you don’t need custom cables, plus high quality stereo Blackmagic URSA Mini 4K PL $3,495 microphones and a side grip mounted on a standard rosette. Blackmagic URSA Mini 4.6K EF $4,995 Blackmagic URSA Mini 4.6K PL $5,495 www.blackmagicdesign.com All models include DaVinci Resolve 12 Studio Electronic Viewfi nder, lens and accessories sold separately. ADVERTISEMENT SHARE MENTOR SERIES QUEBEC JIM COLEMAN (CHURCH), JERRE COLEMAN (PORTRAIT) JIM COLEMAN (CHURCH), WORK THE SCENE “The Mentors told me to do 360-degree evaluations of a scene, because the best picture may be behind you. That was exactly the case with this scene,” says Jim Coleman.

EXPERIENCE THE ULTIMATE LIGHT THE WAY Find detail in all layers architecture in the distance. PHOTO ADVENTURE WHILE of a landscape One of the lessons he’s taken from his ENHANCING YOUR VISUAL ive Mentor Series trips came into play HUNTING FOR CREATIVITY AND SKILL. photo opportunities, Jim here: A good landscape needs foreground, Coleman, a civil and environmental engi- middle-ground, and background interest. neer from Coeur d’Alene, Idaho, and wife The cemetery had all three. “All parts of Hands-On Learning Jerre drove around the outskirts of Quebec the scene seemed to jump out at me,” he Exclusive Photo Opportunities City in advance of a Mentor Series explora- recalls. There was character in the grave- Shoot w/Nikon Pros in the Field tion of that part of Canada. As the couple stones, color in the grass and sky, and Special Video & Lighting Workshops drove through the Saint Lawrence Seaway structure in the church—a perfect recipe. Digital Review Sessions town of Les Éboulements, the beautiful Another lesson that came into play: late-afternoon light convinced them that a Follow the light. That’s what the process of Sign up for the Ultimate great sunset was in the ofing. Their quest? photography is all about. If a landscape’s Photo Adventure today! Finding a suitable foreground for it. lighting isn’t good, your picture probably This church and the clouds above made won’t be either. MENTORSERIES.COM them stop. “From the front it was very For this avid shooter, photography is plain. The back of the church, however, more than pictures. “Carrying a camera current 2016 schedule: was surrounded by a well-kept cemetery,” forces me to really look at a scene. The Maui Video • Miami Lighting • Vietnam Coleman remembers. After hiking around geology, buildings, history, and people are Oregon • Tanzania Photo Safari the structure and assaying the graveyard, fascinating,” he says. Photography serves Nashville • Valley of Fire they had second thoughts. as a gateway to understanding, as well as “Looking west over the gravestones seeing, the world. —Peter Kolonia toward the setting sun, I realized that the PRESENTING SPONSOR surrounding area wasn’t going to work for Jim the picture that I had in mind,” says Cole- Coleman man. So they turned around to head back This engineer from to the car—and saw the picture. He was Idaho hopes to continue photographing struck by the soft, straing light, the green North American grass, deeply blue sky, the shadows cast by destinations—and the gravestones, and the church’s unique maybe Africa.

26 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM SHARE YOUR TURN WRITE TO US! [email protected] DUE PROCESS HOW TO CONTACT US 8 weeks for a change of In “Film Rules” (November EDITOR’S NOTE: RAW files must be converted Address your questions or address; include both your comments on editorial content old and new addresses, and 2015), Rule 7 is incorrect, at to be read, and TIFFs preserve the most file to Popular Photography, 2 Park if possible an address label data. Using the included software lets us test Avenue, New York, NY 10016; from a recent issue. Subscrip- least in Upstate New York. email, PopPhoto@bonniercorp. tion prices: U.S.: 1 year, $14; what people get when they buy the camera; com. Published letters may be 2 years, $28; 3 years, $42. Rite Aid stopped photo pro- edited for length and clarity. Canada: 1 year, $26; 2 years, cessing (film and digital) at it may be the only way new users (including We regret that we cannot $52; 3 years, $78. All other us) can convert their RAW files—we often test answer all letters. Editorial foreign: 1 year, $38; 2 years, least six years ago. Target contributions sent by mail must $76; 3 years, $114. Occasion- cameras before Adobe has updated for them. include return postage and will ally we share our information and Walmart stopped in be handled with reasonable with other reputable Also, we use default settings to express what care; however, we assume companies whose products the spring of 2012. The only no responsibility for return or and services might interest the camera maker believes to be optimum safety of photographs, disks, or you. If you prefer not to local place that still does film performance. But, of course, you should manuscripts. participate, please contact us at PPHcustserv@cdsfulfillment. processing is Walgreens. process RAW files in whatever way suits you. SUBSCRIPTIONS com or popphoto.com/cs. Visit PopPhoto.com/cs for all Dave Hoffmann subscription inquiries, call us REPRINTS Gansevoort, NY IN “TOP DROPS” (You Can Do It, November), at 800-876-6636, or email us AND EPRINTS at PPHcustserv@cdsfulfillment. For Reprints, email reprints@ you talk about “reflecting” a subject “in com. Please allow at least bonniercorp.com. WHY DO your camera tests use “RAW files hundreds of droplets.” I see this misnomer FIND US ONLINE converted to TIFFs using the software that often. Those images in the water droplets comes with the camera,” as stated in your are not reflections but rather refractions, Sony A7R II review (November)? I process and the words are not interchangeable. A RAW files using Adobe Photoshop and mirror reflects light; a lens (which is what Lightroom. What I want is the best camera these droplets are) refracts light. TWITTER.COM/ FACEBOOK.COM/ INSTAGRAM.COM/ for producing RAW files. Tom Reese Richard Bauman POPPHOTO POPULAR POPPHOTOMAG PHOTOGRAPHY Atlanta, GA West Covina, CA SHARE PHOTO CONTEST

Want to enter? Get the rules and upload your images at PopPhoto YOUR BEST SHOT .com/contests. This month’s winners took high-impact images 3rd Place $100 Prize BOB LARSON, 50, BEHAVIORAL HEALTH TECH, PRESCOTT, AZ Bob Larson proved that art can be made anywhere when he captured this high- contrast photograph in a parking lot in downtown Prescott, Arizona. When business brought him to the garage one day, he noticed that the light was just right. “I love finding abstract beauty in something as innocuous as a parking garage,” he says. The setting sun upped the contrast, and Larson got his shot; he later converted to black-and-white to boost its graphic appeal. TECH INFO: Sony Alpha 7 with 14mm manual Rokinon lens; exposure, 1/125 sec at f/11, ISO 100. RAW and b&w conversion and basic adjustments in Phase One Capture One Pro, Adobe Photoshop CC, and NIK Silver Efex Pro 2. 2nd Place $200 Prize MIKE SWARTZ, 38, WEB DEVELOPER, SEATTLE, WA While this photo is one of spontaneous action, the preparation for it was anything but. Mike Swartz studied the art of lighting water droplets before this shoot, and set up a tent in his driveway with someone on hand to splash his subject with water as he shot. Swartz used a Canon Speedlite 430EX II ash, a white shoot-through umbrella, a 4-foot LED shop light, and a Cowboy Studio remote trigger to freeze the droplets in mid-air. “When he looked toward the light, I knew it was really good,” the photographer recalls. TECH INFO: Canon EOS 5D Mark II with 24–70mm f/4L Canon EF IS USM lens and B+W UV filter and Canon Speedlite 430 EX II flash and 4-foot LED; exposure, 1/160 sec at f/22, ISO 400. Basic adjustments in Photoshop Lightroom CC.

28 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM

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30 POPULAR PHOTOGRAPHY JANUARY 2016 1st Place $300 Prize SUSAN TAYLOR, 60, FINE-ART LANDSCAPE & NATURE PHOTOGRAPHER, SAN FRANCISCO, CA When it comes to a lightening storm over Yosemite National Park, Susan Taylor can’t resist. “I will drop what I’m doing, pack up my camera gear in minutes and drive my well-stocked truck to the mountains in a heartbeat,” she says. When she camped out at Tunnel View in Yo- semite on one particularly stormy night, she awoke near dawn and took advantage of her sleeplessness. When she aimed her camera for the shot, lightening struck at the perfect moment. “I didn’t expect to capture a dramatic ash during my irst attempt,” she says, “It was once in a lifetime!” TECH INFO: Canon EOS 5Ds R with a 16–35mm f/2.8L Canon EF II USM lens at 16mm, mounted on an Induro tripod and Really Right Stuff BH-55 head; exposure 10 sec at f/22, ISO 100. Edited in Lightroom 6.

POPULAR PHOTOGRAPHY 31 Advertisement THE REAL REASON WE NEED TO LEARN HOW TO USE OUR CAMERA GEAR

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YOU CAN DO IT RED ZONE Try a raw still life LOOKING FOR a new still life project? Try shooting raw fruits or vegetables. They’re readily available, can be beautiful, cost little, and— unlike cooked or frozen food—they can hold their shape, color, and attractiveness for days or even weeks at a time. And you can still eat them when the shoot is over. “The best food photography starts with the subject itself,” says Sue Tallon, the San Francisco-based pro who shot this tomato with basil. “I didn’t decide one day that I wanted to shoot a cool picture of a tomato. Instead, I saw the

SUE TALLON (TOMATO) (TOMATO) SUE TALLON tomato and more importantly

34 POPULAR PHOTOGRAPHY JANUARY 2016 its wonderful, wiry stems and simple subject and let everything knew immediately that I had to else in the shot fall away.” Step 3 photograph it.” Also, pay attention to your Build your set. The takeaway? Don’t start lighting, says Tallon. “Light your Place the camera so you’re your still life project until you’re food to produce nice reflections shooting straight into the inspired by a subject with the right off its shiny surfaces.” Light subject. As for lighting, simple combination of form, color, and from above to help suggest your window lighting will often character. Find a fruit or vegetable subject’s shape. “Use window light work. Tallon, however, placed that you want to immortalize, and at first to get the hang of what a strobe light in a softbox you’re ready to start. makes beautiful light. Then figure above the tomato to produce “If you’re new to still life out what mood you want: dark and the white reflections, a back photography, I suggest that you moody with deep soft shadows, or light to brighten the white THE keep it simple,” says Tallon. bright and blown out with washed background, and two fill lights “Focus on beautiful things and out highlights and very open in front to lighten shadows. GEAR CANON EOS-1D X don’t clutter the image with shadow areas. You have to learn “Unless you want to convey a Tallon shot with the unimportant objects. Pick a how to recognize beautiful light dark or mysterious look, avoid Canon EOS-1DS before you can make it,” says the dark shadows,” she says. Mark II (since A STUDY IN photographer. —Peter Kolonia replaced by the 1D CONTRASTS X, below). Its This still 16.7MP sensor life seems Step 4 captured all the simple, but it Step 1 Finesse your setup. detail she needed for is pictorially Source your subjects. Visit the Tallon didn’t want the tomato her vegetable still complex: Its life. $5,300, street reds and greens best food markets and look long to appear to be floating freely are opposites— and hard for the right specimens. in space, but needed it to CANON EF warm- and “Some fruits and vegetables have appear anchored to a surface. 100MM F/2.8L IS cool-toned—and USM MACRO the subject is real personality or something that To give it that anchored “I positioned the lens both angular feels particularly interesting,” says feeling, she created reflections so that I was and round. Tallon. “That’s what you’re looking underneath the tomato with shooting straight into the subject for for. This tomato had a voluptuous the help of a sheet of clear, TECH DATA an iconic point of Tallon used a shape and more importantly that highly reflective Plexiglas view” says Tallon. tripod-mounted beautiful stem! It reminded me of placed on her white tabletop. $800, street Canon EOS-1DS a Tim Burton character—all wiry Mark II and 100mm f/2.8L and awkward.” Canon EF IS Final Step USM macro Set exposure, lens. Step 2 shoot, then edit. Gather your gear. Almost any Tallon wanted a fully DSLR or ILC and macro lens will sharp subject from do. To add a flattering sense of front to back and so compression, use a 100mm or set a minimum lens 180mm macro. If you want to aperture (f/22) for the exaggerate the roundness of a shot. After shooting, fruit or vegetable, a wider macro she took her tomato into (i.e., 60mm) will do the trick. Adobe Photoshop CS6. “Postproduction was all about cleaning up the white background to make it pure white with no detail and removing any dust, marks, or distracting details from my subject, while slightly pumping up its color and impact,” says Tallon.

