digitalphotopro.com Retro-Cool Nikon Df See page 22

Art Streiber Coaxing Performances Go-To Gear! For The Still Frame Leading Shooters Lessons For Directing Talent & On Their Essential Crafting Elaborate Ensembles Equipment Secrets

Use Instagram Buzz To Boost Inside Your Biz Lightroom Pros & Cons Of Custom Location Defaults

Lighting!Mobile Monolights Compared Quick Guide To Softboxes Go BTS On A Corey Rich Shoot

The Photo Hit Man! Howard Huang Makes His Mark From Here To China

4 1 0 2 y r a u r b e F

Photographed on the 7R. Exposure: 35mm / 1/125 sec/ f/5.6/ ISO 400

A NEW FRAME of MIND.

Sony® 7R Compact Full-Frame Interchangeable Lens Camera

Introducing the no-compromise full-frame that’s so small, you’ll take it everywhere. Interchangeable lenses. 36MP. OLED viewfinder. Wi-Fi sharing—all in a compact body that will change your perspective entirely. Power of imaging. Be moved. See the difference for yourself at www.sony.com/a7experience

©2014 Sony Electronics Inc. The Sony logo is a trademark of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited. All other trademarks are trademarks of their respective owners.

Trevor Hiatt airs it out in the Jackson Hole, Wyoming backcountry showing off his unique style on a cold winter day where the temperature hovered around zero all day. Photo by Lucas Gilman.

”I SHOOT THE WORLD’S TOP ATHLETES, AND MY WORKFLOW NEEDS TO BE JUST AS FLUID AND DYNAMIC AS THEY ARE.”

– Lucas Gilman, Adventure Photographer and Filmmaker

It’s no secret that creative workflows have become more fluid — but until now, the way you capture, transfer and share your work has been frozen in time. That’s why we designed the Evolution Series — a swappable, expandable dual-bay storage platform that gives creative pros the speed and flexibility they need today.

The hub of the system is the G-DOCK ev™ with Thunderbolt™, plus ® two stand-alone G-DRIVE ev USB 3.0 portable drives that each move up to 1TB seamlessly from capture to post to distribution. Use the drives out on location. Then, once back at your workstation, insert the

drives into the dock to transfer your work with its ultra-fast Thunderbolt Up to 136MB/s interface. And the whole solution is RAID 0 and 1 configurable. USB 3.0 Hard Drive

Swap in. Swap out. The evolution starts now at g-technology.com

WORKS LIKE A PRO g-technology.com/WLAP

Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. Design by G-Technology in California. G-DRIVE and G-Technology are registered trademarks of HGST, Inc. and its affiliates in the U.S. and other countries. G-DOCK ev is a filed trademark of HGST, Inc. and its affiliates in the U.S. and other countries. ©2013 G-Technology, a division of HGST, Inc. All rights reserved.

JANUARY/FEBRUARY 2014 Vol. 12 No. 1 digitalphotopro.com Contents

Features PORTFOLIOS 42 THE PHOTO HIT MAN Influenced by graphic novels and science-fiction movies, Howard Huang’s vibrant urban fashion and celebrity work is turning heads from here to China By Mark Edward Harris  Photography By Howard Huang

50 TELL ME WHAT YOU WANT ME TO DO In his photography of Hollywood’s A-list, Art Streiber coaxes the artists into performing for his camera By Mark Edward Harris  Photography By Art Streiber

58 7TH ANNUAL EMERGING PRO WINNER With an eye for creating austere projects, Maria Burns shows that you can make a tremendous impact with the simplest of ideas

r e i b e t r S t r A

As we kick off do more with less. As studio spaces have through the use of battery power. Freeing Editor’s Note 2014, things are been relinquished because of high costs, you from the wall socket, these monolights looking up. After some tumultuous years, more photographers are keeping their inter- also let you use your full arsenal of studio- the U.S. economy is trending upward, and ests mobile. Instead of a room full of equip- style light modifiers. They don’t have the I’ve heard from several photographers who ment, we’ve pared down to the essentials. In same output as a full-on strobe pack, but for are seeing significant increases in their busi- lighting, there has been a shift to using a lot of shoots, the combination of power, ness bottom lines. It’s anecdotal research, to portable on-camera flashes instead of heavy, mobility and control is hard to beat. be sure, but just a few years ago, everyone I bulky power packs, when possible. Some- Of course, there always will be situations spoke with was either down or way down. times, the small flash just doesn’t have the when you just need power, pure and simple. There are still plenty of challenges, but there output you need, though, and between the Art Streiber was in that position when he was always will be at least some challenges. After studio power pack and the small handheld called upon to shoot a 100th Anniversary all, if it was easy to make a living as a pho- flash, monolights have risen as a sweet-spot photo for Paramount Pictures. The famous tographer, everyone would do it. alternative. Today, manufacturers are making photo is an impressive ensemble image. In The Great Recession has trained us all to these powerful lights even more useful this issue, we have an excellent interview with 8 I Digital Photo Pro digitalphotopro.com

Streiber, where he talks about how he works ment about their overall disapproval of the an enormously popular service with the sole with some of the most talented and famous company. This has gone on even as usage by purpose of circulating images withattribution. actors and actresses as a photographer. the overall population has soared. Forall of its If you’ve been steadfastly opposed to par- Streiber is one of my favorite photographers foibles, Instagram, like the rest of the social- ticipating in Instagram, check out Jim because of his ability to draw a performance media landscape, isn’t the enemy anymore Goldstein’s article. He’ll give you some new out of a person and capture that in a still than digital was the enemy in the film era or things to think about and ideas on how you frame. Take a look at the article “TellMe What 35mm was the enemy in the large-format can make use of Instagram on your terms. You Want Me To Do” to see more of his work era. People love photographs, and they want As I gear up for the 2014 issues, I want and learn more about his approach. to be able to take more pictures and do more to hear from DPP readers about article top- I can’t recall of any photo-related compa- with them. Instagram is simply serving that ics that would be of interest. Let me know ny that has been as divisive among profes- demand. As professional photographers, we what’s on your mind. You can find me on sional photographers as Instagram. Between shouldn’t be resentful of Instagram. In fact, Twitter @DPPRobinson or send me an email the filters and the changes to the Terms Of pros should embrace it as another vehicle for at [email protected]. Use, many pros have been vocal and vehe- helping your business. Think about it: This is —Christopher Robinson, Editor digitalphotopro.com January/February 2014 I 9

EDITORIAL CHRISTOPHER ROBINSON Editor WESLEY G. PITTS Managing Editor MAGGIE DEVCICH JANUARY/FEBRUARY 2014 Vol. 12 No. 1 digitalphotopro.com Associate Editor DAVID WILLIS Associate Editor ASHLEY MYERS-TURNER Associate Editor MIKE STENSVOLD Contents Senior Editor J. ANA FLORES, SAVA ALCANTARA Equipment Copy Editors JOHN PAUL CAPONIGRO, ROBERT HAWK, MICHAEL GUNCHEON, WILLIAM SAWALICH Contributing Editors 76 BATTERY-POWERED MONOLIGHTS JEFF SCHEWE, DOUG SPERLING, RYAN STEVENS With a combination of portability, power, versatility and the Professional Advisors

ability to be used away from an AC outlet, battery-powered ART monolights are gaining an increasing following among KURT R. SMITH professional photographers Art Director By The Editors ERIC BECKETT Assistant Art Director CANDICE OTA Graphic Designer 82 THE FUTURE OF C-PRINTS WWW.DIGITALPHOTOPRO.COM Using a massive, new Polielettronica HD C-printer, WESLEY G. PITTS Duggal Visual Solutions is producing jumbo-sized Online Director photographs with an apparent resolution of 6100 dpi MIKE DECKER Web Art Director By David Schloss DAMIAN GREENE Web Developer LISETTE ROSE 84 THE ESSENTIALS Web Production Associate Top pros share the gear they can’t live without PHOTO MEDIA GROUP STEVEN D. WERNER Publisher/Editor In Chief TECH CHRISTOPHER ROBINSON 62 DEFAULTS: A DOUBLE-EDGED SWORD Photography Group Editorial Director The pros and cons of using Develop defaults in Adobe KURT R. SMITH Executive Art Director Lightroom and Camera Raw EDITORIAL OFFICES Text And Photography By George Jardine Werner Publishing Corporation 12121 Wilshire Blvd., Suite 1200 Los Angeles, CA 90025-1176 70 THE HERO IMAGE (310) 820-1500 The evolution of a shoot with Corey Rich By David Willis Photography By Corey Rich Printed in the U.S.A. Digital Photo Pro is published by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-1176, (310)820-1500.Email us (editorialmatters only)at [email protected] PHOTO BUSINESS visit our website at www.digitalphotopro.com Copyright © 2014 by Werner Publishing Corp. No material may be reproduced without written permission. This publication is purchased with the understanding that information presented is from 66 MAKE USE OF INSTAGRAM many sources for which there can be no warranty or responsibility by the publisher as to accuracy, originality or completeness.It is soldwith theunderstandingthat the The service is frequently scoffed at by professional publisher is not engaged in rendering product endorsements or providing instruc- tion as a substitute for appropriate training by qualified sources. EDITORIAL photographers, but it can be a boon for your business SUBMISSION: Digital Photo Pro assumes no responsibility for solicited or unsolicited contributions and materials. Submissions for review should be limited to no more By Jim Goldstein than40 photographs.Pleasesubmitduplicates forour review.Otherwise,insurance for such materials, in transit or in our possession, must be the responsibility of the writer or photographer. Digital Photo Pro does not accept or agree to the conditions and stipulations printed on delivery memos, packing slips and related correspon- dence as they are presented without prior notice accompanying submission mate- rials. Exceptions to this disclaimer of liability on the part of Digital Photo Pro must be prearranged, executed in writing and signed by both parties prior to the shipment ofmaterialsin question.All submissionsmust beaccompaniedby a self-addressed, stamped envelope (SASE) with sufficient postage to cover the cost of return. The 22 class of mail and insurance coverage for returns will be determined by the amount provided for on the SASE. Writer/photographer guidelines are available on request, with the enclosure of an SASE. SUBSCRIBERS: Any obligation we owe to you, includ- ingdeliveryof yourmagazine, is contingentuponyou providingus withyour correct mailing address. If the Post Office notifies us that your magazine is undeliverable, wehave nofurtherobligation to youunlesswe receive a correctedaddressfromyou within two years of the Post Office notification. BACK ISSUES are available for one year prior to the current issue. To order within U.S., send $9.00 plus $4.00 postage and handling (Canada: $9.00 plus $5.00; International: $9.00 plus $10.00) for each issue to Back Issue Dept., Digital Photo Pro , 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, or go online and visit the eStore. No orders processed without proper funds and specific issue information. Digital Photo Pro is a registered trademark of Werner Publishing Corp. Copyright © 2014 Werner Publishing Corp. All rights reserved. Reproduction in whole or in part without permission is prohibited. To Subscribe Or For Subscription Questions: www.digitalphotopro.com or (800) 814-2993

or email [email protected]

26

Member, Alliance for 10 I Digital Photo Pro digitalphotopro.com Audited Media Member

THE FILMMAKER’S CAMERA. Fully equipped with a higher resolution Full Frame CMOS sensor than its predecessor. Not to mention, Full HD video and our most innovative low light system, with an ISO range of 100-25600, expandable up to 102400. Long Live Imagination.