POPPHOTO.COM POPULAR PHOTOGRAPHY 35 HOW TIPS & TRICKS FIX IT FAST ESSENTIALS DECODER Confused by photography acronyms? Here are two you’ll run into often. CMOS—Complementary Metal-Oxide Semiconductor The photo sensors of CMOS imaging chips convert light levels to corresponding voltages, which are then converted to digital data from which images are made. These chips are constructed using the CMOS technology used to make integrated circuits. AFTER DNG—Digital Negative Developed by Adobe, DNG image files constitute an unprocessed, lossless image format. Unlike most RAW formats, DNG is open, nonproprietary, and royalty-free. OLD Due to its universal availability and the fact that it’s supported by all Adobe image editing and organizing software, the DNG TIME format is generally considered Keep the color but suitable for long-term archiving BEFORE of digital images. add some blur JIM WOODSON JIM WOODSON’S pleasing scene told me that Woodson had used LAZY RIVER in Adobe Photoshop CS6, angling it along Bent Creek in Asheville, North 1/60 sec for his shutter speed, and I Jim Woodson to parallel the shoreline and moving shot with the Carolina, had an antique feel that couldn’t help but wonder what the Nikon D700 in the same direction that the water I found lovely. When I opened the scene would have looked like if it and 24–85mm seemed to flow. Before doing that, original file, though, I found that had been taken at a full second or f/2.8–4D however, I made a mask, selecting just it already had a nice old-time look two. The creek’s surface would have AF Nikkor, the water so that the blur would be exposing for seeming more simple and authentic become a smooth blur, eliminating 1/60 sec at contained to that part of the scene. It than Woodson’s edited version. the distraction of its ripples and f/8, ISO 200. simplified things in a way that didn’t At first glance, I thought the producing an overall simpler seem artificial, but natural. If I had original file was very monochromatic, rendering of the scene. been in Woodson’s shoes, I probably almost as though it had been I decided to try to replicate how would’ve shot a few brackets of the captured in black-and-white. But a the creek would have appeared if it creek, experimenting with shutter closer look revealed traces of green in had been captured with that longer, speeds to find just the right water blur. the leaves and grass popping through slower shutter speed. To do it, I Total fix time: less than 5 minutes. the morning mist. I liked the picture applied a motion blur to the water —Fiona Gardner more with these faint touches of color than I did as a strictly monochromatic rendering or the sepia tone the BY THE BOOK photographer chose. The weak color ACHIEVING YOUR POTENTIAL AS A PHOTOGRAPHER underscored the overcast charm By Harold Davis; Focal Press, 2016 Quoted in our feature of the landscape that morning, so I about personal projects (page 64), Harold Davis is a fine-art photographer and busy workshop leader. His book is an invaluable resource for decided to keep the original color. those who want a more rigorous relationship with photography. Most Next, a glance at the file’s metadata interesting? Its 46-page workbook of creative exercises and projects. Among our favorites are his techniques for treating photography as play. 36 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM WIN WITH ROKINON WIDE ANGLES Rokinon 14mm f2.8IF ED UMC on Canon EOS 6D Yang Lu (www.yangluphotography.com)

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TRAVELING PHOTOGRAPHER is vast, and isvast,and JANUARY 2016 says Boltjes. the occasionaldolphinorsealion,” changing rockformations,andeven find jaggedcliffs,coves,caves,ever- “Walk alongthisbeachandyou will Matador StateBeachinMalibu. and personalities,”hesays. “Venice hasawildvarietyofpeople depending onhowyoulookatit.” is bothbeautifulandspooky— come tocastoffandthescene and 6o'clock,thediehardfishermen he says.“Earlymorningbetween4 amusement parkrolledintoone,” landmark, fishingground,and 106-year-old pier.“It’satourist favorites isSantaMonicaandits beaches, andoneofDiamond’s continuously changingforeground. the colorfullylitfountainsprovidea different viewofthecity.”Atnight, “Every anglegivesyouatotally says localproStephanieBoltjes. great frameforarchitecturalshots North HopeStreet.Theyprovidea and Powerheadquartersat111 Among Boltjes’s favorites: El Among Boltjes’sfavorites:El Nearby VeniceBeachisalsofun: L.A. hassomeofCalifornia’sbest LOS ANGELES —Jeff Wignall Lawn ChristmasWindows 1,000 stained-glasswindows,including including anexactreplicaofMichelangelo’sDavidandmorethan Allen, SammyDavisJr.andmore),ithasamuseum’sworthofart, curtain forcountlessHollywoodlegends(GeorgeBurns,Gracie Check theonline calendar forthespecifics. Graffiti/Mural Tour takesyouintotheheartofstreet-art world. enclaves, studios,lofts,andcreative spaces.TheL.A.Downtown Small groupandprivatetoursofcool, off-the-beaten-pathart L.A. ARTTOURS670Moulton Ave#9A 2800 EastObservatoryRoad GRIFFITH OBSERVATORYANDPARK photo collection.Free.Info:(310)440–7300. an architecturalandlandscapewonderland.Andthere’saterrific on amountaintopoverlookingL.A.thatprovidephotographers One oftheworld’sgreatmuseums,Gettyhassprawlinggrounds THE GETTYCENTER1200GettyCenterDrive 1712 SGlendaleAve, 2000 AvenueoftheStars ANNENBERG SPACEFORPHOTOGRAPHY HERE AREFIVEWORTHYDESTINATIONS. ART, SCIENCE,HISTORY,ANDPHOTOS. L.A. ISLOADEDWITHCONNECTIONSTO MORE THANMOVIES FOREST LAWN CEMETERY FOREST LAWNCEMETERY only). Free.Info:(213)473–0800. Photos permittedindoorsandout (tripods allowedoutdoors the majestic-lookingGriffithisahubofallthingsastronomical. and offeringspectacularviewsofthecityitsHollywoodsign, exhibit (endsMarch20): devoted toexhibitingbothdigitalandprintedimages.Current Free. Info:(213)403–3000. the photosof National Geographic LIFE: AJourneyThroughTime , throughJanuary31. annenbergphotospace.org This prestigious L.A. space is ThisprestigiousL.A.spaceis griffithobservatory.org photographer Frans Lanting. photographerFransLanting. Located on Mount Hollywood Located onMountHollywood More than just a final More thanjustafinal Light & Hope: The Forest Light &Hope:TheForest getty.edu laarttours.com f/8, ISO100. was 1/350secat lens. Hisexposure Canon EFUSM and 135mmf/2L Canon EOS10D Beach usinga Santa Monica shot thisviewof Jesse Diamond COAST CALIFORNIA

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Stand Up To Cancer is a program of the Entertainment Industry Foundation (EIF), a 501(c)(3) charitable organization. Photo Credit: Randall Slavin THEANO NIKITAS HOW TRY ITOUT want tocompare sidebyto are idealforversionsthatyou your harddrive.VirtualCopies they takeupscarcespaceon and nottheactualphysicalfile, use onlythedevelopsettings etc.). BecauseVirtualCopies black-and-white, highkey, the sameimage(e.g.,color, create differentversionsof Virtual Copies,allowsyouto fussing withmultipleundos. unwieldy Historypanelor and stillavoidusingtheoften- efficient waystoexperiment years oldthismonth)offerstwo (which incidentallyturns10 Adobe PhotoshopLightroom our picturestoearlierstates. it’s crucialtobeablereturn far fromouroriginalidea.So directions, frequentlystraying often veeroffinmultiple when editinganimage,we 40 How tondthebestversionofyourpicture AS WEWORK The firstmethod,called POPULAR PHOTOGRAPHY POPULAR

SOFTWARE WORKSHOP throughideas JANUARY 2016 way through multiple edits. multiple through way easy methodsofworkingyour Snapshots offerefficientand Photoshop, too(seeQuickTip). and areaccessiblefromwithin appear asseparateimages) than VirtualCopies(which take uplessscreenrealestate not sidebyside.Snapshots view themonlyoneatatime— Unlike VirtualCopies,youcan various stagesinyourprocess. branch offandre-editfrom earlier points,allowingyouto return toyoureditatdifferent Snapshots asyouworkand point. Youcanmakemultiple settings youappliedtothat state, retainingallthedevelop capture animageinaspecific full resolutioninonestep. you canoutputallthefilesat decide whichyouprefer.Then Both VirtualCopiesand In contrast,Snapshots LIGHTROOM —Theano Nikita s drive space. eating uphard image without versions ofyour to createmultiple Use VirtualCopies SAMPLE STILLS image will appear in Lightroom. image willappear inLightroom. > Save.Aneditedversionofthe return toPhotoshop,thenclick File your earlierSnapshots.ClickOK to the Histogram)andchooseone of the Snapshotsicon(farrightunder other SnapshotsfromACR,click on image inCameraRaw.Toaccess in theLayerspaneltoadjust double-click theimagethumbnail Object inPhotoshop.OncePS, and chooseEditin>OpenasSmart Lightroom —right-click onanimage in Photoshop—directlyfrom To editVirtualCopiesorSnapshots WORK WITHPHOTOSHOP QUICK TIP Step 1 Import your photo. Then right-click on the image and choose Create Virtual Copy from the drop-down menu (or go to Photo > Create Virtual Copy). A copy of the image will appear in the work area and in the filmstrip, where it will show a small page curl in the lower left corner. Step 2 Select the Virtual Copy (if it isn’t already selected), then switch to the Develop module. I wanted to give the image a warm, monochromatic look so I chose Creamtone from the FIND YOUR COPIES The curled corner Lightroom B&W Toned list in the (circled) designates a Virtual Copy. Presets panel. I then used the Local Adjustment Brush to bring out some of the details in the shadows of the subject’s hair. I left the background shadows as-is for a more dramatic look. Step 3 When you’re happy with the image, return to the Library module. If you’re ready to Export the image, skip to Step 4. Otherwise, open the Metadata Panel. Click on Captions and add a description, such as “Creamtone with shadow adjustments to hair.” To continue making variations, right-click on the original image to create another virtual copy. I made several variations using different presets and adjustments. In the Library module, view the variations side by side to pick your favorite. USE YOUR METADATA Add caption info and automatically add it to your file name later.

POPPHOTO.COM POPULAR PHOTOGRAPHY 41 HOW SOFTWARE WORKSHOP LIGHTROOM Step 4 To export virtual copies as individual files, select all the thumbnails you want to save. Click File > Export and enter your preferred settings. Under File Naming, use the pulldown menu to select Rename to: Edit. In the metadata subsection, choose Caption. This will allow you to include the caption information you entered earlier in the file name. Click Done, then click Export. Step 5 If you don’t need to compare radically different versions of your photograph and instead want to keep track of your work at various stages, use Snapshots. To make one, start to process your image in the Develop module. Then, in the left panel, click the plus sign (circled) next to the word Snapshots. Name it and click Create. At various intervals of editing, continue PAST STATES The names of to create Snapshots. As you your Snapshots appear in a edit, you can return to any list on the left. Snapshot to further tweak the image without searching through your History or starting from the beginning. Click on a Snapshot to return to that step. Delete a Snapshot by clicking the minus sign in the Snapshots header. Final Step To export a Snapshot, click on the snapshot name in the Snapshots panel. Go to File > Export. Choose the settings you want and click Export. Then repeat for each Snapshot you want to save as an individual file.