2 133 Canonno U.S.A.,Inc. All rights resr erver ed.. Ca on nndEOS ar e er gististered d tradt emar ks of Canon Inc. inthe Unitedi Stateates and ma lsobeb register ed tr ademarks or trad maarks inother ccouountr tr es.. Camerar shown with compatible third partyaccessosoriesr . All other prodpr uctst , brand names, and l gos aretrar e arkr s of their ir ress ecte iveowners.Certain images and effects are simulim ated.

ADVERTISING/SALES Los Angeles (310) 820-1500, Fax (310) 826-5008 DEBRA I. LEVINE Associate Publisher SCOTT LUKSH JANUARY/FEBRUARY 2014 Vol. 12 No. 1 digitalphotopro.com Eastern Advertising Sales Manager DENINE GENTILELLA Senior Advertising Sales Manager CLAUDIA WARREN Contents Senior Advertising Coordinator MARKETING BASAK PRINCE DPP SOLUTIONS Marketing Manager MATTHEW WILKINSON 90 JIBBING Marketing Coordinator Get a cool move in motion shots and a new perspective PRODUCTION/MANUFACTURING in still shots with these versatile camera supports JESSE GARCIA Production Director MAGGIE DEVCICH COLUMNS Editorial Production Manager 30 VISIONEER’S GALLERY TAMMY REYES Production Manager The Wave Sliding Club By Baldev Duggal CONSUMER MARKETING DAN REGAN Consumer Marketing Director 36 (R)EVOLUTION LIZ ENGEL Consumer Marketing Manager Photoshop Blur Filters, Part 2 SUE C. WILBUR By John Paul Caponigro Web Audience Manager JOANNA RUTKOWSKA Online Advertising Operations Manager Departments TOM FERRUGGIA Newsstand Sales Manager

14 FIRST TAKES 22 DPP IN FOCUS 32 HI-TECH BUSINESS/OPERATIONS 94 STUDIO: THE SOFTBOX DPP MARKETPLACE LYNNE IRVINE 98 MISINFORMATION: MOVING TARGETS General Manager LORIE SHUMAN Finance Director LASHON SIMMONS Accounting Assistant J. ANA FLORES Trademark & Copyright Manager JASON ROSENWALD 27 Systems Manager AIDA MANICOM Administrative Assistant

WERNER PUBLISHING CORPORATION 12121 Wilshire Blvd., Suite 1200 Los Angeles, CA 90025-1176 (310) 820-1500 STEVEN D. WERNER President LYNNE IRVINE Vice President 24

To sell Digital Photo Pro at your establishment, contact: RetailVision, (800) 381-1288 or rvmags.com/contact.asp

For reprint information, contact: Advertising/Sales, (310) 820-1500

For digital editions: zinio.com/digitalphotopro

For an extensive archive of back issues: www.digitalphotopro.com

For website help: 26 [email protected]

ON THE COVER: Emmy Rossum by Art Streiber

Digital Photo Pro (ISSN: 1545-8520)—Vol. 12 No. 1—is published bimonthly except monthly in November and December by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Periodicals Postage Paid at LosAngeles,Calif., andat additionalmailingoffices. Single-copy price—$5.99. Annualsubscriptionin U.S.,Possessions, APO/FPO—$24.97.Canada—$39.97;other foreign—$39.97,including postageand taxes. Payablein U.S.funds.For orders, addresschangesandall othercustomer service,phone toll-free (800) 814-2993. POSTMASTER: Send address changes to Digital Photo Pro , Box 37857, Boone, IA 50037-0857. Canada Post Publications Mail Class Agreement No. 1559788. See magazine mast for specific information on solicited and unsolicited contributions and the purchase of back issues. 12 I Digital Photo Pro

Q \ Q Y

You coax a shy flower girl out of her shell.

Put the brakes on a runaway ring bearer.

Keep a beautiful bride completely at ease.

And find a way to turn a spontaneous moment

Into a memory that will last forever.

Just to get one shot.

Finish strong.

i &DWKHULQH +DOO

Epson Stylus Pro 3880 – $1,295* Epson Stylus Photo R2880 – $599.99* Epson Stylus® Photo R3000 – $799.99*

– Exhibition-quality prints from 13” to 17” wide – Epson UltraChrome K3® with Vivid Magenta, used by the world’s leading photographers for stunning black-and-white and brilliant reds, blues and purples – MicroPiezo® print head technology for exceptionally precise ink droplet placement – World-class service from a dedicated support team

epson.com/finishstrong

3ULFHV DUH 0DQXIDFWXUHU 6XJJHVWHG 5HWDLO 3ULFH (3621 (SVRQ 6W\OXV (SVRQ 8,WUD&KURPH . DQG 0LFUR3LH]R DUH UHJLVWHUHG WUDGHPDUNV DQG (3621 ([FHHG

s e k a T t s i r F

14 I Digital Photo Pro digitalphotopro.com

r e i b e t r S t r A

For Paramount Pictures’ 100th Anniversary, Art Streiber was called on to take a single, epic photograph. “In my experience,” explains Streiber, the massively successful celebrity portraitist, “nobody really enjoys having their picture taken except for models. I liken it to dentistry. It’s something you have to and should do every year. I try and make it as easy as possible on my subjects.” A shoot with the photographer is much like putting together a film. He collaborates with a set designer and lights for mood rather than to show off his formidable technical skills. Streiber is also famously adept at working with group portraits, as you can see in this shot of 116 very famous subjects captured for the studio’s historic anniversary. The set alone took three weeks to build, and he and his team ultimately employed 56 Profoto heads. He explains in the portfolio article in this issue that he keeps from getting overwhelmed in shots like this by dividing larger groups into smaller ones, which he’s then able to piece together into a final cohesive composition.

digitalphotopro.com January/February 2014 I 15

s e k a T t s i r F

g n a u H d r a w o H

Howard Huang’s explosive color palette, urban set design and gangster sensibilities have made him a popular portraitist for clients like VIBE , Billboard , Maxim , Panasonic and Nintendo. He’s a master composite artist, and the photographer will often shoot a background separately and then set the studio lighting to match the scene, which allows him to work as quickly as possible during the portrait aspect of the shoot. This gives him a big leg up when working around the limited time schedules of celebrities like Nicki Minaj, with whom he has collaborated on a number of projects over the course of several years. Find out more about the Hasselblad/Leaf and Canon shooter in the portfolio article in this issue.

digitalphotopro.com January/February 2014 I 17

y l a s i n F n l i o e C k a T t s i r F

After years as a war and conflict photojournalist, Colin Finlay is exploring a new outlet for bringing his personal creative touch to photography through the combination of original painting. “I wanted to bring the uniqueness of creating a one-on-one piece. I envisioned [this image] to be more like a pencil outline drawing with his eyes, his nose and just a tear,” explains Finlay of his Brock Baker portrait. But the process of creating the piece was more than just Finlay’s vision. After a stint on the hit TV show Glee , Baker was ready to reinvent his image and eager to engage in Finlay’s process. Finlay explains, “This is an exchange between both of us. Something we both create. That communication. That bond that goes beyond just language. And it was a lot of improvisation.”

18 I Digital Photo Pro digitalphotopro.com

Camera lens and accessories not included

Shoot the next Hollywood blockbuster with the world’s most amazing digital cinema camera!

7KH ZRUOGőV PRVW PLQG EORZLQJ IHDWXUH ŵOPV WHOHYLVLRQ FRPPHUFLDOV Film Industry Quality DQG PXVLF YLGHRV ORRN DPD]LQJ EHFDXVH WKH\ DUH ŵOPHG ZLWK GLJLWDO ŵOP Every feature of the Blackmagic Cinema Camera has been cameras! The new award winning Blackmagic Cinema Camera is unlike designed for quality. With 2 separate models, you can a regular video camera or DSLR camera because it’s a true high end choose from the world’s most amazing EF or MFT lenses from crafters such GLJLWDO ŵOP FDPHUD

Dramatically Better than DSLR Video Accessories Built In The Blackmagic Cinema Camera includes a large 2.5K High end cinema cameras often require thousands of sensor for super sharp images that eliminate resolution loss dollars of extra accessories to make them work, however the HD bayer sensors suffer from, while creating manageable Blackmagic Cinema Camera includes accessories you need ŵOHV WKDW DUH QRW WRR ELJ 7KH ODUJH VFUHHQ /&' DOORZV HDV\ IRFXVLQJ DQG WKH built in! You get a large 5 inch monitor, super fast SSD RAW recorder and high speed SSD recorder lets you record in ProRes® , DNxHD® DQG 5$: ŵOH professional audio recorder all built in! You also get UltraScope software, used formats for Final Cut Pro X and DaVinci Resolve! via the built in Thunderbolt™ connection, for on set waveform monitoring!

Super Wide Dynamic Range 7KH %ODFNPDJLF &LQHPD &DPHUD FDSWXUHV DQ LQFUHGLEOH  stops of dynamic range so you can simultaneously capture Blackmagic Cinema Camera the brightest highlights and the darkest shadows all at $ WKH VDPH WLPH LQWR WKH UHFRUGHG ŵOH 7KLV PHDQV \RX FDSWXUH PRUH RI WKH 1,995 scene than a regular video camera can so you get more freedom for color Includes DaVinci Resolve Software FRUUHFWLRQ IRU D IHDWXUH ŵOP ORRN

Learn more today www.blackmagicdesign.com/cinemacamera

y l e d a s r B t s u e g u k A a T t s i r F

Dramatic, cirque-inspired themes moved August Bradley to collaborate with the performance group Lucent Dossier on a new collection of short films and conceptual images. “They blend classic portraiture in a flavor along the lines of Irving Penn, with a theatrical over-the-top approach to costume, makeup and

performance,” says Bradley. “The project was shot over a few days in a 100-year-old vaudeville theater called The Palace in Los Angeles, which has been boarded up and hidden from the public for decades, and is just now coming back to life with public performances.” Bradley and the Lucent Dossier performance group have been committed to working together for some time. “When we first met, after having been inspired by them for years, they said my images have been on their computer wallpapers for years. That made it easy to flow into creative collaborations,” he adds. The project will be launched on a micro-website followed by physical exhibitions in Los Angeles and New York. For updates, visit Bradley’s website at www.augustbradley.com. 20 I Digital Photo Pro digitalphotopro.com

s u c o F n I New Tools Of The Trade P P DPPInFocus D

Nikon Df  The highly anticipated full-frame Nikon Df utilizes current digital g technology, such as the 16.2-megapixel FX-format CMOS sensor and i n t EXPEED 3 processor used in the D4, within a classic body design h reminiscent of the Nikon 35mm film cameras. Solid mechanical i g L controls are used for setting adjustments and controls, returning to a I traditional SLR feel and reducing the need for scrolling through e menus. With a 3.2-inch LCD screen and a glass optical viewfinder, g a you utilize the 39-point AF system to shoot up to 5.5 fps for sharp r o action shots. With an ISO range of 100-12,800, expandable to t 204,800, the Df performs well in low light. Wireless connectivity is S I possible with the WU-1a Wireless Mobile Adapter for instant sharing g or remote triggering. The Df is backward-compatible with classic i n Ai and non-Ai Nikkor lenses, as well as current AF, AF-S, DX and t AF-D lenses. Purists may appreciate that the camera doesn’t i n r offer video capabilities. List Price: $2,749 (body only). Contact: P Nikon, www.nikonusa.com. I

r e a w t LED Fresnels f o Litepanels has added a 12-inch option to their Fresnel series. The Sola 12 (Daylight) S and Inca 12 (Tungsten) provide a fixed lens, directional illumination and an output I t nearing traditional 2K incandescents while integrating LED technology. Drawing only n 346W, the Sola 12 and Inca 12 are convenient low-energy units for location lighting, as e well as efficient studio lighting. The cool-to-the-touch LED technology makes operating m i p the lightweight housing possible without gloves. An integrated DMX module includes u Ethernet connectivity for remote dimming, from 100% to 0 without any noticeable color q E shift or flicker, and focusing, with a 67º-15º beam angle. List Price: $4,795. Contact: l Litepanels, www.litepanels.com. a i t i g D I Street Shooter s The Panasonic LUMIX DMC-GM1 is a mirrorless interchangeable- a r lens camera squeezed down to a pocket-sized profile. With a e high-quality, 16-megapixel Digital Live MOS sensor, the GM1 m shoots both still photos and 1080 HD video at 60i/30p. The a C metal-alloy frame, with aluminum dials and brushed metal, feels comfortable in hand and has a stylish retro look. The 3-inch, 1036K-dot LCD screen allows you to set focus and trigger the shutter via touch sensitivity. Silent Shutter mode reduces shutter noise while in the field during sensitive moments. Built-in WiFi connects to your smartphone and tablet for asset transfer, as well as remote triggering using the Panasonic Image App. The GM1 also has integrated creative filters, as well as time-lapse and stop-motion features. List Price: $749. Contact: Panasonic, www.shop.panasonic.com.

22 I Digital Photo Pro digitalphotopro.com check out www.digitalphotopro.com/gear/in-focus for more info

INTRODUCING

A C A M E R A A S FAST

A S Y O U A R E .

The blazing fast revolutionary Olympus OM-D E-M1. The heart of our OM-D E-M1 is our new TruePic VII image processor designed for maximum performance and speed. The E-M1’s new 16MP Image Sensor, with a Dual FAST Autofocus System, automatically switches between Contrast Detection and Phase Detection so you can focus at an astonishing speed—no matter which Olympus Zuiko lens you use. This, paired with a 1/8000-second mechanical shutter and 10fps sequential shooting ensures you’ll have all the speed you need to take incredible images anywhere you go. Move into a new world. www.getolympus.com/em1

• One of the smallest and lightest bodies in its class at 17.5 ounces* • Built-in Wi-Fi • Full system of premium, interchangeable lenses

*E-M1 body only

“With the E-M1’s new Dual AF System, I get the stopping power and agility I need for rock solid performance. ”

Shot-John with S. Ruth, the E-M1, Olympus Zuiko Visionary ED 35-100mm f2.0 lens with MMF-3

Move into a New World

s u c o F n I New Tools Of The Trade P P DPPInFocus D

Personalized Tripod  Novoflex’s modular tripod, the TrioPod, is available in five different sets. Additionally, each g part is available individually for maximum flexibility and expandability to match your i n t changing needs. The system includes the 0.69-pound TrioPod tripod base, a center column, h which extends the stand base height by 3.15 inches, 3- and 4-segment aluminum legs, i g 3- and 4-segment carbon-fiber legs, mini-tripod legs and a 3-segment hiking stick. List L I Price: $585 (TrioPod with 3-section aluminum leg set); $657 (TrioPod with 4-section e aluminum leg set); $887 (TrioPod with 3-section carbon-fiber leg set); $930 (TrioPod g with 4-section carbon-fiber leg set); $709 (TrioPod with Hikingstick II 3-section leg a r set). Contact: Novoflex (HP Marketing Corp.), www.hpmarketingcorp.com. o t S I g i n All-In-One Superzoom t The 20.2-megapixel i n Sony Cyber-shot DSC-RX10 with r 24-200mm ƒ/2.8 Carl Zeiss Vario Sonnar T* P I high-zoom lens provides incredible variability in an all-in-one design, perfect for lightweight travel. By r e combining the RX100 II’s Exmor R CMOS sensor and the a w new BIONZ X processor, Sony continues to reduce t f area-specific noise and increase detail. Three different o sizes can be selected for autofocus, allowing you to S I Ultratelephoto Zoom match the size to your subject for accurate focusing. t Tamron has announced the development of the SP 150-600mm F/5-6.3 Di VC USD ultratelephoto Fast action can be captured at up to 10 fps with n continuous AF. The RX10 continues to advance in video e zoom, compatible with both full-frame and APS-C formats. With a large focal-length-range m expansion from the current 200-500mm lens offered, this lens is of particular interest for sports capabilities, with 60p and 24p frame rates, HDMI out, i p and wildlife photographers who need a little extra length without losing quality (from extenders) or an adjustable audio level meter and headphone out for u time (by changing lenses). Including Vibration Compensation, a redesigned tripod mount and an audio monitoring. Additionally, it’s compatible with the q E Ultrasonic Silent Drive for accurate AF, the lens is set up to shoot sharp images at a long focal XLR-K1M adapter for pro audio recording. List Price: l length both mounted and handheld. List Price: TBA. Contact: Tamron, www.tamron-usa.com. $1,299. Contact: Sony, www.sony.com. a i t i g Perfect Photo Suite 8  D I onOne Software has added new s features to their photo-editing a r software with the release of Perfect e Photo Suite 8. Both the Standard m version (a stand-alone application) a C and the Premium version, which also integrates with Photoshop, Lightroom, Elements and Apple Aperture, use a unified interface of eight modules including Effects, Enhance, B+W, Portrait, Mask, Layers, Resize and Browse. The new Enhance module includes basic tools for brightness, contrast, sharpness, removing dust spots and vignettes. The Perfect Eraser tool removes objects with content-fill technology. A re-engineered Effect module provides custom filters and presets. The new Browse module makes it easy to scan through images on your computer, external drive, network and cloud-based storage, and work on multiple images at once. List Price: $299 (Premium); $149 (Premium upgrade); $79 (Standard). Contact: onOne Software, www.ononesoftware.com.

24 I Digital Photo Pro digitalphotopro.com check out www.digitalphotopro.com/gear/in-focus for more info

h l c a W d r a h i c R ©

THE PROFOTO B1 WITHOUTWITH TTL CORDS The new Profoto B1 makes it easier than ever to use your flash off camera.

TTL achieves your light in an instant. With battery-power/ without cords, the 500w/s B1 goes wherever you go. Combining performance and the legendary Profoto light shaping system the B1 makes great light easy.

To learn more go to www.profoto.com/us

Profoto US | 220 Park Avenue, Florham Park NJ 07932 | PHONE (973) 822-1300, profoto.com/us

s u c o F n I New Tools Of The Trade P P DPPInFocus D

Sling Strap For Women  Designed specifically for the female body by female designers, the Kick strap by BlackRapid

makes slinging a camera more comfortable for women. The short shoulder pad includes a built-in curve that “kicks” webbing Pro Filter Line toward the center of the chest, making the sling placement well Kenko Tokina USA, Inc. has designed a new line of Hoya PROND fitting. The shoulder pad is also filters for both still photo and HDSLR video use. The nine filters thicker and wider than the range from two to 10 stops in light reduction. ACCU-ND metallic BlackRapid Elle, which also technology coats the front and back of optical glass, creating makes it compatible with the the neutral-density effect for a neutral color balance that Brad underarm system for extra doesn’t add any additional color cast. A one-piece, thin, stabilization. Estimated Street aluminum frame keeps the filter secure and parallel to the Price: $61. Contact: BlackRapid, sensor. Available in ND4X through ND1000X densities and sizes www.blackrapid.com. 49mm-82mm. Estimated Street Price: Varies by filter size. Contact: Kenko Tokina USA, Inc., www.kenkotokinausa.com.

Versatile Support Weighing a featherlight four pounds, yet supporting a full 22-pound capacity, the versatile 3POD P5CRH 5-section Carbon Fiber Compact Tripod with K3 Ballhead by Flashpoint is the perfect travel companion. With wear-resistant lock guards that provide against slippage due to wear and temperature changes, the 5-section legs individually fold and unfold with metal-jacketed twist

locks and have three position settings to compensate for uneven surfaces. Each foot has a spike for outdoor trail use with a nonslip rubber cap. Quick moments and tight spaces may call for the P5CRH’s monopod configuration, utilizing the center column’s reinforced twist-lock technology. The included K3 Sigma 35mm F/1.4 DG HSM Art Ballhead provides smooth 360º Photographers looking for a fast prime lens will take note of the Sigma 35mm ƒ/1.4 panning with two bubble DG HSM Art lens. Designed for a full-frame sensor and compatible with an APS-C levels and a sliding sensor, the lens features a Hyper Sonic Motor for quick and quiet focusing, as well as quick-release plate. List a floating internal focusing system, allowing high performance, even at close shooting Price: $124. Contact: distances. SLD and FLD glass elements correct axial and chromatic aberrations. The Flashpoint (Adorama), lens is compatible with the Sigma USB dock for firmware updates and adjusting focus www.adorama.com. parameters. Estimated Street Price: $899. Contact: Sigma, www.sigmaphoto.com.

26 I Digital Photo Pro digitalphotopro.com check out www.digitalphotopro.com/gear/in-focus for more info

y a s e S b A High Intensity, Low Heat © A continuous light for both still and video shoots, the LED-200WA High-Intensity Series by Fotodiox produces 15,000 lux/m of luminance, two times the brightness of the previous model, while consuming only 200 watts of electricity. The 200WA runs on constant power instead of alternating current like many equivalent models, allowing it to run twice as long. Though it provides high intensity, it generates very little heat, making studio sessions more comfortable. Available in 5600K (Daylight) or 3200K (Tungsten), it’s housed in a strobe-like package with a Bowens S-type bayonet mount, making it compatible with standard strobe accessories. A built-in glass diffuser creates soft and even light with a high color-rendering index for proper color in all environments. List Price: $424. Contact: Fotodiox, www.fotodioxpro.com.

 Manfrotto Shoulder 50 The Shoulder 50 is a comfortable and sturdy shoulder PROFOTO RFi bag that’s part of the new Manfrotto Pro line. The SOFTBOXES. bag interior features a Camera Protection System (CPS) with thickly layered core center dividers IT’S MORE THAN A that mold to cradle your equipment and provide SOFTBOX. IT’S A shock absorption for two DSLRs with lenses attached, LIGHT SHAPING TOOL. a strobe, a tablet, accessories and additional personal gear. Featuring a rigid, multilayered Exo-Tough outer The Octa RFi is most commonly used for such purposes as fashion, beauty and portrait construction with thermo-formed areas and reinforced photography. One of the most important reasons feet to protect against impact, the Shoulder 50 also for this is that its unique shape creates a beautiful, provides a back compartment for personal papers, a natural looking catch light in the subject’s eye. top zipper for quick gear access and a removable rain RFi softboxes come in all sizes and shapes, and are compatible with all major flash brands. To ensure cover. Estimated Street Price: $189. Contact: full control for the photographer, they have a deeper Manfrotto, www.manfrotto.us. shape, a recessed front, double-layered diffusers and a highly reflective silver interior. Optional accessories are available for even more precise light shaping.