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lighting techniques, his solutions amount to a strobe workshop in a single shot. His challenges? He had to DUNK THE SUN freeze Davis sharply in mid- Make Helios shoots, especially from a lighting HIGH FLYING air at an exposure that would standpoint, that I’ve ever done.” Dustin Snipes used record the sun at the right size, your subject a Nikon D810, He and his client, Red Bull, spent exposing the scene plus generate enough light to “TO LIGHT this shot of NBA months planning the project. for 1/250 sec at minimize flare from the sun, superstar Anthony Davis Why so difficult? Because f/6.3, ISO 32. For while still showing detail in both more of his stellar appearing to dunk the sun, I the magic had to happen in sports photography, the athlete and the backboard. had to use almost every tool in the camera with minimal visit his website at First, to make the sun appear my arsenal,” says Los Angeles- postproduction digital retouching, dustinsnipes.com. the right size, his assistant held based sports pro Dustin Snipes. a task he had neither the time nor a basketball on set in preshoot “It was definitely one of the the budget for. As an example of testing and Snipes adjusted the

DUSTIN SNIPES most technically challenging an extremely creative exercise in lighting until the sun matched

44 POPULAR PHOTOGRAPHY JANUARY 2016 A A

TOOL C TIPS B TIFFEN VARIABLE

NEUTRAL DENSITY KRIS HOLLAND/MAFIC STUDIOS FILTER Blocking For this mid-air portrait of NBA great Anthony Davis, Dustin Snipes between 2 and 8 hauled in a mix of Broncolor Scoro and Move strobe lights (A) that stops of light, the gave him enough light “to overpower the sun.” He juiced five lights filter lets you choose from four Broncolor power packs (B, only one is shown) and shot an exact degree of with a Nikon D810 and 24–120mm f/4G AF-S Nikkor ED VR lens neutral density and (C). “Somebody asked me why I was shooting with a kit lens, and eliminates the need I answered that it was the right tool for the job,” says Snipes—he for multiple ND chose it after testing about 10 lenses because it produced just the filters. $145, street, right amount of flare around the sun. If the sun’s edge had been too for the 77mm size sharp, it would have had to be positioned almost exactly next to BRONCOLOR Davis’s hand to look right. The lens flare gave the photographer some leeway. Want to try this yourself? Placing the lights much closer and MOVE 1200L shooting the subject in silhouette will make it easier. POWER PACK AND STROBE HEAD KIT Powered by a rechargeable Lithium battery capable of the background,” says Snipes. Because Snipes had to position 230 full-power pops “I knew if we doubled up a his lights off-court, their output per charge, the pack whole bunch of lights we could had to travel relatively far to delivers 1200 Watt over power the ambient light reach his subject. “I got the throw seconds to two heads, with and that’s what we did.” He from my Broncolor P45 and P65 action-freezing flash used five Broncolor strobes reflectors. These really hard durations as short as running off of four powerpacks, reflectors delivered every Watt 1/20,000 sec. configured as a single, very second of light that my Broncolor $7,105, street. bright front light source. power packs could produce,” says the ball in size from the The flash bursts had to be the photographer. camera’s perspective. During ultra short. “If your strobes’ flash All of this light on the scene those preshoot tests, his team durations aren’t fast enough, you led to a serious problem of its also mapped out to the can get a ghosting effect. You’ll own: overexposure. Shooting inch where the athlete, freeze part of the player, but with a DSLR whose maximum lights, and camera other parts of him will show flash sync speed was a relatively needed to be positioned. a blurred trail behind him slow 1/250 sec, even at his lowest Sizing the sun led to its called ghosting,” Snipes explains. ISO (32) and smallest aperture own problem: “To reproduce “I lit with Broncolor Scoro and (f/22), Snipes would have blown it at a small enough Move packs because they have out all the detail. So he tamed size that Anthony relatively short flash the exposure with the help of a Davis could appear to durations.” At his power variable neutral-density filter. Set be holding it, we had setting, the durations were to about –3 stops, the ND filter to throw enough light about 1/4000 sec, fast helped him balance the lighting at him that we could enough to freeze his between both his subject and the seriously underexpose entire moving subject. background. —Peter Kolonia

POPPHOTO.COM POPULAR PHOTOGRAPHY 45 Advertisement

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To Learn More Visit. www.karltaylorphotography.com/make-money Learn Faster. Learn Better. GREENLAND Photographers Sebastian ICE CAP Ice crystals can Copeland and Jon Cornforth create a halo braved deep cold and dangerous SCENIC ANIMAL called a “sun dog.” 50 MASTER 53 EXPERT Copeland shot predators to capture the Sebastian Jon Cornforth with a Canon EOS Copeland shares his 5D Mark II and stunning landscapes and describes his secrets for 16–35mm f/2.8L incredible wildlife of the Arctic. photographic capturing Arctic Canon EF lens; journeys on the wildlife and 1/1250 sec at These are the pictures and the ice—often surviving f/7.1, ISO 100. stories they brought back. alone. unscathed. SEBASTIAN COPELAND,SEBASTIAN SEBASTIANCOPELANDADVENTURES.COM POPPHOTO.COM JANUARY 2016 POPULAR PHOTOGRAPHY 49 Sebastian Copeland Dedicated to environmental QAANAAQ BAY, timing, and logistics involved in causes and polar exploration, my GREENLAND getting the shot are the things at on ice, sea, and sky The high mass of strategy has been to get in front of salt water and high which great outdoor photographers LUCK HAPPENS when preparation the right subjects and renounce density from frigid excel. Once you get there, pressing meets opportunity. And prepara- the more traveled—and therefore temperatures make the shutter can be the easiest part. for still waters and tion matters nowhere more than more photographed—places, but My most memorable experi- perfect reflections. in wilderness expeditions, where that is easier said than done. In Shot with the same ences have been my long trips onto the right gear, timing, and location the polar regions, jockeying for gear as the previous the ice, whether on the Arctic sea can mean the difference between position is a skill as important as page; 1/400 sec at or the Greenland and Antarctica f/5.6, ISO 200. a career high and a very expen- your technical and creative prow- ice caps. A long expedition always

SEBASTIAN COPELANDSEBASTIAN sive camping trip. ess. And the research, planning, means pulling a heavy sledge and

50 POPULAR PHOTOGRAPHY JANUARY 2016 traveling on skis—I have accumu- of planning at considerable cost, of water—frozen or liquid—and the lated more than 5,000 miles under including chartering a special ight low angle of the sun limit the color my skis. The sledge is your lifeline, just to get to the starting line. spectrum, while the stripped-down but its weight is what you curse For visitors seeking immersive landscape imposes focus. Visually, most days! So I pack carefully, espe- experiences, the Arctic makes for clouds and ice are kindred spir- cially as I usually travel either alone thrilling and humbling exploration. its: Low contrast celebrates blues, or with only one partner. Equip- As with all landscape photogra- and ice can acquire an iridescence ment failure or omission would phy, your visual payoff is equal to unique to polar photography. Dur- force me to abort. And the conse- the time you invest. But the Arctic ing the melt season, the high den- quences are signiicant: these trips richly rewards those efforts when sity and mass of the coastal waters take months and sometimes years everything lines up. The dominance create ethereal reections.

POPPHOTO.COM POPULAR PHOTOGRAPHY 51 B&W IN densities, so if the shot demands it, I GREENLAND will use the tripod and shoot two or The wind shapes three exposures to combine in post. the surface of the ice one particle at a Gear management, like safety, time. Copeland was requires planning. In the deep freeze, pinned down in his the warmth of an eyelid will fog tent for seven days by a vicious storm your viewinder for the day. When blasting 80 mph it is very cold, I will often capitalize The arctic sun will often spoil tion without proposing to deliver a winds when this on very wide lenses to deliver an an image unless it is very low on inished look. I do about 70 percent image was taken. approximate frame. Live view mode Shot with same the horizon, deining the landscape of my postprocessing in RAW, then gear as before; drains too much power, but the LCD with shadows. Bright light on white inish in Adobe Photoshop where I exposure 1/400 is critical for micro framing adjust- ice creates too much contrast. I selectively paint in areas to adjust sec at f/9, ISO 100. ments and those histogram readings. often travel in 24-hour daylight. tonal levels and sharpness. My Some locations are conducive to ELLESMERE This helps with ISO settings: I frames rarely get cropped. ISLAND, CANADA solar charging for batteries, while rarely shoot higher than ISO 160. Weight issues limit my bag to Otto Fjord is on the others, in the colder months, won’t The transition to digital from three zooms and two DSLR bodies northernmost island allow it, given the sun’s low angle. of Canada’s Arctic. ilm has been a blessing to polar (one is a backup) and a carbon- Battery life is a constant source of One of its glaciers photography. Gone are the days iber tripod (which I rarely use), spits out icebergs concern: To conserve power, keep of frostbitten ingers from loading all rugged enough to withstand like an ice cube them out of the frozen camera ilm, broken sprockets and spoiled extreme cold and moisture. But dispenser, making when not in use. They will lose up to for great shooting rolls, and external light meters! my go-to lens is the 16–35mm f/2.8 60 percent of their life in very cold opportunities—if Today, the histogram is my bible. zoom; it accounts for 75 percent you bring a skiff. temperatures. But that power can be In cloudy environments, I favor of my work. This dates back to my Shot with the recovered by warming the battery, the dark end of the histogram and learning days, when I was told to Canon EOS-1Ds which is why I always keep them on Mark II and work that in post to bring out the shoot with only one lens and learn 16–35mm f/2.8L me, in spite of the handling hassle. highlights. On sunny days I do the to master it—mine was a 24mm. lens; exposure, What about the joy of reviewing opposite, still careful not to clip the Now I often shoot wider than that. 1/1600 sec at your work after a long day? Painful highlights but also being sure not And I avoid ilters, but mostly for f/4.5, ISO 200. though it is, when battery life is an to overcompensate for the scene’s eficiency: Threading a ilter in sub- obsession, that is a luxury you can’t brightness by underexposing. In freezing temps is just one more afford. It will have to wait until you capture, I like a low-contrast shot step that can go wrong. I some- return to civilization—along with the

SEBASTIAN COPELANDSEBASTIAN (2) that will give me the most informa- times miss my graduated neutral- hot bath and cocoa!

52 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM Jon Cornforth on Arctic wildlife is from late spring SVALBARD, The biggest challenge is actually until early fall, but especially during BRENNE- inding the wildlife. It helps to hire the fauna you’ll ind VINSFJORDEN the peak summer months when a local captain or guide who knows Fisheye perspec-

I WILL NEVER forget the irst time there are 24 hours of daylight. At tive of a mother where to go. There are some loca- I encountered a polar bear or 80°N in June the sun is never lower polar bear walking tions where animals congregate, but stood waist-deep in water near a than 20 degrees above the horizon. on ice. Shot with a with a predator like the polar bear monopod- sunbathing walrus. Sure, Arctic Being able to photograph whenever I roaming around, seals and walrus are mounted Canon regions are challenging, surreal want presents me with the problem EOS 5D Mark III extremely wary. It is especially hard to places. But the icy wilderness and of inding time to sleep. I prefer to and 15mm f/2.8 approach animals resting on ice: They its inhabitants gave me some of my stay awake through the night and Canon lens with will disappear beneath the surface Aquatech surf best images. Over the past decade, then sleep into the early afternoon. at the slightest threat. On the other housing and I have traveled to parts of Alaska, Of course, any time there are ani- remote trigger; hand, polar bears can be too inquisi- Canada, Iceland, and Norway. mals to photograph I stay up as long 1/500 sec at tive, requiring your constant vigilance. f/13, ISO 320.

JON CORNFORTH, CORNFORTHIMAGES.COM JON CORNFORTH, The ideal season to photograph as the subject allows. Capturing wildlife demands a cam-

POPPHOTO.COM POPULAR PHOTOGRAPHY 53 UNDERWATER WALRUS A fisheye lens view of a walrus resting on an iceberg underwater. Shot with the same gear as polar bear on page 51; exposure, 1/200 sec at f/7.1, ISO 320.