In short, an RFi softbox is more than just a softbox… Glidecam VistaTrack Add smooth, even movement to your next video project with the Glidecam VistaTrack 10-48. Use the track on flat or uneven surfaces alike or mounted to a tripod to create vibration-free, high-quality movement. When using the integrated adjustable legs or a single tripod, the Linear Track and Dolly System supports cameras weighing up to 10 pounds, or provide added stability and support with two tripods for use with cameras weighing up to 30 pounds. Two quick-release plates are included. One plate mounts the VistaTrack to a single tripod and the other mounts the camera to the track. The system is available in 48-inch, 36-inch and 24-inch lengths. List Price: $699 and up. Contact: Glidecam, www.glidecam.com. Profoto US 220 Park Avenue, Florham Park NJ 07932 PHONE (973) 822-1300, profoto.com/us

s u c o F n I New Tools Of The Trade P P DPPInFocus D

Precision Panhead The Induro PHD3 panhead provides quick and precise camera positioning from a wide range of angles using a single-lock knob control. The one-lock knob gives full control over the 360º

rotation of the panning base, while a separate knob controls +90º/-45º front-back tilt movement and +45º/-45º side-to-side tilt. A graduated scale and bubble level aid in accuracy. A double-safety lock is incorporated on the Quick Release clamp of the included Arca-Swiss-style top plate. Fits size 2- and 3-series tripods. List Price: $385. Contact: Induro, www.indurogear.com.

Zeiss Otus 1.4/55 Zeiss has introduced the 55mm ƒ/1.4 as the first lens in the Otus lens line. Named after an owl known for night vision, the Otus line is designed specifically for high- resolution-sensor DSLRs, prioritizing sharpness and high image contrast and reducing chromatic aberrations. The internal 12-element optical design creates images without color fringe or distortion, while the external metal barrel allows for smooth manual focusing and comfortable operation. Available in F-bayonet and EF-bayonet mounts,

the Otus line will be growing with additional lens lengths. List Price: $3,990. Contact: Zeiss, lenses.zeiss.com.

G-Tech Evolution  G-Technology has developed a dual-bay storage system particularly useful for downloading files in the field, then quickly backing up once you return to your studio workspace. The G-DOCK ev with Thunderbolt hub ships with two portable stand-alone G-DRIVE ev USB 3.0 drives with 1 TB capacity each. The hub allows additional drives to be swapped in and out for flexible and expandable backup. Estimated Street Price: $749 ($199 for each additional 1 TB G-DRIVE ev portable USB 3.0 drive). Contact: G-Technology, www.g-technology.com.

28 I Digital Photo Pro digitalphotopro.com check out www.digitalphotopro.com/gear/in-focus for more info

r e k E a n n A r f o . G r a  l a Canon Sensor Upgrade K © The Canon EOS 70D DSLR uses new Dual Pixel CMOS AF technology, which reads phase-detection data from every pixel for smoother autofocus when shooting quick-moving subjects such as sports, wildlife and events. Knowing the benefit of this technology for filmmakers, Canon is offering a $500 Dual Pixel CMOS AF upgrade for the EOS C100 Cinema camera that was released in November 2012. After purchasing the

C100, owners will be able to ship their cameras to the Canon Service Center to have the sensor upgraded. Upgrades will start in February. Contact: Canon, www.usa.canon.com.

Mobile Apps For Professionals

Formerly known as the app Trip Cubby, Mileage Log+ by Contrast has received an upgrade, becoming a much-needed convenience for photographers tracking mileage for reimbursement or tax deduction purposes. The app features auto-entry and auto- calculation and saves frequent trips to reduce filing time, as well PROFOTO as quickly sorts and filters with customizable categories and reimbursement rates. Created keeping IRS compliance in mind, UMBRELLAS Mileage Log+ also compiles Excel-compatible email reports with PDF and CSV attachments. List Price: $9.99. Contact: 12 MODELS. Contrast, contrast.co. 2 SHAPES. In photography, between INFINITE scouting, setting up equipment and working POSSIBILITIES. with natural light, timing is incredibly important. When you’re Available in 12 unique models and made with traveling in a new city, even more factors play into timing. The high-quality fabrics and surface-treated metallic free Embark app for iPhone helps manage city navigation with elements, Profoto Umbrellas will provide a superior step-by-step instructions so you can get to your location smoothly. light for years to come. Using real-time information about late trains, closures and Available in a deeper shape for photo-graphers advisories, Embark gives you the best estimate as to when your who want a broader range of possibilities, and in shallower shape for those who value portability and train will arrive and what your schedule will look like. And Embark ease-to-use. continues to work without an Internet or cellular connection while For further information go to you’re underground in a metro system. Currently available for 10 www.profoto.com/us/umbrellas transit systems, including Boston, Chicago, NYC, San Francisco and Washington D.C., Embark is continuing to expand. Contact: Embark, letsembark.com.

Instead of single-image pseudo-HDR, bring true multi-image HDR photography to your smartphone. The Pro HDR app by eyeApps LLC expands your dynamic range with multiple image merging from the palm of your hand. Compatible with front and rear phone cameras, you can use auto-capture or manual mode for exposure, digital zoom, self-timer and flash. Edit the images by adjusting brightness, contrast and saturation, then save GPS and EXIF data. Compatible with iOS and Android devices. List Price: $1.99. Contact: eyeApps LLC, www.eyeapps.com.

Profoto US 220 Park Avenue, Florham Park NJ 07932 PHONE (973) 822-1300, profoto.com/us

y r e l a G ’ s r e e The Wave n i o i s Sliding Club V Visioneer’sGallery

Akira Seo And The Fine Art Of Surfing By Baldev Duggal

s n o t i l u o S l a u i s V l a g g u D f o s y t e r u o c s t o o h P

Utter weightlessness, flying through the air, populated with sharks, and their express what is going on when the transcendental, mystical, magical, thrilling, thrilling ride on the perfect wave at surfers are on the land. The ocean enlightening—these are some of the ways speeds as high as 60 kilometers per usually serves as the background for those whoseek their balance atop ocean hour, followed by the paddle back out, surfers. I chose the unrelated subject waves expresstheeuphoria of surfing in is a sight that epitomizes human free- for the background intentionally, so words. Surfing is more than a sport. It dom and union with one of the most the surfers’ expressions could tell what has come to define a subculture that’s untameable forc es on our planet. they feel,” says Seo. Choosing to print synonymous with the spirit of soaring Surfing is a sport that’s played, or rather his dramatic black-and-white images freedom. Born in Polynesia, within a performed, by artists. It’s not simply a on Duggal’s latest digital HD printer centuryof its introductionin California, technical process, it requires a state of for its unprecedented image and tonal surfing has been embraced as a way of mind that sees different possibilities in resolution, the images of surfers were life by people around the world. The every wave; it requires a faith in uncer- mounted on gallery plexi boxes for surf culture is much more than wave tainty and limitlessness, the skill and installation at the Onishi Gallery. riding. It has had tremendous influence deftness of dancing, and the confidence Seo grew up in a small town by in shaping global fashion, language, of beautifully painted brushstrokes. the seaside in Japan, so going to the lifestyle and music trends. Surfing Photographer Akira Seo, who beach and hanging out there with has its beginnings in spiritual practices moved to the U.S. from Japan 15 years friends was a part of his lifestyle, and of the ancient Polynesians—a form ago, recently opened his exhibition this is what made him into a surfer for of prayer through which they asked “Fish Out of Water” in New York life. In this exhibition, Seo presents for protection from the ocean. The with stunning portraits of surfers. As a images of surfers as they head toward Hawaiians refer to surfing as he‘e nalu, surfer himself, Seo’s familiarity and the ocean’s infinite horizon and as they which translates to “wave sliding.” intimacy with the surfing community proudly stand on the shore embracing For non-surfers, this culture is both enabled him to create portraits that their ocean riding vehicles. The mono- mysterious and awe-inspiring. The allow people on the “outside” a chromatic images are both severe and fearless and graceful glide of a surfer glimpse into the otherworld of surf- gentle. The crisp lines and tangible tex- into the ocean, no matter how cold or ing. “At this exhibition, I wanted to tures of the natural settings contrast ABOVE: Akira Seo’s “Fish Out Of Water” photos printed with Duggal’s new HD printer. 30 I Digital Photo Pro digitalphotopro.com

s n i t r a M o c i r e starkly with the tender human forms nomenal art of personal expression for d r e F and curved shapes of the surfboards. those who have embraced it. Although © Some models pose with their boards in the East Coast has a very long tradition loyal partnership, and others stand of surfing, the weather makes it a more united as if one being. Seo notes that seasonal sport here than on the West these surfers love the water, love to surf Coast. Perhaps there’s a relationship and love the lifestyle it enables. They after all between the experimental, rad- feel strong in their mastery of both land ical nature of West Coast-born ideas to and sea, relating like fish to the water. the culture of freedom and adventure He presents beautiful portraits of these that year-round surfing represents. For surfers to communicate what the me, the most heartening part of Seo’s surfers say they’d like others to see— exhibition is the love for raw nature strong, self-possessed, determined indi- that’s communicated through each por- viduals who ride, with grace, the line trait.Each oneof thesurfers isn’tsimply between solid and fluid, restrained and a sportsman; he’s at heart the guardian free, powerful and vulnerable. On the of the ocean. Kelly Slater, one of the

SHAPE SUNLIGHT WITH PROFOTO’S COLLAPSIBLE REFLECTORS

The latest addition to our assortment of Light Shaping Tools is a powerful and cordless continuous light source – the sun.

Shape its light with one of ten collapsible reflectors, each equipped with two ergonomically shaped handles, to make them easy to hold and fold. Available in two sizes and six surfaces for any lighting challenge. For more information go to www.profoto.com/us

relationship between art and surfing, most famous surfers of all time, states, Seo states, “I think surfing on the wave “I think when a surferbecomes a surfer, is like painting on the canvas. Each it’s almost like an obligation to be an surfer draws their own line by using environmentalist at the same time.” their surfboard. They draw alldifferent If the ancient Hawaiians surfed lines.Being a partofthe waveand flow- through the waves as a prayer for pro- ing with it…surfing is not only just a tection from the ocean, it’s encourag- sport, but an artistic work. The models ing to know that with the growing I shot were all very good artists, so I popularity of surfing and the growth carefully chose the location for each of its culture around the world, we one of them.” may now be surfing for the protection To exhibit portraits of surfers head- of the oceans instead. DPP ing out into the ocean for countless hours ofjoy and bliss isa gifttothe peo- For more information on Duggal, visit ple of New York City, a place that truly www.duggal.com or check out the blog at never sleeps. “I learned how to express www.duggal.com/connect and see their myself from surfing,” Seo told me. newest articles on the printing, photogra- Surfing is truly an ideology and a phe- phy and fine-art industries. Profoto US 220 Park Avenue, Florham Park NJ 07932 PHONE (973) 822-1300, profoto.com/us

i o d u t S h c e The Softbox T i - H Hi-TechStudi The essential light modifier for all genres of professional photography By Ashley Myers-Turner

Softboxes create directional, diffuse, natural- looking light. The light quality might be compared to that of an overcast day, but using a softbox, you have control over the size, shape and direction of the light. Incredibly versatile, you can use a softbox as a key light, fill light or site side where a translucent piece of backlight. Their adaptability make fabric spans the corners of the frame, them a favorite among professional creating the soft, even, diffuse light. photographers, from photojournalists Most are roughly rectangular in shape, who use small ones on a handheld but several manufacturers also make flash to fashion and beauty shooters octagonal models, which will create a working on location to studio photog- more round catchlight. raphers shooting a perfume ad. A The translucent fabric can be softbox should be in every photograph- layered or traded out for vari- er’s grip kit. ous thicknesses, allowing the The basics of the design are simple. light to be customized for the The softbox attaches to a strobe or con- space and subject. Accessories, such as factors in your softbox decision. tinuous light source. With four opaque grids,which limit light scatter, also add Ultimately, it’s the size of the light sides made of fabric, the light bounces customized control, and you can use source (combined with its distance around the reflective inner lining, and large gel sheets to color the light. from the subject) that determines the it’s shaped and released out the oppo- Size is one of the most important hardness or softness of the light. For photographers shooting primarily headshots, detail fashion shots, small objects or children, softboxes around 24 inches or under usually will get the job done. Larger softboxes spread more light and can be moved farther away from the subject, giving you and the subject more room to work and move or for softer shadow transitions. Large softboxes work well for full- length portraits, as well as shots with many subjects. Another important aspect to look for is the interior lining. Many softbox- es have a standard white lining, while some are available with gold or silver interiors, or have the ability to swap between colors. Metallic interiors gen- erally boost contrast and amplify your light output. You also need to choose a diffuser that will match your light source. Several factors may come into play. If TOP: LumiQuest SoftBox. ABOVE: Glow Hexapop R-series; Interfit Strip Pro Softbox. you’re shooting video, you’ll need a 32 I Digital Photo Pro digitalphotopro.com

THE FIRST PELICAN

NEWCASE 2013 YOUCAMERA CANBACKPACK WEAR LINE

Coming Soon to a Photo Retailer Near You Learn More at www.Pelican.com/photopacks

Q S115 LAPTOP/CAMERA PRO PACK Q U160 HALF CASE CAMERA PACK Q S130 LAPTOP/REMOVABLE CAMERA Watertight, crushproof laptop case fits Watertight, crushproof camera Watertight, crushproof laptop case fits up up to 17” MacBook ® Pro. Pro-size camera case with dividers. Extra gear storage to 17” MacBook ® Pro. Divider set removes storage with moveable dividers. in upper section, tripod strap system. in seconds for general storage use.

www.pelican.com/photopacks Pelican Products, Inc. 23215 Early Avenue, Torrance, CA 90505Tel 310-326-4700 &AX  s Toll Free 800-473-5422 All trademarks are registered and/or unregistered trademarks of Pelican Products, Inc., its affiliates or subsidiaries. iPad ® and iPhone® are registered trademarks of Apple, Inc. Ultrabook is a trademark of Intel.

continuous light source opposed to a front screen, it comes with a carry sack 5 to 7 feet. With a silver interior, it’s strobe. Butif you primarily shoot stills, for complete portability. On the oppo- compatible with most strobes and you have more flexibility and your site end of the spectrum, the Overhead continuous lights up to 1200W. decision may be based on portability, Modular F2X Lightbank with a silver www.chimeralighting.com cost of power output or the equipment interior uses bare-tube strobes for The Glow R-series provides a vari- you already have in your arsenal. lighting large spaces and objects, such ety of standard softbox sizes for both Here’s a sampling of what’s available. as cars. Designed with no-tool quick studioand location work, ranging from The Chimera Mini Lightbank soft- assembly in mind, the F2X comes the 20-inch Hexapop to the 24x36- box measures 12x16 inches and can be with 60-inch duffle cases for mobility. inch Rectangle to the 71-inch Grand used with your on-camera strobe For a mid-range softbox, the unique Softbox. All modifiers are heat-resistant while mounted to a light stand. With OctaPlus 57 Lightbank provides and designed from durable gridded white or silver interiors and a sewn-in variable sizes as it can convert from fabric lining. www.adorama.com For the mobile photographer who needs a very small softbox, LumiQuest has created softbox acces- sories for your on-camera strobe. The Light Once. Shoot Twice. LumiQuest SoftBox (5x7 inches), LumiQuest SoftBox III (8x9 inches) Jokers deliver flicker-free daylight to capture both stills and video on the same set, at the same time. They work just like a flash head. Their light shapers are incredible, and LumiQuest Mini SoftBox and Jokers adapt to most of the reflectors you’re using today. (3.25x4.5 inches) fold down to fit Jokers are in rental across North America: inside the laptop/tablet pocket of your Brooklyn –– Brooklyn Studios – CSi – Fast Miami –– OneSource – MAPS – Splashlight bag, but quickly unfold and attach Ashley – Highline Locations – Lightspace Mpls –– Flashlight – Lyn-Lake – Orbit – Shelter to your strobe with Velcro® or the Milk – Root – TREC New York –– ARC – CSi – Drive In – Go optional UltraStrap. An extra diffuser Calgary –– The Camera Store Headlight – Hello World – Jack – K&M Chicago –– Dodd Camera – ProGear Metromotion – Milk – Pier 59 – Root section in the center reduces the flash Magnanimous Media Scheimpflug – Splashlight – TREC hot spot to produce even, soft light. Cincinnati –– Dodd Camera Orlando –– Central Florida Strobe Rental The LumiQuest SoftBox has a bottom Cleveland –– Dodd Camera San Francisco –– DTC Berkeley – Samy’s notch so that it doesn’t interfere with –– Bolt Productions –– Voda Studios Dallas Seattle the AF or triggering functionality of Los Angeles –– Castex – Jaman – Milk Toronto –– Album Studios – S1 Group PIX – Quixote – Samy’s – Siren Vancouver –– Beau Photo – Flashpoint the strobe. www.lumiquest.com Just as important as size is the shape of the softbox, which dictates the shape of the light. Square and rectangular JOKERS softboxes are often used for product 1600 800 400 200 shots and fashion photography. Compared to octaboxes, rectangles have a shorter depth and can be posi- tioned into tight spaces more easily. Interfit provides a wide range of rec- tangular sizes, from a 24x24-inch square to a 55x79-inch rectangle. With

See the full listing at K5600.com/crossover –– “Where to Rent” –– or call 540.937.2291

34 I Digital Photo Pro digitalphotopro.com

flexible aluminum rods and specially be used with other shaped softboxes, Grand Softbox comes in sizes from 35 treated heat-resistant fabrics, the boxes as well. www.fotodioxpro.com to 91 inches and can be used with are made for durable, wide-range use. Along with traditional softbox lights up to 650W. www.dynalite.com www.interfitphotographic.com shapes, Dynalite offers the unique 16- The strip softbox has a narrow rec- Octaboxes are most often used for sided Grand Softbox. Made from tangular shape, allowing light to carve fashion photography, as they provide a Rimelite grid fabric, it’s UV-coated out edges and provide contrast to high- large, full-length coverage area, as and waterproof, providing color con- light a particular area of the frame. well as a circular catchlight in the eyes. sistency, fade resistance and easy Bowens offers the Lumiair Strip 100 Along with rectangular softbox clean-up. The parabolic shape of the (29.5x15 inches) and Lumiair Strip 140 options, Fotodiox provides the softbox sculpts the light all the way (55x15 inches). The reflective interior is Fotodiox Pro 36-, 48-, 60- and 70-inch around the subject and provides a nat- color-calibrated and the box design Octagon. The interior dome features ural round catchlight for the eye. The (Cont’d on page 95) pro-grade omni-bounce silver fabric and includes a white baffle for softer lighting. The rotating speed ring can

Giottos: Aegis LCD Pro Screen Protectors. Schott German optical glass. 0.5mm thick ± 0.05mm.Light transmission: 98%. multicoatingResists 4KG pressure protects peragainst square scratches CM. 12. Nano layer coatings repel moisture, dust, fingerprints.

Giottos: MH621 Quick Release. 2 bubble levels. Sliding plate w/safety lock button. Adjustable locking lever. Dual Linhof: Techno Digital/Roll- rubber pads. 1/4 & 3/8" slotted camera Film field camera system. screws w/lift-up handle for Made in Germany. easy mounting. Video pin. 1/4 & 3/8" threaded mounting holes. Side of base has threaded mounting holes to Gepe: Pro store extra screws. Lightstands. Mounting plate Anodized 3.54 x 1.96 x 0.59", black weight 3.52 oz. aluminum. 5/8" top stud with 1/4" Rodenstock: Vario ND thread. Models Filters. Calibrated in actual have various F stops 1.5 to 5. 12 layer leg spreads, min/max multicoated. Extremely heights, smooth rotation. Anodized capacities, aluminum mount. weights. Great Gear,#5.

Giottos: MH1300-657 ballhead with QR. Arca compatible. 2 levels. Supports 20 lbs.

LEFT: Fotodiox Pro Softbox, 36-inch Octagon; TOP: Westcott Pro 18x42-inch Bruce Dorn . Asymmetrical Stripbank; ABOVE: Profoto Softbox Bringing you great brands RFi 3-inch Octa (90cm). 800/735-4373 hpmarketingcorp.com digitalphotopro.com January/February 2014 I 35

n i o t l u o v Photoshop Blur Filters, Part 2 e ) R ( (R)evolution

How to use Smart Filters, Blur Tools and Blur Effects to control blur in your images By John Paul Caponigro 1) 2)

This is the second of a two-part column about creative blur techniques. Inducing blur in a 3) sharp photo seems counterintuitive, but it’s incredibly useful for guid- ing the viewer and eliminating distractions. There are several pow- erful digital tools that help you manage blur with preci- sion. In this column, we explore Photoshop’s Smart >> More On The Web John Paul Caponigro’s Filters, Blur Tools and in-depth instructionals Blur Effects. on image-processing and printing techniques are available as an extensive Smart Filters archive online at digitalphotopro.com/ Smart Filters allow you technique/revolution. to change the settings of fil- ter effects in Photoshop at anytime, providing a significantly more flexible nondestructive file structure. Smart Filters can only be applied to Smart Objects. Convert a rasterized layer or You can do many things with group of layers to a Smart Object by Smart Filters—switch them on or off, highlighting it/them and going to change their Opacity or Blend mode, Layer > Smart Objects > Convert To mask them or combine multiple filter Smart Object. effects (you only get one mask for all 1) Radial Blur 2) Surface Blur 3) Lens Blur 36 I Digital Photo Pro digitalphotopro.com

Gemini by Bowens

creative freedom without compromise

m o c . r y d n u f o e e Step up to consistent color stability and precision lighting b e t h control. With unmatched durability, Bowens has been a – s u premier lighting brand for over 50 years. n a M c M Gemini is available in six models, from 400Ws to 1500Ws. n I a Choose AC power or optional battery pack for the most © versatile flash lighting system available today.