54 POPULAR PHOTOGRAPHY JANUARY 2016 era that can withstand the elements and shoot at a high frame rate. Trav- eling in the Arctic often means ying on small aircraft with weight restrictions, so skip the heavy supertele. A 300mm, 400mm, or a zoom in the 200–400mm range is ideal. To explore Svalbard, Norway, for a workshop I was leading, I hired a captain with experience snorkel- ing with walrus. But he decided a polecam (basically an underwater camera on a stick) was more effective than getting in the water. I used a surf housing attached to my aluminum monopod. My DSLR with a 15mm i sheye lens snugly i ts inside the housing with an 8-inch dome port attached. I trigger it using a long MOTHER AND CUB Svalbard, Brenne- waterproof shutter-release cable. My vinsfjorden, Norway. standard underwater settings are to A fisheye lens overexpose by about a half-stop at perspective of a How to pack when you’re headed for frigid climes 1/200 sec in shutter-priority mode. mother polar bear and her cub on ice, PICK THE RIGHT ’POD. “I prefer to use basalt or carbon-fiber tripods After several days of uneventful • same setup as the in cold climates,” says Cornforth. “They are lighter and not as cold to sailing north of Longyearbyen, we previous page. handle. Basalt tripods do not dissolve in salt water like carbon fiber, arrived in search of walrus at the Exposure: 1/500 plus they are slightly less expensive.” ice edge near Svalbard’s north cape. sec at f/8, ISO 320. •MIND YOUR BATTERIES. “In cold weather—and I mean double nega- We eventually came across about a ATLANTIC PUFFIN tive digits—batteries will drain their power faster,” says Copeland. “The dozen, all resting on the same tiny A puffin in Iceland, good news is they will recover most of it when warmed. I keep them iceberg. We loaded into our in atable NW Fjords, on me. It requires the extra steps—without gloves!—to load and unload boat and set out to photograph them. Látrabjarg, at them, but it is better than the alternative.” sunset. Captured Of course, they were quite skittish, so with 5D Mark III, •WATCH OUT FOR MOISTURE. “Condensation is a traveling com- we maintained a respectful distance. and 300mm f/2.8 panion in cold environments,” Copeland says. “It builds when gear is Several of the beasts decided to move Canon EF IS II lens; very cold and comes into a warm environment.” He leaves his camera off, but a few remained in place as Exposure, 1/640 outside his tent most days to avoid this effect. sec at f/3.2 and we approached. Leaning over with ISO 320. my polecam ready and my arm standing on the bow of the sailboat best locations to see them is the bird outstretched, I got right next to the with my tele lens ready, when she cliffs at Lá trabjarg in the Northwest walrus for an underwater portrait. quickly approached. She stood up Fjords. The pufi ns are easily acces- The apex predator of the Arctic is on her hind legs just an arm’s length sible and best photographed in late the polar bear. Every visitor hopes to away with only the metal railing afternoon when they return from photograph one, but since they are between us! My captain assured me i shing. They are so approachable camou aged and spend their lives it was safe, so I grabbed my polecam that you don’t need a long lens. I also on the ice stalking their prey, they are and cautiously leaned over the edge. left my tripod and gimbal in the car not easy to i nd. Most photographers I set my camera to 1/500 sec in shut- since it was easier to move around will encounter them from the safety ter priority and slightly overexposed and compose without them. I was of a ship or, better, a small boat. Since the image. She repeatedly checked lucky to get two nights in a row of the bears’ fur and the snowy scene out my camera at point-blank range beautiful light and I experimented are so bright, overexpose your images for more than an hour. It was an with different backgrounds that by at least 1 stop to compensate. unforgettable encounter. varied from the sky to sunlit cliffs. Imagine my surprise when I found On another trip, I went to Iceland The Arctic is never easy or my underwater polecam necessary just to photograph Atlantic puf- inexpensive to visit, but it offers the for photographing an exceptionally i ns. These charismatic birds live chance to photograph some of the

JON CORNFORTH (3) JON CORNFORTH curious polar bear with her cub. I was throughout the Arctic, but one of the most unique wildlife on earth.

POPPHOTO.COM POPULAR PHOTOGRAPHY 55 OUR 2015 NOMINEES Clockwise from top left, this year’s contenders are the Canon EOS 5Ds, Panasonic Lumix GX8, Samsung NX1, Sony A7R II, and, in the center, the DxO One.

Photographs by Brian Klutch

56 POPULAR PHOTOGRAPHY JANUARY 2016 for example, Canon has pushed the limit of the full-frame 35mm format to a whopping 50.6MP. And that’s only the beginning: At Canon Expo this year, the company showed off a prototype of a 120MP DSLR and a demo of the capabilities of a 250MP APS-H-sized sensor. But with the bump in megapixels we also continue to see increased real-world resolving power in our lab tests, and more detail in the images Massive megapixels, incredible shot in our ield tests. With so much progress clearly being low-light performance, and superb made, it’s hard for us to cry foul. All these pixels produce very connectivity: This year’s nominees large image iles. That means have all reined and redeined longer processing times and fewer images on your hard drive. photography. By Philip Ryan Computers keep becoming more powerful, but how many of us IN 2015 we watched pixel contributed to imaging’s evo- want to replace our computer counts skyrocket. Camera sensor lution—and it becomes clear every time we get a new camera? technology began to provide which stand out from the rest. And do we really need that many even better low-light shooting But we won’t be crowning pixels if we’re not going to make than we thought possible. And 2015’s Camera of the Year—the huge prints? the way that we use cameras model that best reined or rede- At Pop Photo, we still tend to evolved as we become ever more ined photography—in these say: Yes. Bring on the pixels. If connected by social media. Right pages yet. Here’s a look at the you’re printing an image ile from now is a high point for imaging: inalists, along with the ways the EOS 5Ds that is set to 240dpi, The tools we use for capture are they played a part in some of you’ll get a print that’s just over getting more powerful at the the big ideas we’ve seen this 36x24 inches. Granted, you can exact same moment that the year. Which camera do you make large prints at a lower dpi ability to share and use those think deserves to win? count assuming that the viewing images has exploded. distance will be greater. But if you When we look back across Megapixels Matter want to be able to have people the cameras that we have Every time a camera maker assessed in the Popular signiicantly raises the num- Photography Test Lab and in the ber of pixels its cameras can ield in the past 12 months, shoot, we hear people scream: we can see how each of these “They’ve gone too far!” With picture-making machines have its EOS 5Ds and EOS 5Ds R,

WHY IT MIGHT WIN The reigning resolution champion of the Pop Photo Test Lab, the EOS 5Ds produces some of the best images you can get from a DSLR. WHAT’S HOLDING IT BACK With no Wi-Fi and no pop-up flash, non-pros might not value resolution over convenience.

57 approach the print relatively closely, 240dpi is nice. Now con- WHY IT MIGHT WIN sider that cropping is something The most seamless smartphone shooting that many photographers tend to experience you can get, this camera upgrades do before considering an image the imagery you capture using your iPhone. inished. If you were to crop 25 percent away from both the hori- WHAT’S HOLDING IT BACK zontal and vertical dimensions Though promised through updates, so far there’s of one of the 5Ds’s images, you’d no burst shooting, and the One doesn’t yet exist end up with a 240dpi print size in a format that works with Android. of just over 27x18 inches. While that’s still a big print, it’s not, by any stretch, absurdly large. FUTURE OF they can be sandwiched together. And that’s just thinking in COMPACTS? The larger the sensor, the more As long as terms of current print technology. smartphones delicate the process becomes. Televisions in the U.S. are starting continue to use Samsung didn’t hold the title the transition over to 4K from the era, and it was the largest BSI imaging of largest BSI sensor for long. Not current standard of HD—and 8K sensor you could get in a camera. sensors smaller even a year later, Sony announced than the 1-inch is on its way. If you want to ill an That, along with plenty of pro- BSI CMOS the A7R II. That camera boasts the 8K display, you’ll need more pix- cessing power, UHS-3 memory found in the world’s irst full-frame 35mm BSI els than that aforementioned 25 card compatibility, and some DxO One, the chip. The advantages that come percent crop would leave behind. changes in the materials used future of along with that imager helped compact The future of imaging will involve for the circuitry, helps Samsung’s cameras may Sony’s pixel-laden ILC achieve more and more pixels. agship camera deliver dazzling be something impressive low-light performance Canon isn’t the only company image quality at up to 15 frames akin to this tiny and cement its place among the connectable pushing pixels. Sony’s Alpha per second with full autofocus best cameras we’ve seen this year. camera. 7R II comes in at close second and metering between frames. The DxO One also uses a BSI with its full-frame 42.4MP sen- What’s so special about a BSI sensor—in this case a 20.2MP sor. That’s the most you’ll ind sensor? In this type of chip, cir- 1-inch version. Small enough to in any ILC. And, the 20.3MP cuitry is placed on the back side carry with you anywhere, the One Panasonic GX8 broke the 16MP of the sensor so that the front attaches to an iPhone and provides barrier for the Micro Four Thirds side can be used for larger—or better low-light performance and system. Meanwhile, Samsung’s more—photodiodes to capture more control over exposure than NX1 remains the pixel count more light. The freed-up space Apple’s smartphone camera alone ruler of the APS-C world with its also allows for “gapless” pixels allows. By using a BSI sensor, DxO 28MP sensor. where microlenses atop the pixel was able to maximize image qual- wells direct the light that would ity and offer a compelling case for The Rise of Backside have otherwise landed between adding a camera to a phone that Illumination pixels into a photodiode. The already has one built in. When it was introduced in late result? Less light is lost. Making 2014, the NX1 was the irst APS- these is a complicated and deli- C-sized backside-illuminated cate process that involves shav- (BSI) sensor in a consumer cam- ing down silicon chips so that

WHY IT MIGHT WIN Boasting the highest resolution for Micro Four Thirds, the GX8 is also a pleasure to use and shoots bursts as fast as 8 fps. WHAT’S HOLDING IT BACK There’s no built-in flash and the EVF blanks out some during 8 fps bursts.

58 POPULAR PHOTOGRAPHY JANUARY 2016 WHY IT MIGHT WIN The world’s first APS-C BSI sensor and prodigiously powerful processing combine for speedy bursts, fast focusing (with tracking), and lovely images. WHAT’S HOLDING IT BACK It’s a bit large for an ILC (and not full-frame) and it uses the uncommon H.265 video format.

become so ingrained in our lives of the Year contenders, except that iPhone shooters want to for the Canon 5Ds, have built-in ind ways to stand out from the Wi-Fi. The Canon lets you add it, rest of the smartphone-shooting along with high-speed Ethernet, Image-Saturated Lives MIRRORLESS pack. The drive to be the person through its WFT-E7A ($770, MIGHT While it may sound trite to talk There’s no with the best image, posted irst, street) wireless ile transmitter about the fact that images are doubt that has become a badge of honor— or add wireless alone through becoming more and more a part Sony’s original and not just among those who an EyeFi card ($67, street,16GB). of our everyday lives, it’s undeni- Alpha 7R was a consider themselves photogra- More and more we’ve seen SLR powerful ably true. The DxO One highlights camera, but this phers. For others, being the only bodies, outside of high-end pro this quite clearly. Just the fact year saw all one to get a decent picture at a models, with Wi-Fi built-in. that a company felt compelled ILCs gain in party, and being able to share it Even die hard RAW shooters to create a camera like the One pixel count and immediately, means everything. like me have been known to general image shows that picture making has capturing That last part is really where share JPEGs before going home prowess. Are the DxO One shines. Since to perfect the image later. I was ILCs on their it attaches to your iPhone’s able to send the image in the way to taking Lightning port, the images can be LCD of the Sony A7S II (see page over for DSLRs? pushed to your camera roll just 72) of my friend running the WHY IT MIGHT WIN as fast as an image shot with the New York City Marathon to her The first-ever full-frame BSI phone itself. Plus, you can use the smartphone before she even sensor has the highest resolution images as you would if you were crossed the inish line. we’ve seen from an ILC while con- shooting with the built-in camera. This is the new normal. And trolling noise well, plus it can cap- The experience is seamless and we’re sharing images that have ture 5 fps bursts. smooth, and its controls are intui- more detail than ever before and WHAT’S HOLDING IT BACK tive and exible. Better still, the can be captured in situations There’s no built-in flash and only DxO One will continue to evolve that used to be impossible to one memory card slot. as irmware updates and updates capture photographically. These to the iPhone app roll out. are developments that not only You can’t say that the impact photography but also the experience of con- ways that we interact with each necting your phone other—and the world. to your camera through Wi-Fi is as And the simple and seamless as the DxO One winner is... experience, but it To be the first to know which remains an excel- of these cameras is Popular lent way to share Photography’s Camera of your images shortly the Year for 2015, go to after they’ve been PopPhoto.com/CoTY2015 or captured. All of follow us on Twitter the 2015 Camera @PopPhoto on January 5.

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Quality. Service. Innovation. We’re here for you! When searching for the right white balance, look beyond neutral Photo by Chris Tennant; text by Debbie Grossman

CHRIS TENNANT is not just a the photograph. In an effort not to MOUNTAIN MIST it and retouching where you need professional photographer—he’s go there, Tennant admits that he This image of fog to, then begin pushing that slider over Oregon’s also a professional scientist. So sometimes keeps himself inside a Sandy River Valley around. This kind of experiment- when he’s processing his landscape box that’s too small. was originally shot ing works best with RAW i les but images, he tends to err on the side How to expand that box, and at 4550 K using a can be done, albeit not as smoothly, of accuracy. “For me,” he says, “I see your images in new ways? Try Canon EOS 5D using a JPEG in a RAW converter Mark II and always start at neutral and expand moving the white balance slider 24–105mm f/4L that allows it. from there. That’s because I’m to places you might not normally Canon EF IS USM Tennant shared this image with trying to maintain a certain level consider—even if your result lens. Exposure: us taken at 7 a.m. from Jonsrud of realism.” He notes that he often doesn’t match the scene as you 1/320 sec at f/11, Viewpoint in Sandy, Oregon. When ISO 320. sees color balance applied badly originally saw it. Start by getting he i rst processed it, he went neu- and to extremes that don’t serve your contrast the way you want tral, as usual. But after testing out a

62 POPULAR PHOTOGRAPHY JANUARY 2016 Neutral Here’s what it looks like when the picture is processed closest to “real.” There’s a nice range of tones, with warm sun and cool mountains and fog. But it’s boring.