BowensUSA.com Distributed by MAC Group · 914 347 3300

‘Bowens’® and ‘the power behind the picture’® are registered trademarks of Bowens International Ltd. Photo by Ian McManus • Model: Vera Bartsch @ Nemesis Model Management • Hair: Lisa Booth • MUA: LucieMUA • Styling: Bernard Connolly

FLEXIBILITY & SUPPORT 4) (R)EVOLUTION FOR YOUR WEB HOSTING PROJECTS

of the Smart Filters applied to one Smart Object); using Layer Blend If sliders isn’t one of them. Use Smart Filters spar- ingly, as the price you’ll pay for this flexibility is a significant increase in file size, as much as four times, which slows pro- cessing and saving time— but don’t write them off because of this. ALL INCLUSIVE Blur Tools filters— Q Included Domains: Tilt-Shift, Field Blur, Iris .com, .net, .org, .info, .biz Blur—offer simplified in- Q Linux or Windows operating system terfaces, easier filter setting selectivi- Q Unlimited Power: webspace, traffic, mail accounts, SQL databases ty (though limited to hexagonal iris 5) shapes), stronger intensity and faster 1&1 APP CENTER performance than the Lens Blur fil- ter. Not only can these filters be eas- Q Over 140 popular apps (WordPress, Joomla!™, TYPO3 and many more...) ily applied as Smart Filters, but Q App Expert Support they’re best applied as Smart Filters; apply one filter, and two new POWERFUL TOOLS palettes will appear, Blur Tools and Blur Effects, Q Premium software, including: Adobe® Dreamweaver® CS5.5 which can be further and NetObjects Fusion® 2013 adjusted in the future if Q 1&1 Mobile Website Builder the effects are applied as Q PHP 5.4, Perl, Python, Ruby Smart Filters. The Blur Tools palette STATE-OF-THE-ART TECHNOLOGY allows you to activate one, Q Maximum Availability (Georedundancy) two or all three of these Q 300 Gbit/s network connection filters and adjust the slid- Q 2GB RAM GUARANTEED ers that cont rol each Q 1&1 CDN powered by CloudFlare effect. The Blur Effects palette offers three sliders: Light MARKETING SUCCESS Bokeh (this slider brightens bokeh Q 1&1 Search Engine Optimization effects), Bokeh Color (this slider 6) Q Listing in business directories increases the saturation of affected Q Facebook® credits areas) and Light Range (this slider Q 1&1 Newsletter Tool adjusts the range of levels affected, allowing you to target effects into ® shadows, midtones or highlights—more effec- tively than Lens Blur’s Threshold slider—and it intensifies the tonal range between the slid- ers, producing a more realistic effect). Sooner or later, you’ll 1and1.com wonder how applying a filter selectively through 4) Field Blur 5) Iris Blur 6) Tilt-Shift

W E NHOSTING

> 300 Gbit/s network connection Geo-redundancy Web analytics

NetObjects Fusion® 2013 PHP 5.4 CDN

Free mode or safe mode MySQL SEO Newsletter Tool

COMPLETE PACKAGES Over 140 apps FOR PROFESSIONALS Drupal™, WordPress, Joomla!™, TYPO3, Magento® and many more… STARTING AT Guaranteed Performance $ 99 Daily Backup Mobile Website Builder 1./month* Adobe® Dreamweaver® CS5.5 included ®

TRIAL MONTH CALL

30 DAY MONEY FLEXIBLE PAYMENT SPEAK WITH AN BACK GUARANTEE OPTIONS EXPERT 24/7 Call 1 (877) 461-2631 or buy online 1and1.com

* 1&1 Web Hosting packages come with a 30 day money back guarantee, no minimum contract term, and no setup fee. Price reflec ts 36 month pre-payment option for 1&1 Basic package. Price goes to regular $5.99 per month price after 36 months. Some features listed only available with package upgrade or as add-on options. See website for full details.

(R)EVOLUTION ARCA-SWISS monoball ® p0 The leader of tripod head design for over 45 years creates a new revolutionary its controls is different than applying K nobless ballhead. It’s a filter to a duplicate layer uniformly called K nobless because and then adding a mask. Sliders that the traditional locking provide selective application of an knobs have been removed. effect offer variable intensity, blurring Equipped with the patented an area more or less, while a layer (planetary) p-system, the mask selectively reduces the opacity ARCA-SWISS p0 is a unique of a uniform effect revealing the tripod head design due to its focused image below. The effect pro- precision, ease of use and duced by these two methods can be has a powerful, concentric significantly different. and uniform locking force. It It’s the type of selectivity, not the features the patented gravi- quality of the blur, that differentiates tational force compensation, the Blur Tools filters from one thus preventing sudden another. Field Blur produces an camera movement. The overall effect. Iris Blur adds selectiv- ARCA-SWISS p0 is precise, ity through a radial gradient. Tilt- stylish, strong and weights Shift adds selectivity through a under 10 ounces. A hand of reflected gradient. steel in a velvet glove! Each filter has a blur ring. The ARCA-SWISS p0 central point controls the position of ARCA-SWISS INC with threaded disk the effect; the outer ring dynamically Phone: 480 755-3364 ARCA-SWISS Mobile: 480 206-4770 with quickset devicep0 slidefix adjusts the Blur slider. Pins can be A R C A Skype: rod.klukas used to place additional blur rings S W I S S E-mail: [email protected] starting from $ 229.- with overlapping fields of influence that will feather into one another gradually, making it easy to apply dif- ferent filter settings to different image areas. Radial Blur surrounds each blur ring with a second larger double ring. The outer line can be used to adjust the size of the blur field, and it has one square radius roundness knob that makes the field rounder or squar- er, and four outer ellipse points to adjust the shape and angle of the radius field. Between the outer line and the center double ring are four inner ellipse points that control the gradient effect between the center and the outer ring; dragging one point will move them all equally unless you hold the Shift and Option/Alt keys to control a single point. Tilt-Shift adds a reflected gradient with two solid center lines that define a region of clarity between them (the center points on them control rotation) and two dotted outer lines that control the gradation of that region of clarity into blurred areas. You can easily combine Iris and (Cont’d on page 93) 40 I Digital Photo Pro digitalphotopro.com

Influenced by graphic novels and science-fiction movies, Howard Huang’s vibrant urban fashion and celebrity work is turning heads from here to China

By Mark Edward Harris  Photography By Howard Huang

42 I Digital Photo Pro digitalphotopro.com

o l i o f t r o P

digitalphotopro.com January/February 2014 I 43

aiwan-born, Hawaiian-raised, and The New Yorker. His corporate on me. While most little boys wanted New York-based Howard clients include Panasonic, Nintendo to be a fireman or an astronaut when Huang considers himself and Verizon. His book Urban Girls, they grew up, I wanted to be a graph- an urban fashion/celebrity published by Taschen, shows off his ic novel artist or a hit man. (T photographer. Comics and work in the niche market of African- DPP: A hit man? Japanese anime are building blocks American and Latina bikini models, Huang: Action films and comic for the fantasy sets he creates for mu- collectively known as “urban girls.” books portrayed hit men in black suits sicians, models and actors, from Lil DPP: Where do the ideas come from or trench coats with sunglasses and Wayne and Jacki-O to Ice-T and for your vibrant, high-energy setups? guns. I think I was more into becom- Nicki Minaj. Huang often composites Howard Huang: I grew up in ing an Armani hit man with a flair for photographs to achieve his inner vision Taiwan and was fascinated with fashion. Maybe I should say that I or an art director’s storyboard idea. comic books and anime, so a lot of the wanted to look cool and feel like a Huang creates color-bursting mag- ideas come from that. As I got older, superhero. I was never a bad boy. I azine features for publications ranging sci-fi films like Star Wars, Blade grew up in a very normal middle-class from VIBE and Billboard to Maxim Runner and such also had an influence Chinese family. If anything, I was the 44 I Digital Photo Pro digitalphotopro.com

bad ass among nerds. I never thought that I learn graphic design as a real job I would be a photographer. skill to prevent me from ending up on DPP: How did your evolution into the streets. My design courses led me photography develop? to discover photography. Once I did, I Huang: I actually wanted to be a was hooked. fine artist when I was in high school, DPP: What was it about photogra- you know, the kind that smokes and phy that attracted you? drinks at a café all day, has an attic stu- Huang: In my first basic photogra- dio in Paris and paints beautiful phy classes at the Academy of Art women for a living. That was, of University in San Francisco, I discov- course, an unrealistic fantasy to my ered that the actual process of photog- Chinese parents at that time. So the raphy amazed me. It’s like magic middle ground of what my parents when you first see your image coming thought was good for me—going to up in the developer in the darkroom. schooland majoring in business versus Though I’ve gone over to digital, that my fantasy of being a fine artist—was feeling of magic has never left me.

Words like gritty, graphic, action-packed, moody, sexy and mesmerizing can all be used to describe Howard Huang’s style. OPENING SPREAD: Huang has worked extensively with hip-hop diva Nicki Minaj, and their collaboration has contributed to her extraordinary talent for inventing multiple identities. ABOVE: Busta Rhymes on Wall Street. RIGHT: One of the images from Huang’s 2012 Leila Shams Lookbook shoot.

I

Digital imaging technology has evolved to the point where we can now do it all better and faster, exerting much more control over each individ- ual aspect of the finished work than we could in a traditional darkroom. I like to be able to produce the entire process from start to finish. I use digi- tal manipulation and composite work to enhance my inner vision, but I rework an image in Photoshop in a way that the treatment isn’t obvious. DPP: How did your style evolve? Huang: Since I came from a tradi- tional darkroom background, this whole new computer graphic thing opened up brand-new possibilities for me. Even in the traditional wet dark- room, where I would spend hours developing and printing, I was drawn to alternative processes like cross- processing, cyanotypes and Polaroid transfers. While in college, I would experiment with different back- grounds and combine them with the model I photographed using Photoshop. I created mostly alien fan- tasy types of images. After college, I kept on experimenting while I was a digital assistant for photographer Michel Tcherevkoff in New York. DPP: When you went out on your own, you became known as a master of photographing urban girls. Why the fascination? Born in Taipei, raised in Hawaii and now based in New Huang: I didn’t choose to be in this York, Huang worked with commercial photography niche market. It kind of just happened legend Michel Tcherevkoff. His digital skills are honed for me. I wanted to do fantasy-themed to a fine edge, but Huang cut his teeth in a film darkroom. Regardless of the process, Huang creates shoots with agency models for fashion, a narrative in his mind when he’s conceptualizing but it turned out the urban fans love a shot, and he’s always striving to make work with an my vibrant color and style. I started to emotional impact. ABOVE: Part of a recent fashion shoot for XXL Magazine, and one shoot in Shanghai, China. NEXT PAGE: Rapper Flo Rida magazine feature led to another. I was photographed in a meat locker. 46 I Digital Photo Pro digitalphotopro.com

soon doing photo shoots with urban girls on a regular basis. Years later, Taschen saw my work and decided to publish my body of work in a coffee- table book called Urban Girls, featur- ing African-American and Latina women with nice curves. I had the pleasure of working with hundreds of sexy women, most of the time getting to execute my vision. Hey, I can’t com- plain about that. DPP: How would you describe your style? Huang: I have a taste for the dra- matic, and I often see photography as a still frame of a movie. I love action and a single frozen moment of time that engages you. DPP: Tell us about your experiences working with rapper, singer, song- writer and actress Nicki Minaj. Do you suggest ideas to her, or does she come in with her own ideas, or is it always collaboration? Your photo- graphs are able to capture and culti- vate her multiple identities. Huang: I started working with Nicki a few years ago before she was internationally known. From the first time I met her, I felt that she was going to be a big star. She’s not only talented, but she has a big presence and a very exhilarating attitude on set. We hit it off right away. I presented my ideas to her and she loved them and totally went into character. Nicki is still the same creative eccentric artist even after her album Pink Friday dropped and she made a big name for herself. The difference is, now the sets have become more elaborate and she has moreideas of her own. But we just play like we always do. We have a great collaboration. To me, photogra- phy is to create a fantasy in a still frame, and her multiple identities fit perfectly into this approach. Both Nicki and I believe that photographs

>> More On The Web with a story behind them are the most Visit the Profiles tab of our interesting kind of image. website at www.digital photopro.com for more DPP: What equipment do you exciting imagery from work with? world-famous celebrity and fashion photographers. Huang: The Hasselblad H2 with the Leaf Aptus back or a Canon EOS 5D Mark III, depending on the job. digitalphotopro.com January/February 2014 I 47

I have a bunch of cameras like any missed the moment with a 100- near Fast Ashleys Studio, so I often photographer, and the camera I use megapixel back, you might own an rent there. And there are a lot of other the most is my iPhone. We had a amazing piece of equipment, but you studios in my neighborhood, too. If beautiful girl last year, and I’ve been still missed the shot. the client wants to be in Manhattan, trigger-happy with my phone’s DPP: What’s your typical light- then there are, of course, even more camera. She has her own Facebook ing setup? options. I recently shot in China, and page, and I Instagram almost daily. Huang: I try to match my back- it’s all Broncolor there. I liked using Someone said the best camera is the ground light when I do the composit- them, too. one you have on you at the time. It’s ing work, so I usually shoot it first and DPP: How are you able to get such so true. then match the lighting in-studio vibrant colors in your work? DPP: Between the medium-format with the model. I often use grids to Huang: I’m using some gels, and and the 35mm, when do you go with control the light and create contrast. I’m doing some post work to add one system over the other? Sometimes I use a ringlight flash set to some colors to my liking. Huang: Whenever I’m in the studio, a low power setting to catch a little DPP: Do you still retouch and com- I try to use my medium-format cam- shine on the skin, especially with posite all your own photos? era with the Leaf back. But when I darker-skinned models. I often have a Huang: Yes, mostly. But now I have

need fast focus or I’m shooting in low top light and backlight. I own a bunch assistants to do some of the cleanup light on location, I use my Canon. The of Dynalites, which I’ve been using work, and I do all the compositing and thing is, I shoot fast. That’s one trick since school. They’re small and easy to finishing touches on them. It’s hard to when photographing celebrities. They transport. I also have some Profoto tell people how I want a certain con- don’t have much time. The faster you 7Bs that I use on location. I usually trast—darker here, a little lighter do a great job, the better. That’s why I rent all Profotos when I shoot on loca- there—as well as positioning and originally chose the Leaf over the tion or in other studios, especially blending composites just right. It’s a Phase One because of the capture rate. when I need fast recycle times and long process, but it’s like painting, so I But I’ve yet to test the new Phase One short flash durations. I have a do enjoy it. DPP IQ2 and the Leaf Credo side by side. I live/work loft in Williamsburg, usually will choose the fastest capture Brooklyn. It’s not too big, but good See more of Howard Huang’s photogra- rate over the largest sensor. If you enough to do the small shoots. I’m phy at www.howardhuang.com. 48 I Digital Photo Pro digitalphotopro.com

&9&.1-"3:

The new standard for high performance zoom lenses.

With a constant F4 aperture and Optical

Stabilization, this highly requested lens with a versatile zoom range yields gorgeous images. NN ' %( 04 )4.

Case and Hood LH876-02 included. USA 4 Year Service Protection

4*(." 64# %PDL Update, adjust & personalize. Customization never thought possible. Sold separately.

SIGMA Corporation of America | 15 Fleetwood Court | Ronkonkoma, NY 11779, U.S.A. | Tel: (631) 585-1144 | www.SigmaPhoto.com Follow us Twitter @sigma_photo and Facebook.com/sigmacorporationofamerica

Tell WhatMe Want You TMeo Do

In his photography of Hollywood’s or the past two decades, Los pages of magazines from Vanity Fair, A-list, Art Streiber coaxes the artists Angeles-based photographer Esquire and Entertainment Weekly, Art Streiber has been docu- to Wired, Fortune and Rolling Stone. into performing for his camera menting the who’s who of He has also put his camera to work By Mark Edward Harris LL Photography By Art Streiber Hollywood and beyond, with for many of the major television net- his portrait and entertainment pho- works and film studios. Streiber’s clean tography gracing the covers and inside graphic aesthetic, technical prowess, 50 | Digital Photo Pro digitalphotopro.com F)

o l i o f t r o P

professional demeanor and mental The trust built upon years of success- Douglas, Morgan Freeman and Kevin acuity bring a sense of calmness and ful pressure-packed assignments helps Kline—for AARP Magazine. How did confidence to the often frenetic han- Streiber push through barriers that can you approach putting these megastars dler-handheld world of “Hollywood.” impede a creative shoot. into a single frame? The son of a banker might well have DPP: You often work with groups Art Streiber: There are a number of inherited the traits that have given of celebrities such as the stars of technological and aesthetic hurdles to his career such a solid foundation. Last Vegas—Robert DeNiro, Michael overcome when photographing any digitalphotopro.com January/February 2014 | 51

Tell Me What You Want Me To Do

group and certainly when you’re photo- tional sets, one with a white background graphing a group of celebrities. The cast and the other with a blue background. of Last Vegas shoot was in New York, With the four A-list actors shooting on and we had very limited time with our three sets, our total time with them was subjects because they’re all very well an hour. We got into the studio at 8 a.m. known and overscheduled. The hurdles to build and light the sets so everything start with coming up with an idea and was nailed down and we could move a setting in which we’re going to place from one set to another when the actors these people. So I brainstorm with the were ready at 6 p.m. If we have a limited client and my set designer and come up budget, that might mean moving power with a look, a feeling and an aesthetic. packs between sets. OPENING SPREAD: Art With the cast of Last Vegas, we opted for DPP: How do you make the shot dy- Streiber’s extraordinary classic tuxedos in terms of wardrobe and namic with the group in front of you? ensemble photography is on full display in this photo finally landed on the idea of photograph- Streiber: It’s my job not only to coor- of the cast of Arrested ing them in a bar. We were inspired by dinate every one of the subjects in front Development . Streiber the Slim Aarons photo of Clark Gable, of me, but to make sure that it comes to- is meticulous in his Van Heflin, Gary Cooper and Jimmy gether cohesively—to make sure that it construction and Stewart. The idea was to really get these feels like an organic group. I don’t want execution of these photos. guys to hang out. My set designer had my group photos to feel like I’m pho- He frequently creates to find, build and stock a bar in the Pier tographing a football or soccer team, groups within the group to focus the viewer, as well “I’m looking for the group to have a dynamic, for the group to rise and as the subjects themselves. ABOVE: Streiber also likes fall and have depth so that your eye keeps traveling through the frame.” to create photos that evoke a particular era as in this 59 Studio in Manhattan, and then my lining them up shoulder to shoulder. photo of Bryan Cranston. crew and I had to light the bar to make I’m looking for the group to have a dy- RIGHT: Streiber’s ability it look as legitimate as possible. I’m al- namic, for the group to rise and fall and to make particularly ways interested in a lighting look that’s have depth so that your eye keeps trav- whimsical images is on display in this photo of appropriate and natural-looking unless eling through the frame. I’m charged Seth Rogan re-creating I’m going for something very aggres- with following the performance of the famous scene in sive. In addition to the bar set, we had every single person in the group and the Hitchcock film North to do a cover, so we created two addi- looking at everybody individually, as by Northwest .

52 | Digital Photo Pro digitalphotopro.com

well as the group in its entirety. That’s each other so that there appears to be especially celebrity portraiture, I had a specialty that I’ve developed over smaller groups within the group. to grapple with the fact that I was di- the years by studying what works and DPP: How much are you directing recting people. Once your subject gets doesn’t work in my pictures and the your subjects? in front of you, they’re expecting your pictures of others—figuring out that in Streiber: I came from photojournal- help and your direction. In my expe- order to make a group really work, you ism. The premise in photojournal- rience, nobody really enjoys having have to break it up into smaller groups. ism is that you’re a fly on the wall. their picture taken except for models. I DPP: So, let’s say you had 11 people.... You don’t engage with your subjects. liken it to dentistry. It’s something you Streiber: I’m going to probably break You’re a witness. You’re not affecting have to and should do every year. I try that group up into a 3-5-3, 2-4-5 or the outcome of the event in front of and make it as easy as possible. 2-4-3-2 combination, turning people’s you. You’re just there to document. As I’ve really come to appreciate that ac- shoulders into each other or away from I got more and more into portraiture, tors want direction. I hear a lot, “Tell

digitalphotopro.com January/February 2014 | 5 3

me what you want me to do.” When Streiber: The Paramount 100th an- ing department at Paramount built they’re on stage or in front of the mo- niversary photo was an incredible high us trusses onto which we could hang tion-picture camera, they’re being di- point in my career, and it was absolute- our lights. We were on Stage 18 at rected. They’re inhabiting a role, they ly daunting. In order to tackle a shoot Paramount, and that shot is lit with 56 have lines to project, they have block- that big, I break it down into bite-sized Profoto heads, all with P50 Magnum ing, they have an emotion to convey. pieces. “Where are we going to shoot? dishes with grids aimed at specific sec- In the absence of that in front of the What’s the set going to look like? How tions of the set instead of trying to go still camera, oftentimes they’re lost or are we going to light it? How are we very, very big and soft. The idea was that insecure. So it’s my job to take them going to arrange all these people?” I we were going to build ourselves a stage through a role, give them motivation, rely on an incredible team of profes- and we were going to light it like a stage. give them something to do, give them sionals—my photo assistants, my set The stage itself was built over the course something to think about in order to designer, my producer, my digital tech. of three weeks. We shot on a Friday, got elicit a great performance, even if it’s in With this particular shoot, we also had in on Monday and lit for 2½ days, then front of the still camera. the set builders, gaffers and electricians we dressed-rehearsed with stand-ins, all DPP: How did you create your well- at Paramount at our disposal. So we the while, my set designer Rick Floyd known Paramount anniversary photo? were able to come up with an outra- working side by side with Paramount Did you feel the pressure of having so geous lighting scheme. executives, including the chairman of many major names in a single shot? The grip department and the light- the studio Brad Grey, trying to figure

Tell Me What You WantMe To Do

THIS SPREAD, TOP: The stars of Last Vegas were photographed on a compressed schedule. Streiber had about one hour with the actors, and he had to work with them on three different sets. The concept for this photo came from a Slim Aarons photo of Clark Gable, Van Heflin, Gary Cooper and Jimmy Stewart. LEFT: Streiber’s sense of humor can be seen in this photo of the Monty Python ensemble. ABOVE: Justin Bieber in a photo that exemplifies the immortality of fame. NEXT PAGE: Beyond work for major L.A. and New York entertainment studios, Streiber has a special appreciation for doing magazine editorial work like this image of Zynga founder Mark Pincus, which was shot for Fast Company .