Warmer At 5500 K you can imagine you’re seeing the warm rays of early morning. It’s a viable picture but not ultimately this photographer’s favorite. 3700 K The Keeper Tennant surprised himself by preferring this image, set just to the left of neutral at 3700K. This photograph was a good choice for playing with white balance because of all its gray tones—the color could go in almost any direction without looking wildly unrealistic. few different white balance settings at our behest, he realized the cool version was more evocative, more emotional, and simply more to his taste. Here’s his i nal image (the coolest he made, at the equivalent of 3700 Kelvin) and three Overcooked Here is warmth in the extreme, without almost others. Which do you think is the any trace of the natural blue. Don’t be seduced by its romance—this is best version of the shot? fun with white balance gone too far.

POPPHOTO.COM POPULAR PHOTOGRAPHY 63 Find Your

To become better photographers, VOICEwe must push ourselves. One foolproof method? Begin a project or series and see it through to the end. You may just make the best pictures of your career. By Peter Kolonia RACHEL HULIN (3) RACHEL

64 POPULAR PHOTOGRAPHY JANUARY 2016 Rachel Hulin In 2011, this photographer from Providence, Rhode Island, noticed how her (then) six-month-old son Henry seemed to enjoy being held aloft and “flown” around, indoors and out. Soon, she started a project in earnest, editing out the adult who held the child up. The resulting project, Flying Henry, has been featured in media outlets, ultimately published by powerHouse as a children’s book of the same name. One source of inspiration? She was very curious about what the boy was thinking up there.

FLYING HENRY Rachel Hulin shot this photo essay with a Canon EOS 5D and Canon EF 50mm f/1.2L USM lens. Each of its images are Adobe Photoshop CS6 composites of at least two separate shots: one of the empty background and the other of an adult holding Henry aloft.

“PERSONAL PROJECTS are one of Photography in New York City, there the best ways for a photographer are two important components of to i nd and develop a creative a personal project to consider: The voice,” says Marc Prüst, a pho- how and the why. tography consultant and teacher “How” refers to technical based in Amsterdam. Unlike abilities. “An important aspect commercial work or the pictures of developing a personal voice is you snap of your everyday life technique,” says Prüst. “You really and your travels, focused personal can’t grow a powerful photo proj- projects let you explore your cre- ect without a knowledge of photo ative potential more deeply. And technique.” In most instances, he if the bond between you and your says, the technique comes i rst, subject is strong, powerful visu- then the voice. “Your voice will als—perhaps the strongest you’ve articulate the why.” ever made—will result. For beginning photographers According to Prüst, who teaches who haven’t nailed photo tech- a course called “The Personal and nique, the teachers we interviewed Professional: Making Projects Via- (unsurprisingly) suggest starting ble” at the International Center of with workshops. “It’s a great idea

POPPHOTO.COM POPULAR PHOTOGRAPHY 65 for an evolving photographer,” says related photo project. 100 MILES LATER Without stretching beyond your Karen Marshall, a New York-based A irst project should also be Tom Sperduto comfort zone, you won’t grow. photographed his photographer and teacher. “Devel- something local and accessible. ultra marathoners Once you’ve selected a subject oping photographers can’t work in “Look for a subject that’s very with a Nikon D3 and articulated your goals, wait a vacuum. They need technical and close by. You may be tempted to and Nikon 85mm before you pick up your camera. aesthetic feedback. Other eyes can photograph something far away f/1.4D lens. His “Sometimes, the best way to really three-point lighting see things that yours can’t—both and exotic, but that can lead to involved two see your subject—for any photog- problems and strengths.” complications,” says Prüst. Profoto strobe rapher, novice or professional—is Also, start small. “Set a goal heads powered by to spend some time just looking a Profoto 7B of creating a series of 5, 10, or 15 at it,” says Davis. “For this reason, Your First Project battery pack for What should be the focus of a photos,” says Prüst, “and articulate main and fill, and a I suggest to my students that they debut project? Harold Davis, a something like an artist’s state- Profoto Acute B go out without a camera.” His goal? Berkeley-based workshop leader ment. It’s important to write it 600R head to light To help spark visual ideas free the background. and author of the book, Achiev- down.” Your written idea can serve from the interruptions introduced ing Your Potential as a Photographer as an anchor and give you direc- by having to control a camera and (Focal Press, 2016) says, “I believe tion. Rewrite it, if necessary, as the compose a scene. that personal resonance is the key project progresses. And think your project through to a successful project. The single The photo teachers we talked to to the end. Before you start shoot- most important thing when pick- agree: Your irst project should also ing, decide on the inal format it ing a subject is that you feel fully be fairly easy to pull off, but not will take. You could produce a self- engaged with it.” too easy. It should challenge you published coffee table book, a port- Don’t pick something that’s ulti- both aesthetically and technically. folio of prints, a web gallery, or even mately going to work against you. If It might be, for example, a subject a brick-and-mortar public exhibi- you’re not naturally gregarious, for you’ve never attempted before or tion. Each will require different

TOM SPERDUTO (6) SPERDUTO TOM example, don’t take on a people- require a new lens or shooting skill. approaches, both in terms of tech-

66 POPULAR PHOTOGRAPHY JANUARY 2016 Tom Sperduto A freelance advertising and commercial pro from Oxford, New Jersey, Sperduto posts half a dozen personal projects to his professional website. Among his favorites is 100 Miles Later, portraits of ultra marathoners taken immediately before and after a 100-mile race. “I’m drawn to people who attempt what others see as impossible. I find something heroic in the struggle of every runner who attempts a 100-mile ultra marathon. It’s an emotional experience to witness it,” says the former Marine. nique and scale. A website or book project, for example, will require far more images than a portfolio or gallery show and must consequently be results,” advises Marshall. “Look at the clues that are embedded in your a longer-term project. your photos as clinically as possible pictures to reveal your strengths and Once you’ve begun shooting, set to ind out what works and try to suggest new, more interesting direc- aside time to analyze your work-in- articulate why it works. That’s the tions for the project. progress. “Continually look over your irst step in inding your voice.” Follow Also, as you work, involve viewers

POPPHOTO.COM POPULAR PHOTOGRAPHY 67 whose opinions you value. “It can Harold Davis offers a 46-page GRANDMA’S be essential to seek the opinions workbook that accompanies his BASEMENT For a project in Brian Klutch of others,” says Prüst. “You have to book. It offers a variety of vision- memory of his Klutch, a regular Popular present and talk about your work. building exercises and is available grandparents, Brian Photography cover shooter, is a Seek criticism that points out what’s as a PDF from Davis’s website Klutch shot with a product pro who commutes from rural New Jersey to a working and what’s not.” (digitalieldguide.com/achieving). Hasselblad V-series body, Sinar digital mid-Manhattan studio. His It can be dificult to ind like- When you’re inished shooting, back, and Zeiss project titled Grandma’s minded people who can give you spend as much time editing your Planar 100mm Basement is a series of dozens constructive feedback, but they’re photos as you did taking them. f/3.5 lens. He of still lifes of the objects removed from his grandparent’s crucial. One way to generate “With a series of images, the editing brought the objects to his studio and lit Brooklyn basement after their feedback: Create a blog with text process is just as important as the them with passing. “The pictures are a and photos about your project, and shooting,” says Marshall. “Don’t Broncolor Pulso remembrance of their lives, but also, for me, a sad reminder update it frequently. make a inal edit on a irst viewing. strobe heads and Grafit 1600 power that we no longer had a foothold Study your images multiple times, packs. in the Brooklyn neighborhood Keep It Going in different light, and in different that was so central to my As you work, seek inspiration and moods. Looking a lot can allow you extended family,” says Klutch. encouragement from online photo to identify strengths and aws, and sharing sites, other photographers’ is absolutely necessary.” a kind of life that can distract from online portfolios, and photo books. Marshall also suggests that critical problems. “Lensculture.com is an enormous you edit from a set of 4x6-inch When you’ve inished the project, resource that houses many per- prints (or larger, if funds allow), get the word out. “Sharing is cru- sonal projects in a variety of stages not a computer screen. “Prints are cial,” says Prüst. “Get a project out and sizes. It’s informative and profoundly more helpful in pointing on your website, on Facebook, and inspirational,” recommends Prüst. out strengths and weaknesses of on your favorite photo sharing sites. It’s best to focus on photographers a photo. Spread out on a table- Enter it in competitions, too.” who produce essays or series of top, they can also show how your After all, one of the best parts of images rather than single-image pictures work as a group,” she says. making a body of work is getting “decisive moments.” Viewing on a computer, the electric to see the impact it makes on the For concrete suggestions about glow of the screen can mask expo- friends and strangers who admire

BRIAN KLUTCH (3) BRIAN KLUTCH how to move your project forward, sure problems, and give the images and enjoy it.

68 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM POPULAR PHOTOGRAPHY 69 Free Creative Education youtube.com/AdoramaTV

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08. Nikon SB-910 TTL 10. Sony Alpha a7R II 12. Canon EOS-7D Mark II AF Speedlight Flash • Mirrorless Digital Camera • 20.2 Megapixel CMOS sensor • 4K movie recording • Full HD 1080p/60 Video • Nikon’s ﬂagship Speedlight • 5-axis in-body image stabilization • Dual Pixel CMOS AF • Flash Exposure Control • 2.4-million dot XGA OLED • Continuous 10fps Shooting • On the road or in the studio $ $ $ 546.95 SKU: NKSB910AFU 3,198.00 SKU: ISOA7R2 1,799.00 SKU: ICA7DM2 Fujiﬁlm Fujinon XF 35MM f/2 R WR P. 80 Sigma 20MM f/1.4 DG HSM Art P. 82 Zeiss Milvus Distagon T* 50MM f/1.4 ZE P. 84 AUTHORITATIVE TESTS, REVIEWS, & BUYING ADVICE

ILC TEST SONY A sensitive full-framer ALPHA 7S II for video and low light KEY SPECS DARK HORSE SENSOR: 12.2MP WHEN SONY first announced the the availability of extremely high stabilization. Its top sensitivity? An Exmor CMOS (full-frame) original Alpha 7S, we were told sensor sensitivities made it possible incredible ISO 409,600. SENSITIVITY: that it was primarily developed to to capture images by available light This time we were eager ISO 50–409,600 BURST: capture video, but that it would also as we never could before. to see how this $2,998 (street, Up to 2.5 fps AUTOFOCUS: Contrast provide a unique experience when Now here’s the A7S II, with body only) full-frame mirrorless detection photographing stills. While we did the same number of pixels as its interchangeable-lens camera would PRICE: $2,998, street, not do a full lab test, the hands-on predecessor and a revamped body fare in the Popular Photography Test body only time we spent with it confirmed that design that includes five-axis image Lab and in the field. INFO: sony.net

72 POPULAR PHOTOGRAPHY JANUARY 2016 for an Extremely High rating in our resolution test. It maintained this result at ISO 100, but when we stepped up to ISO 200, it dipped down to 2225 lines. For comparison, Nikon’s D700 captured 2350 lines at ISO 200, (the D700’s significantly larger body gives it some advantage in terms of mitigating heat, which can contribute to noise and thus image degradation). The A7S II does a good job of 3.9 in. holding its resolving power until the sensitivity is cranked up super high. At ISO 25,600 it turned in 1950 lines, nearly matching the D700’s 1960. By ISO 204,800 resolution fell to 1660 lines before finishing up at ISO 409,600 with 1510 lines. In our noise test the A7S II kept images very clean at its lowest ISOs 5.0 in. and didn’t reach an Unacceptable rating until ISO 12,800. Thereafter, noise didn’t reach stratospheric levels until the top few sensitivity settings. Given that with this ILC you’ll end up shooting in situations where you’d otherwise leave your camera at home, you may find yourself more forgiving of the noise you do get once 2.4 in. you pass ISO 51,200. The A7S II held a Low or better rating up to ISO 1600— impressive for a camera of this size. In our color accuracy test, the A7S II earned an Excellent rating with an average Delta E of 7.9. In the Test Lab As we did with its sibling the A7R What’s Hot We tested the A7S II’s five-axis We place a lot of weight on a II, we used Capture One Express (for Sensitivity up to SteadyShot image stabilization camera’s ability to resolve fine Sony) to process the RAW files—this ISO 409,600 and system using Sony’s 70–200mm f/4 4K video capture detail. But the A7S II’s 12.2MP time uncompressed, thanks to zoom racked out to 200mm. It uses sensor has the fewest pixels we’ve Sony’s recently added support for What’s Not the optical stabilization built into seen in a full-frame camera since this larger-file RAW capture. The Slow burst speeds the lens in conjunction with the Nikon’s now-discontinued D700, software varied the default level of when continuous shifting sensor in the camera body to AF and metering a 12.1MP DSLR released in 2008. single-pixel noise reduction as the are enabled compensate for movements in yaw, Therefore, the odds were stacked sensitivity increased, though there’s pitch, roll, as well as the horizontal against the A7S II earning top plenty more noise reduction that Who It’s For and vertical axes. We rarely see our honors in our overall image quality could be applied if you want. Sony shooters test results reach the manufacturer’s rating, which combines the results That said, we found quite a looking for amazing claims for stabilization, but this low-light imaging of our tests for resolution, noise, difference in resolution at either one came really close. Our testers and color accuracy. Indeed, the A7S end of the sensitivity scale. At averaged 4 stops of shutter-speed II ended up with an Extremely High its lowest sensitivity of ISO 50, advantage shooting handheld rating up to ISO 100, after which the A7S II nabbed 2275 lines per with the A7S II. One tester actually resolving power dropped down to picture height, bringing it very matched the 4.5 stops that Sony says

PHILIP RYAN (LCD IMAGE) (LCD PHILIP RYAN Very High levels. close to the lower cutoff of 2250 the system will allow. In practical

POPPHOTO.COM POPULAR PHOTOGRAPHY 73 LAB ILC TEST SONY ALPHA 7S II

terms this means that if you’d TEST RESULTS normally shoot at 1/200 sec to get a IMAGE QUALITY ISO 50–100 NOISE AT ISO reasonably sharp shot, you could go as slow as 1/13 sec on the A7S II if EXTREMELY HIGH EXTREMELY LOW 0.7 ISO 50 you have a Sony OSS lens attached. Add this to the advantages of the POOR EXCELLENT ISO 100 EXTREMELY LOW 0.7 high ISOs and the possibilities in low-light shooting grow ever greater. RESOLUTION ISO 50 EXTREMELY LOW 1.0 ISO 200 2275 EXTREMELY HIGH VERY LOW 1.2 ISO 400 In the Field 1500 2000 2500 3000 3500 4000 Sony has done a great job of POOR EXCELLENT VERY LOW 1.5 ISO 800 maintaining a common feel across COLOR ACCURACY its A7 line of cameras. The A7S II LOW 1.9 ISO 1600 benefits with an upgraded grip, a EXCELLENT 7.9 more ergonomically correct angled MODERATELY LOW 2.2 ISO 3200 shutter button, more comfortable HIGH EXCELLENT MODERATE 2.6 ISO 6400 command wheels, and other minor HIGHLIGHT/SHADOW DETAIL changes to its predecessor. UNACCEPTABLE 3.1 ISO 12,800 All the key functions either have a EXTREMELY HIGH dedicated button or can be assigned UNACCEPTABLE 3.8 ISO 25,600 LOW EXTREMELY HIGH to one of the four custom function buttons. The latter are very useful; CONTRAST UNACCEPTABLE 4.9 ISO 51,200 we assigned one to enable the Focus VERY HIGH UNACCEPTABLE 6.3 ISO 102,400 Magnifier while shooting with legacy manual-focus lenses, for example. LOW EXTREMELY HIGH UNACCEPTABLE 9.0 ISO 204,800 Coupled with Focus Peaking, this IMAGE STABILIZATION AT 200MM let us manually set proper focus UNACCEPTABLE 12.3 ISO 409,600 faster than ever and with superb 4 STOPS 3.0 2.5 2.0 1.5 1.0 0.5 accuracy. Focus Peaking also came 12345 UNACCEPTABLE EXTREMELY LOW in handy when shooting with the recently announced Lensbaby Edge 50, which when tilted creates narrow bands of sharpness in your 1200-zone evaluative, centerweighted, photos. Focus Peaking highlights SPECIFICATIONS and spot (size of spot unspecified) what’s in focus, making it easier IMAGING: 12.2MP effective, ISO RANGE: 100–102,400 in 1/3-EV to understand where that band of full-frame (35mm) Exmor CMOS sensor increments, expandable to 50–409,600 sharpness lands in the frame. captures images at 4240x2832 pixels with FINDER: 0.5-inch, 2,359,296-dot OLED Sony’s menu system is generally with 100% accuracy; 0.78X magnification 14 bits/color in RAW mode good, but at this point there are so STORAGE: Memory Stick PRO Duo, SD, VIDEO: Records at up to 3840x2160p many different settings in cameras 30 in XAVC S (at up to 100Mbps); up to SDHC, and SDXC store JPEG, ARW RAW, that some things always seem and RAW + JPEG files 1920x1080p 60 in AVCHD (at up to 28Mbps); built-in stereo microphone; stereo microphone to end up in strange places. For BURST RATE: Full-sized JPEGs (Fine instance, you have to go to the mode), up to 200 shots at 2.5 fps (with input; clean HDMI output to external recorder penultimate page of the toolbox continuous AF and metering enabled); FLASH: No built-in flash RAW, up to 59 shots at 2.5 fps LCD: 3-in. TFT with 1,228,800-dot menu to format a memory card. To AF SYSTEM: TTL contrast detection resolution; five-step brightness adjustment adjust image stabilization settings with 323 selectable spot areas; OUTPUT: Micro USB, micro HDMI video, for lenses used through an adapter, single-shot and continuous AF with focus Wi-Fi, NFC, minijack headphone go to the penultimate page of the tracking and face detection BATTERY: Rechargeable NP-FW50 Li-ion, shooting menu, just above the SHUTTER SPEEDS: Mechanical: CIPA rating 310 shots option for color space. You can 1/8000 to 30 sec, plus B (1/3-EV SIZE/WEIGHT: 5.0x3.9x2.4 in., 1.4 lbs definitely argue that color space increments); X-sync speed: 1/250 sec; with a card and battery might not have to be changed very 500,000-cycle rating PRICE: $2,998, street often, but it should be easier to METERING: TTL metering with INFO: sony.net format a memory card.

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While the A7S II has a speed- with runners in the New York City APP HAPPY of the contrast detection in this priority burst mode that lets you marathon. We got a nice shot of Sony offers apps model. Still, we were impressed for its A7 series capture 5 frames per second, you’ll a friend running the race (see the cameras to add with the A7S II’s ability to lock focus need to step back down to 2.5 fps camera LCD on page 73), and the fancier controls in very dim conditions. Even if it did if you want both metering and A7S II locked on and held focus as for functions such sometimes take a little longer than as time lapse and continuous autofocus between she ran at us and rounded a corner. light painting. we might have wanted, it got the job shots. That’s not going to appeal to In general, AF proved relatively done nearly all of the time. most sports shooters, but the lock-on fast, though not as speedy as with As with its predecessor, the A7S AF tracking did a good, though not the A7R II or A7 II, both of which II was made for video, capturing 4K exceptional, job of following along use a fancier hybrid system instead at up to 3840x2160 pixels and 30 fps. Unlike some cameras, the A7S II uses the full width of the sensor’s pixel readout when recording 4K Advertisement rather than using pixel binning (combining multiple pixels on the sensor for one in the finished video). LAST CHANCE TO ENTER! The goal with this is to reduce moiré and jaggy lines. We don’t currently have a 4K monitor to properly assess the footage we captured, but it looked nice when output as HD. Plus, the HD footage we captured looked great, with plenty of detail and nicely rendered colors.

The Bottom Line If you’re looking for a camera to shoot video in either 4K or HD, then the A7S II very well might be the best A7 model for you. It has a wide dynamic range and lets you make better video in very challenging conditions than you can with most other cameras in this price range. Similarly, if you really want to The Readers’ Photo Contest gives photographers the opportunity to explore low-light still shooting, the win prizes and have their work recognized in the April 2016 issue of specialized nature of the A7S II will Popular Photography, as well as on PopPhoto.com. likely appeal to you. We certainly enjoyed that aspect of this camera. However, if you plan to print CATEGORIES very large, or don’t want to restrict Action/Sports Cities/Architecture Objects/Still Life that option down the line, then the A7S II’s low pixel count might be Animals Landscape/Nature People something to worry about. For a SUBMISSIONS couple of hundred dollars more, you can get the A7R II, which also did The competition is open to work produced in 2015. quite well in our noise test but will All submitted artwork should be of reproduction quality. let you make huge prints. Or, if you think that 24.3MP is enough (and it ENTRY FEE: $10 probably is for many shooters), you can save a few hundred dollars with DEADLINE: December 31, 2015 the A7 II and put it toward some fast glass. The choice is yours. For a complete set of contest rules, prizes or to enter, please visit: —Philip Ryan

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Visit www.BandH.com for the most current pricing LAB LENS TEST FUJIFILM FUJINON XF 35MM F/2 R WR EYE VIEW 2.35 in. A little 35mm that’s Using a “focus-by-wire” system, better than normal the focus ring has a turning 0.32 in. radius programmed at an FUJIFILM CONTINUES its rollout of unusually long 260 degrees. well-designed, weather-resistant Aesthetically, the lens pairs well lenses with the XF 35mm f/2 R with any of Fujii lm’s X-series WR, which popped onto the bodies in silver or black, and it

market recently for the reasonable sports engraved numbers 1.80 in. price of $399 (street). With a painted in white and orange. standard focal length equivalent of Our optical bench tests 53mm (in full-frame format) on produced excellent-range Fujii lm’s APS-C-format X results. We saw slightly better cameras, its angle of view is SQF numbers for sharpness and similar to that of the human eye. contrast from this new Fujii lm Like many primes in its focal than from the comparable lenses. range, it is fairly compact—a great Using DxO Analyzer 5.3, we found What’s Hot the Pentax. Only the Zeiss Touit companion for street shooters. Just Imperceptible-rated pincushion Small, sharp, and was able to match its coverage. In 1.80 inches long and 2.35 inches distortion in our test; at 0.05%, a weather-sealed, terms of close-focusing power, the with no light falloff wide, it has the smallest diameter great result, this was much better Fujii lm 35mm f/2 could resolve a in the Fujii lm XF lineup. Indeed, it than either the Nikon (0.27%) or What’s Not sharp image as close as 12 inches, was the smallest of the crop- the Pentax (0.11%), which both Manual focus is similar to the others we compared sensor lenses we compared it with: came in on the Slight level. It even electrical instead it against. With a maximum Fujii lm’s 35mm f/1.4, the Nikon garnered a better rating than of mechanical magnii cation of 1:5.86, it scored 35mm f/1.8G DX, Pentax 35mm the other two lenses that achieved Who It’s For pretty much in the middle of our f/2.4, and Zeiss Touit 32mm f/1.8. Imperceptible results, the Zeiss Fujifilm shooters test subjects within the focal range. The older Fujii lm and Pentax were Touit (0.10%) and the Fujii lm f/1.4 looking for a great To sum it all up, this tiny lens the closest by fractions of an inch. (0.06%). Bravo! deal on a 35mm outshone its four closest Nonetheless, it was not the In our test of light falloff, the competitors in most optical lightest, weighing in at 0.37 pound; new lens had no detectable characteristics. Its compact size the Pentax is a bit lighter at 0.30. vignetting by f/2, even better than and weather-sealed body both We can most likely chalk this up the older Fujii lm, the Nikon, and provide signii cant advantages to to the Fujii lm’s all-metal exterior. serious shooters, especially those Adding to its durable construction who like to keep a low proi le on are eight seals on the lens barrel to TEST RESULTS the street and at events. Given keep out moisture and dust. Its DISTORTION: 0.05% (Imperceptible) these benei ts, the new Fujii lm is a pincushion optical coni guration includes nine real steal, coming in $200 below the LIGHT FALLOFF: None elements in six groups, of which CLOSE-FOCUSING older and slightly faster Fujii lm two are aspherical, ensuring a DISTANCE: 12 inches 35mm f/1.4. —Julia Silber compact size and reducing MAXIMUM MAGNIFICATION RATIO: chromatic aberration. 1:5.86 When we took the new Fujii lm SPECIFICATIONS SUBJECTIVE for a spin, we loved the look and 35MM (34.48mm tested), f/2 (f/2.04 QUALITY feel. The small plastic lenshood tested), 9 elements in 6 groups. Focus ring that ships with it helps protect the turns 260 degrees. FACTOR front element and reduces aring DIAGONAL VIEW ANGLE: 44 degrees WEIGHT: 0.37 lb FILTER SIZE: 43mm without being obtrusive. Its MOUNTS: Fujifilm X 35 manual aperture ring clicks in INCLUDED: Lenshood, lens pouch MM 1/3-stops with a very pleasing STREET PRICE: $399 resistance similar to its focus ring. WEBSITE: fujifilmusa.com

80 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM

LAB LENS TEST SIGMA 20MM F/1.4 DG HSM A WIDEN UP 3.57 in. The latest Art lens On our optical bench in the Pop- embraces the view ular Photography Test Lab, our SQF test earned it an Excellent A-plus SIGMA CONTINUES to broaden its rating for sharpness and contrast Art line of lenses with this ultra- at our 11x14-inch benchmark. wide-angle, full-frame 20mm f/1.4 That was only slightly better than that streets for $899. Although its the Nikon but almost 5 points bet- respected Art line already includes ter then the older Sigma—a vast 1.21 in. a number of fairly wide primes (19, improvement. At further mag- 24, 30, and 35mm), Sigma claims nii cations of 16x20 and 20x24,

that its newest is the fastest lens the new lens scored signii cantly in. 5.10 ever made at this focal length for better than both of these two. full-frame (35mm) cameras. The Our tests for distortion using company also wowed us recently DxO Analyzer 5.3 revealed Slight with the i rst 24–35mm f/2 zoom, barrel distortion (0.30%), but this another Art lens for full-framers. is standard for such a wide-angle The new 20mm has all the fea- lens. The Nikon 20mm f/1.8 pulled tures of its siblings in the Art line: off a mildly better rating at 0.25%. Super Multi-layer coating, durable We really started to see the new construction, and a brass bayonet Art lens shine when compared to mount. In total, 15 elements in 11 its older cousin, Sigma’s 20mm groups combine a Low Dispersion f/1.8, which garnered a Visible (FLD) component with i ve Special score at 0.83%—very good Low Dispersion (SLD) elements to progress indeed. What’s Hot 10.12 inches and a maximum reduce color fringing in highlights. Any trace of vignetting with this Wide, fast, and magnii cation ratio of 1:5.90. This The built-in lenshood does not new optic was gone by f/3.5, much super-sharp, with seemed to be close to the high little distortion permit threaded i lters; this is often better than the Nikon, which end of the normal range for this the case with ultrawide lenses. showed light falloff at the edges What’s Not ultrawide focal length. In our i eld shooting with the until a whopping f/6.3. Slip-cover lens Considering the new 20mm Sigma, we noticed that the coating The new Sigma offers a rela- cap doesn't click f/1.4 is truly in a class of its own, into place did cut down on lens are and tively close focusing distance of it is reasonably priced at $899. ghosting, even when shooting into Who It’s For With this lens, Sigma has nicely the sun. Also, its much-touted DSLR shooters rounded out its f/1.4 lenses in the autofocus was indeed very quick TEST RESULTS who want a wide-angle end of its Art line. We’re to lock on, despite the heavy glass. DISTORTION: 0.30% (Slight) barrel premium ultra- not sure what will be next for the LIGHT FALLOFF: Gone by f/3.5 wide angle at a Wide open at f/1.4, it exhibited nice lensmaker, but we’d love to see it CLOSE-FOCUSING reasonable price bokeh for such a wide-angle lens. DISTANCE: 10.12 inches bring an equally fast 85mm into With all that glass, it’s fairly MAXIMUM MAGNIFICATION RATIO: the Art family. —Julia Silber large and heavy, but it balanced 1:5.90 well on our Canon EOS 6D. Com- pared to Nikon’s 20mm f/1.8G and SPECIFICATIONS 20MM (20.69mm tested), f/1.4 (f/1.47 SUBJECTIVE the older Sigma 20mm f/1.8, it was tested), 15 elements in 11 groups. Focus ring QUALITY longer by almost two inches and turns 120 degrees. heavier by almost a pound, though DIAGONAL VIEW ANGLE: 94 degrees FACTOR those two lenses have a smaller WEIGHT: 2.21 lbs FILTER SIZE: None maximum aperture. We liked the MOUNTS: Canon AF, Nikon AF, Sigma AF 20 built-in lenshood even though the INCLUDED: Case MM cap didn’t clip onto the front, mak- STREET PRICE: $899 ing us feel less secure about it. WEBSITE: sigmaphoto.com

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WhiteWall.com LAB LENS TEST ZEISS MILVUS DISTAGON T* 50MM F/1.4 ZE HOT AT 50 3.25 in. The Milvus normal images online at PopPhoto.com.) melts its competition The construction is top-notch. Its metal-clad body is weather- LAST MONTH we tested the i rst sealed to protect against dust and of the new full-frame Zeiss Milvus moisture. The focus ring, while well lenses, the 85mm f/1.4, and loved damped, has a turning radius that’s

its sharpness and lack of distortion. quite long at 220 degrees. Once 3.39 in. This month we test another one, the you’ve found your focus, however, 0.83 in. Zeiss Milvus Distagon T* 50mm f/1.4, the lens is really sharp and crisp, as which hit the street at $1,199. It our lab tests show. has 10 elements in 8 groups, with a In our SQF test on the optical oating element design to drive high bench, the Milvus was slightly out- image quality throughout the focus- performed by Zeiss’s own Otus. But ing range. Zeiss says it made the it scored a bit better than the Classic Milvus line specii cally for new ultra- and slightly better than the rest of high-resolution DSLRs to handle 6K the lenses we tested, reaching Excel- video natively and churn out images lent at our 11x14 benchmark for in the 50MP range. sharpness and contrast. The Milvus 85mm was opti- In our distortion tests using DxO What’s Hot and Sigma tested a little better than cally and i nancially right in the Analyzer 5.3, the Milvus ranked Very sharp, low this Milvus, with light falloff gone by middle of Zeiss’s Otus and Classic in the Slight pincushion range at distortion, solid f/2. But falloff in the Milvus and Otus build quality (as the company now calls it) 0.19%—not quite on par with the were both gone at f/2.5, better then 85mm lenses. Similarly, here we Milvus 85mm and Otus 55mm What’s Not the rest of the lenses we’ve tested. In compare the Milvus 50mm ZE to (0.09%) or the astonishing Sigma Somewhat long close focusing and maximum mag- the high-end Otus 55mm (tested 50mm (0.02%). It scored slightly turning radius for nii cation, all the lenses fell in line in 2014) and Classic Planar 50mm better, though, than the Zeiss Clas- the MF ring similarly, with the Milvus performing f/1.4. We also tested it against other sic and Canon (both 0.24%) and the Who It’s For just slightly better than the Otus. full-frame 50mm f/1.4 glass from Sony (0.26%), and signii cantly bet- Anyone who wants So this 50mm Milvus indeed Canon, Nikon, Sigma, and Sony, as ter than the Rokinon (0.32%). super sharpness occupies a middle ground between well as Rokinon, which, like Zeiss, With vignetting, we found an at a sub-Otus price the Otus and Zeiss Classic lenses allows manual focus only. opposite pattern. The Zeiss Classic in both optics and price. It sells for In the i eld, it felt heavy for a about $2,600 less than the very pricey 50mm. It is at least a pound heavier Otus; the Classic now streets for just than the Canon, Nikon, Sony, and TEST RESULTS $625. With the addition of this Zeiss Classic, and it weighs a few DISTORTION: 0.19% (Slight) pincushion line, Zeiss offers a nice range of LIGHT FALLOFF: Gone by f/2.5 ounces more than the Rokinon and options. The question is what bird CLOSE-FOCUSING Sigma; it is about 6 ounces lighter DISTANCE: 18.12 inches will Zeiss choose for its next series of than the Otus. While it is shorter MAX. MAGNIFICATION RATIO: 1: 6.11 great lenses? —Julia Silber than the Otus and the Sigma, it is also longer than all of the others. SPECIFICATIONS 50MM (51.64mm tested), f/1.4 This Milvus produced smooth (n.a. tested*), 10 elements in 8 groups. SUBJECTIVE and clean bokeh, especially with Focus ring turns 220 degrees. QUALITY the aperture wide open. The level DIAGONAL VIEW ANGLE: 46 degrees of contrast we saw in our photos WEIGHT: 1.90 lbs FILTER SIZE: 67mm FACTOR in i eld use rendered subjects very MOUNTS: Canon AF, Nikon AF INCLUDED: Lenshood realistically. Its excellent multi-coat- STREET PRICE: $1199 50 ing suppressed most lens are, and WEBSITE: zeiss.com MM what ares did show up were mild. *Tested measurements not available due to (You can see a gallery of our sample instrument limitation.

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meridianpro.com | 800-544-1370 TIME EXPOSURE JANUARY 1956 Razor’s Edge The continuing search for sharpness prompted Kodak’s introduction of Panatomic-X film, offering finer grain and higher acutance than its predecessor, Panatomic (without the “X”). Used properly, this new film produced 11x14-inch enlargements from 35mm negatives that closely approached the holy grail of contact-print quality.

All-in-One Processor For impatient photographers, Brown- Forman Industries created this unusual processor that permitted complete roll-film processing in as little as seven minutes. The secret was a series of compartments for each stage in the development process, eliminating the pour-in, pour-out steps used in conventional roll-film developing tanks.

More Bounce Famed war photographer David Douglas Duncan created a new bounce flash to lighten shadows: He drilled a small hole into the flash head to let a secondary beam of light shine directly on the subject (see Ever-Inventive Halsman arrow). Modifying this, the Mighty Not yet famous for his jumping portraits, Philippe Light Speedlight manufacturer bored Halsman used a camera of his own design to photograph a 3/8-inch hole in the reflector, French actress Marina Vlady. His 4x5 Fairchild–Halsman allowing an additional beam of light camera, fitted with a 210mm Bausch & Lomb f/4.5 lens, to hit the subject. —Harold Martin was an unusual twin-lens reflex made to use 4x5 sheet film for studio work. For this cover he exposed Kodak Daylight Ektachrome at f/22 for 1/100 sec.

We showed Philippe Halsman at work 60 YEARS AGO in his “portable speedlight studio.”

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LIMIT 5 - Good at our stores or HarborFreight.com or by calling 800-423-2567. Cannot be used with other discount or coupon or prior • 100% Satisfaction Guaranteed • No Hassle Return Policy • 600 Stores Nationwide purchases after 30 days from original purchase with original receipt. Offer good while supplies last. Non-transferable. Original coupon must be On All Hand Tools presented. Valid through 4/8/16. Limit one coupon per customer per day. • Over 25 Million Satisﬁ ed Customers • Lifetime Warranty • HarborFreight.com 800-423-2567 U.S. POSTAL SERVICE STATEMENT The leader of tripod head ARCA-SWISS monoball® p series OF OWNERSHIP, MANAGEMENT, design for over 45 years AND CIRCULATION creates a new revolutionary (Required by 39 USC 3685) Knobless ballhead. 1. Publication Title: Popular Photography; 2. Publication No. K 1542-0337; 3. Filing Date: 10/01/15; 4. Issue Frequency: It’s called nobless because Monthly; 5. No. of Issues Published Annually: 12; 6. Annual the traditional locking knobs Subscription Price: $14.00; 7. Complete Mailing Address of Known Office of Publication: Bonnier Corporation, 2 Park have been removed. Avenue, New York, NY 10016; 8. Complete Mailing Address Equipped with our patented of Headquarters or General Business Office of Publisher: (planetary) p-system, Bonnier Corporation, 2 Park Avenue, New York, NY 10016; 9. Full Names and Complete Mailing Addresses of Publisher, ARCA-SWISS p is a unique Editor, and Managing Editor: Publisher: Greg Gatto, Bonnier tripod head design that Corporation, 2 Park Avenue, New York, NY 10016; Editor: Miriam Leuchter, Bonnier Corporation, 2 Park Avenue, New combines precision, ease York, NY 10016; Managing Editor: None. , 2 Park Avenue, New of use, and a powerful, York, NY 10016. 10. Owner: Bonnier Corporation, 460 N. concentric, uniform locking Orlando Ave., Suite 200, Winter Park, Orange County, Florida 32789; 11. Known Bondholders, Mortgagees, and Other force. Featuring our patented Securities: None; 12. Tax Status (for completion by nonprofit gravitational force compen- organizations authorized to mail at nonprofit rates): Has Not Changed During Preceding 12 Months; 13. Publication sation, sudden camera Title: Popular Photography; 14. Issue Date for Circulation movements altering camera Data Below: September 2015; 15a. Total Number of Copies: 327,300 (September 2015: 311,009); b. Paid Circulation: position are prevented. The (1) Mailed Outside-County Paid Subscriptions Stated on ARCA-SWISS p is stylish, PS Form 3541: 265,104 (September 2015: 270,699); (3) precise and strong, yet Paid Distribution Outside the Mails Including Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and weighs under 10 ounces. Other Paid Distribution Outside USPS: 7,979 (September A hand of steel in a velvet 2015: 6,975), c. Total Paid Distribution: 273,083 (September 2015: 277,674); d. Free or Nominal Rate Distribution: (1) glove! 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New, Used, Refurbished, Preowned Collectables At Discounted Prices TESTIMONIAL OF THE MONTH We Buy, Trade, Export, Import Anything Photographic, Online Sales & Wholesale “Super fast shipping and perfect transaction. Thank you!” WE WILL BEAT AND MEET DISCOUNT PRICES! 50 Victoria S. K., Loveland, OH 50Years of CALL OR EMAIL US AND WE WILL SAVE YOU $$$$$$$$$$$$$$$$$” Experience See more testimonials on our website. IF YOU DO NOT SEE IT, IT DOESN’T MEAN LENSES, FLASHES, SCREENS WE DO NOT HAVE IT, PAPER AND ACCESSORIES Canon, Casio, Fuji, Hasselblad, Kodak, Leica, Mamiya, Nikon, Olympus, ASK WE PAY FOR YOUR RETIRED GEAR! Panasonic, Pentax, Polaroid, Samsung, Sanyo, Sigma, Sony, Vivitar, Etc - Delkin, Kington, Lexar, SanDisk, Nikon 1-800-221-2253 Memory Cards Fuji, Olympus, Sony, Panasonic, Etc...... CALL TOP DOLLAR$$$ Large selection of BATTERIES available at discount prices....CALL Large selections of NEW & Nothing is too Small or too Large Anything Photographic !!!!! 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CALL Olympus OM1...... 99.99 Pentax 80-160mm645zoom.229.99 Nikon SB900 ...... 349.00 EX DCOS HSM..548.95 Yashicamat...... 129.99 8-16mm F4.5-5.6 DC...618.95 1000-4000mm zoom...... 349.95 Pentax K1000...... 99.99 Pentax 120mm 645macro..399.99 Olympus 50mm F1.8 Zuiko...39.00 28-70mm F2.8.....318.95 Minolta 70...... 59.99 28-70mm F2.8-4....88.95 1.4X Teleconverter...... 99.95 Pentax 645...... 249.99 Pentax LX...... 299.99 28-300mm F3.5-6.3...234.95 Braun, Canon, Epson, GEPE, Kodak Carousel & Olympus 70-210mm F4.5...... 99.00 Minolta 9Xi...... 149.99 28-200mm F3.5-5.6...174.95 2X Teleconverter...... 29.95 3X Converter...69.95 Ektagraphic,Kaiser, Panasonic, Optoma, Sanyo, Rolleicord V...... 149.99 Rollei 35M...... 119.99 Olympus 50mm F1.4...... 99.95 50-150mm F2.8....698.95 1.5X Teleconverter...69.95 1.7X.Converter..99.95 Kodak C800...... 49.99 35-135mm F4-5.6...99.95 Sharp, Telex, Da-Lite Screens, Topcon super RE…249.99 Rolleiflex F3.5...... 499.99 Panasonic 14-50mm F2.8....479.00 55-200mm F4-5.6...124.95 0.42X Fisheye Lens...... 39.95 Topcon UNI...... 79.95 Samsung 170...... 69.99 50-150mm F2.8…968.95 Slide Mounts,Vue-all Etc. CALL Voigtlander Bessa...599.99 Pentax 28-80mm F3.5.....39.00 70-300 F4-5.6...... 138.95 0.45X Wide Angle Lens...... 39.95 Vitomatic II...... 99.95 Pentax auto 110...... 69.99 50-200mm F4-5.6.148.95 Voigtlander Bessamatic...129.99 Pentax 35-80mm F4...... 44.00 70-300mmDGOS.248.95 Vittesa...... 99.95 Nikon F100...... 169.99 50-500mm F4-6.3...948.95 Beseler, Durst, Fujimoto, KAISER, LPL, Yashica FX3...... 69.99 100-300mm F4-5.6...99.95 Yashica FR1...... 69.95 Sigma 70mm F2.8...... 379.00 Olympus IS...... 79.99 70-200mm F2.8....888.95 14mm F2.8...... 989.99 90mm F2.8...... 348.95 Omega, Etc. Enlarging Lenses & Darkroom Zeiss Contarex...... 299.99 Sony 16-80mm F3.5...... 499.00 120-300mm F2.8...2698.95 Zeiss Icarex...... 149.99 Miranda FV...... 99.99 70-300 F4-5.6 APO...188.95 28mm F2.5...... 99.99 180mm F3.5...... 628.95 Accessories. Large selection of papers available Canon 5D……….....999.00 Sony 55-200mm F4...... 99.00 150-500mm F5-6.3...948.95 Nikon 35TI…….…....369.50 Pentax PZ1...... 109.99 70-200/2.8OS…..1148.95 24mm F2.5...... 79.95 500mm F8...... 198.95 (Kodak, Ilford, Fuji, Forte, Etc.) Canon 40D……….299.00 Nikon FM 3A……….399.00 Vivitar 500mm F8 ...... 69.00 Contax IIa...... 139.99 CALL Contax Aria………299.95 100-300mm F4....1098.95 120-400 F4.5-5.6...938.95 11-18mm F4.5-5.6...434.95 10-24mm F3.5-4.5...429.95 Nikon F4…………….299.00 Vivitar 283 Flash...... 29.95 Contarex...... 249.99 Exakta 66………....999.99 Nikon D300……...... 699.00 200-500mm F2.8 APO EX DG...... 25998.95 16-300mm F3.5-5.6...549.99 17-50mm F2.8.....334.94 2X Teleconverter Extended Lens..29.95 Nikon 35Ti...... 299.50 300-800mm F5.6 EX BE HSM...... 7698.95 Alpa, Arca Swiss, Bronica, Contax, Fuji, Cambron, Leica M6……...…..999.99 Nikon D200…….…...499.00 18-200mm F3.5-6.3...158.95 18-250mm F3.5-6.3...414.95 Minolta SRT 101…..69.95 Olympus E-520…..…249.00 3X Teleconverter Extended Lens..39.95 Nikon 28Ti...... 349.95 1.4X APO...... 218.95 2X APO...... 278.95 18-270mm...... 398.95 19-35mm F3.5=4.5...159.95 Hasselblad, Linhof, Kiev, Mamiya, Pentax 645D Digital Camera, Rollei, 16-28mm F2.8 .....748.00 20-40mm F2.7-3.5...298.95 24-135mm F3.5-5.6...398.95 12-28mm F4……598.95 28-105mm F2.8....298.95 28-200mm F3.8-5.6...118.95 Rolleiflex, Toyo, Wista, Yashica, Etc.CALL FILTERS 300mm F6.3…….299.95 WE HAVE MORE THAN 10,000 FILTERS 17-35mm F4...... 719.00 24-70mm F3.3-5.6...89.95 28-75mm F2.8...... 348.95 10-17mm F3.5-4.5...444.95 100mm F2.8...... 384.95 IN STOCK. CALL ADAM 1-800-221-2253 11-16mm F2.8...... 564.95 28-200mm F3.5-5.6....99.95 24-70mm F2.8...... 1195.00 28-300mm F3.8-5.6...294.95 Arca Swiss, Bogen, Cambron, Cullman, Berlebach, Top Quality screw in optical Glass Filters 28-80mm F3.5-5.6...68.95 70-300mm F4-5.6 329.95 Giottos, Davis & Sanford, Gitzo, Impact, Linhof, We offer one of the Largest selections of BINOCULARS, 19-37mm……19.95 67-82mm……..19.95 12-24mm F4...... 424.95 50-135mm F2.8....674.95 TELESCOPES, RANGEFINDERS AND RIFLESCOPES 40-49mm……..9.95 86-95mm……..59.95 16-50mm F2.8...... 594.95 80-400mm F4.5-5.6....638.95 28-300mm F3.8-5.6 VC....584.95 200-400mm F5.6...... 298.95 Manfrotto, Slik, Sunpak, Tiltall, at LOW DISCOUNT PRICES!!! We also offer you more 52-62mm…….14.95 105-122mm…129.95 55-200mm F4-5.6...128.95 75-300mm F4-5.6...128.95 Vanguard, Velbon, Etc. - than 500 DIFFERENT BINOCULARS!!!!!!! Sun Shade Lens Hoods KENKO TELECONVERTER CALL 19-37mm……...9.95 67-82mm……..19.95 1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95 70-200mm F2.8.....664.95 200-500mm F5-6.3..758.95 BUSHNELL, BAUSCH&LOMB, 40-49mm……...6.95 86-95mm……..69.95 SAMYANG/ROKINON/BOWER 60mm F2 Macro...... 399.95 10-24mm F3.5-4.5....458.99 CAMBRON, CANON, CARSON, 52-62mm……...9.95 105-122mm…..99.95 7.5mm F3.5...299.00 8mm F3.5…299.00 14mm F2.8…399.00 1.4X Converter....124.95 2X Tele Converter.....138.95 Kodak, Ilford, Fuji, Polaroid, AGFA, Etc. CALL CELESTRON, DOCTER, FUJI, FUJINON, 3 Lens Close-up Macro Lens Sets 35mm F1.4…499.00 85mm F1.4…299.00 500mm F8...99.99 JASON, KOWA, LEITZ, LEICA, LEOPOLD, MEOPTA, 19-37mm……..29.95 52-62mm…….29.95 1.4X SP Converter...178.95 2X SP Converter...208.95 40-49mm……..19.95 67-82mm…….39.95 500mm mirror..119.99 500mm F6.3..159.99 800mm F8...219.99 150-600mm F56.3 for $999.99 MINOLTA, MINOX, OLYMPUS, PENTAX, SAMSUNG, 24mm F1.4...$699.00 24mm F3.5 Tilt and Shift…..999.00 Billingham, BobLBee, Domke, Lowepro, SPALDING, STEINER, SWIFT, TASCO, VANGUARD, B+W, HELIOPAN, CANON, CAMBRON, COKIN, 650-1300mm f8-16 Zoom Lens....279.99 NEW SCHNEIDER PC TS LENSES VIVITAR, VIXEN, VORTEX, WEENS & PLATH, ZEISS, CINE LENSES 50/2.8 HM Super Angulon...... 3498.99 Pelican, Rimowa, Tamrac, HOYA, KENKO, LECIA, NIKON, 8mm T3.8...329.00 14mm...T3.1...449.00 24mm T1.5 749.00 90/4.0 HM Makro-Symmar...... 3198.99 SINGH-RAY,TIFFEN, ZEISS, ETC CALL 3.5mm T1.5...549.00 85mm...T1.5...349.00 120/5.6 HM Aspheric Apo-Digitar...... 4698.99 Tenba, Zero Halliburton CALL CALL email: [email protected] BACKSTORY PHOTOGRAPH BY WYATT GALLERY SCREENED IN A photographer uses of something new. What came wasn’t always able to experience from his exploration was the the fullness of a location emo- windows as metaphor series Introspect, a catalogue of tionally,” Gallery says. This shot AFTER AN emotional breakup and photographs documenting the perfectly embodies his complex a failed business venture, ive view from the windows of each frustration, placing the viewer in years ago Wyatt Gallery embarked place he stayed. “Although I had the same emotional state as the on a nomadic lifestyle in search immense freedom physically, I photographer. —Sara Cravatts WYATT GALLERY GALLERY WYATT 90 POPULAR PHOTOGRAPHY JANUARY 2016 POPPHOTO.COM PROMOTION

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