digitalphotopro.com January/February 2014 | 55

out where everybody was going to go. down. We had done our job. I realized is, most of them don’t know each other. When it finally came down to the big that it was of staggering historical im- I remember right before the shoot day itself, it took about 25 minutes to portance assembling this many actors, started, I was making my way up to load all of these A-list actors, actresses actresses and directors in one place, but where my tripod was and Leonardo and directors into the set, but we only it really wasn’t until they walked in the DiCaprio was just standing, staring at shot for 5 minutes and 50 seconds. Once door that it really hit me. They came the stage with his arms crossed. I said, Rick had gotten everybody into posi- in without their managers, publicists, “Hey, Leo, I’m Art, I’m the photogra- tion, we photographed the stage in three agents and assistants, so everywhere pher. We worked together a couple of sections. I panned my Hasselblad H3 you looked there was a famous face. weeks ago for The Hollywood Reporter.” with the IQ160 back and a 150mm lens That was kind of intimidating. But it He kept staring at the stage and said, left, middle, right, left, middle, right. turns out after talking with a number “This is monumental.” When DiCaprio When we had test-driven this, we real- of them before and after the shoot that said that about the project we were ized that asking someone to sit still or they were more nervous than I was. about to undertake, that really hit home. stand still for much more than five min- Individually, for the most part, these DPP: What’s your approach to work- utes was asking a lot. We really didn’t people are fans of the other people in ing with celebrities and entertainment need to shoot in excess of 20 frames per the image just like we are. A number people who can be very ego-driven? each section with tiny adjustments of of them were starstruck by their con- Streiber: For the most part, the way body positions on a couple of people. temporaries or older actors or directors I deal with people who the public DPP: How did you feel behind the and couldn’t believe they were there. feels have big egos or that get fawned camera, with 116 of the who’s who of Charlize Theron said to me, “Oh, my over all the time is that I treat them as Hollywood in front of your lens? God, I got to put my hand on Harrison equals or I act like the director. I never Streiber: I was nervous approach- Ford’s shoulder.” We assume all these say, “Oh, my God, it’s an honor to meet ing the shoot, but I really wasn’t over- people know each other and live to- you. I love your work.” Maybe at the whelmed. By the time we got to the gether in a gated community at the top end of the shoot, I’ll say something day of the shoot, everything was nailed of the Hollywood Hills, but the reality (Cont’d on page 92)

56 | Digital Photo Pro digitalphotopro.com

With an eye for creating austere projects, Maria Burns shows that you can make a tremendous impact with the simplest of ideas

Thanks to generous prizes from RED, Zeiss and The contest was conducted in two Burns’ submission to the contest’s first Adobe, our 7th Annual Emerging Pro Contest was a phases. First, we had an open call for sub- phase was Tendance Brute, a stark short huge success. The contest was ground- missions. From that group, we selected film that explores a human transformation breaking. It was the first time we’ve run the top projects, both still and motion, to as the subject evolves into a determined, the Emerging Pro with our sister publi- create our group of 10 Finalists. Each of elegant woman. Onus is an examination of cation HDVideoPro magazine, and it was them received a RED camera outfit with the female psyche and the inner contradic- the first time we’ve invited participants which they were tasked with shooting a tions the protagonist confronts. Both are to submit either a series of still photo- new project. The timeline was very tight, austere films, featuring dynamic move- graphs or a short film. As more DPP so the Finalists had to be efficient and ment, jarring jump cuts and a well- readers experiment with motion capture, work under an inflexible deadline. From matched soundtrack. Burns’ distinctive we were particularly excited to see such a the 10 Finalists’ projects, Maria Burns’ style and use of the simplest of sets let the strong group of motion submissions. film, Onus, was chosen as the winner. performances come through in both films.

58 I Digital Photo Pro digitalphotopro.com

FILMMAKER: Maria Burns PROJECT: Tendance Brute

FILMMAKER: Maria Burns PROJECT: Onus

Simplicity seems to be the guiding principle behind Maria Burns’ conceptual filmmaking style. Simple doesn’t mean plain or dull. She uses the full frame to create tension where it’s warranted, and the occasional superimposition of two images is the most elaborate her VFX work seems to be. New filmmakers should take note of the way Burns crafted her compelling two films, Tendance Brute and Onus , each of which was just a few minutes in length and that took place on single sets.

digitalphotopro.com January/February 2014 I 59

Maria Burns PROJECT: Onus Maria Burns PROJECT: Tendance Brute

Maria Burns PROJECT: Onus Maria Burns PROJECT: Tendance Brute

Maria Burns PROJECT: Onus Maria Burns PROJECT: Tendance Brute

Tendance Brute Onus Maria Burns’ style is easily identifiable in these side-by-side frame grabs from and . Burns uses the human form, both static and in motion, to convey emotion and transformation. The films are confined in scope, and the sets themselves are reminiscent of experimental dance productions. Nothing is extraneous, and everything in the frame, from wardrobe to props, has been meticulously selected.

60 I Digital Photo Pro digitalphotopro.com

Fig. 1

DEFAULTS:

The pros and cons Aof using Develop Double-Edgdefaults in Adobe Lightroom and Camera Raw Text & Photography By George Jardine Whenever you import new photos into Lightroom, Here are the steps to create a simple the Reset button to start with the they always come in with the same basic set of Develop default in Lightroom. (Note Adobe defaults. settings. Every control is generally set that Lightroom and Camera Raw >> Fig. 2. In the Develop panels, to zero, with a few notable exceptions, share Develop defaults, so they can be set any new defaults you want for such as the controls in the Detail panel. set up with either processor. We’ll use that camera, for example, +10 on the And these default settings seem to be Lightroom in these examples.) Vibrance control. the same for every camera. But did you >> Start with one photo selected >> Fig. 3. Choose Set Default Set- ever wish that you could change that? in Develop from the camera that you tings from the Develop menu. Notice At their most basic level, customiz- want to create a new default for. Each in the Set Default Develop Settings ing your Lightroom and Camera Raw camera model that you use will have its dialog that it clearly shows you the defaults is child’s play. For instance, if own defaults, so this is important. camera model you’re about to create a you want your photos to come in with a >> Fig. 1. Click the Reset button default for. bit more Contrast or Vibrance, setting to make sure you’re starting with >> Fig. 4. Click Update to Current that up as a Develop default is easy. the defaults. Or, better yet, shift-click Settings, and you’re done. 62 | Digital Photo Pro digitalphotopro.com

Fig. 1 Fig. 2

Fig. 3

Fig. 4

edSo the process Sword is very straightfor- velop defaults a lot more powerful, same computer, such as at a newspaper ward, and you now have new default but with power comes responsibility, or in a school computer lab. In these Develop settings for that camera. But right? So, in each case, there are pros cases, there are almost always photog- when you dig into it just a little deeper, and cons to using the preferences. raphers with more than one of each of you start to find out that Lightroom the popular camera models. By turn- and Camera Raw defaults can be a lot The Pros ing on the preference to make defaults more powerful—and complicated— First, Develop defaults are user- and specific to the camera serial number, than they appear on the surface. This is machine-specific, which means they each photographer with a Nikon D3, because of two preferences that govern will apply to any Lightroom catalog for instance, will have his or her own how defaults behave. One will make that’s opened, or any RAW photo that’s Develop defaults (Fig. 5). defaults specific to a given camera se- opened using Camera Raw, under one Second, the option to make defaults rial number, and the other will make user account, on any given computer. specific to the camera ISO setting is defaults specific to the ISO setting. This can be useful for any facility particularly useful for photographers These two preferences make De- where several photographers share the who do a lot of shooting at high ISO

digitalphotopro.com January/February 2014 | 6 3

Fig. 5

Fig. 6a

Fig. 6b

Fig. 7

settings. By default, Lightroom applies the same amount of sharpening and noise reduction to every photo import- ed. Many photographers may want to customize that default noise reduction machine-specific. This means they There’s no user interface for the for one or more ISOs, and this prefer- don’t travel with your catalog. These defaults mechanism! This essentially ence gives you that capability. days, more and more photographers means that you have no visibility into When you turn on these two prefer- are taking their entire catalog with what defaults might currently exist ences and start with a RAW file, the Set them on an external hard drive when on your system, or what settings they Default Develop Settings dialog adds they go on location, especially now that might be applying to any given import! that very specific information, telling we have the new Smart Previews fea- Any default that you create is simply you precisely what default you’re about ture in Lightroom 5. So if you move stored as an XMP file in the Defaults to create. your catalog around from machine to folder for the current user (Fig. 7). Figs. 6a & 6b: Here, Lightroom machine, you’re either going to have to The path to the Defaults folder on is about to create a default for RAW manage without your defaults or figure the Macintosh is: Users// files coming from just one Canon EOS out a way to take them with you. Library/Application Support/Adobe/ 5D Mark III serial number and only With the ISO-specific default prefer- Camera Raw/Defaults/. at ISO 1600. Photos from any other ence, it’s either all or none. So once you The Windows path is: C:\Users\\AppData\Roaming\Adobe\ won’t be affected. (Note: JPEGs get have its own specific preference, which Camera Raw\Defaults\ . their own default.) is great, if you want to do something like It’s for this reason that I always rec- This means you can make as many set different amounts of noise reduction ommend using the shift-click Reset Develop defaults as you want and for a few specific ISOs. But what hap- routine before you create any new De- clearly gives you a great degree of con- pens when you want to have your cake velop default. Doing so will ensure that trol over very specific camera settings. and eat it, too? Once you turn on this you’re always starting from the true But as you may be starting to guess, it preference, if you then want to make Adobe defaults and not a default that also has its drawbacks. every photo you shoot with your 5D may have been set up previously by you Mark III have slightly more Vibrance or anyone else using your computer. DPP The Cons or any other setting for that matter, you We’re back to that thing about have to build that into a new default for Go to mulita.com to find George Jardine’s how Develop defaults are user- and every single ISO that you use! tutorials on Lightroom and his blog.

64 | Digital Photo Pro digitalphotopro.com

Shoot More. Work Less.

Photo: Ashley DuChene

New Members: ShootQ is a cloud-based software Get 2 FREE Months solution designed to automate your of Startup Plan photography business, so you can + Complimentary spend less time doing paperwork Studio Consultation* and more time being creative. Promo Code: dpp2013 Expires: June 30, 2014

Your Virtual Studio Manager

      Manage your leads with automated emails and powerful tracking Book clients anytime, anywhere with online interface or mobile app Generate contracts, schedule shoots and manage your business with a complete cloud-based tool

Create and process invoices with credit card and PayPal payment options

                                      

Contact ShootQ: 888-9-SHOOTQ ext. 1 Learn More: www.shootq.com Visit Our Blog, The Photo Life: blog.shootq.com

The service is frequently scoffed at by professional photographers, but it can be a boon for your business By Jim Goldstein

Make

Among professional photographers, Instagram founded the company in 2010, saw the tography with new and experienced may be one of the most reviled photography opportunity. Its launch was perfectly photographers alike. Now with a cam- websites today, but its success is a reminder timed to ride the wave of interest in era in most mobile devices, the oppor- that we need to remain open-minded to succeed Insta mobile digital photography and mobile tunity exists for everyone to take and in our quickly evolving market. Looking past applications. Now sharing mobile and share imagery. This population of new the novelty of photo filters and a square DSLR images via smartphones and photographers is hungry to learn and format, Instagram has filled a large tablets has become the norm, raising the follow the inspiring work of others. hole—easy publishing and distribu- question, “How can pro photographers Even amongst existing photographers, tion of images via the mobile web. Five get the most out of this new medium?” mobile photography has created a years ago, it would have been tough to new space for experimentation and imagine that mobile photography pub- Expanded Opportunity discussion. The core of Instagram, lishing would be as hot as it is today, but Instagram’s meteoric rise has helped which has helped it become one of Kevin Systrom and Mike Krieger, who expand and rejuvenate interest in pho- the most successful apps of all time,

66 | Digital Photo Pro digitalphotopro.com

Use Of

is that it makes communication be- phones and tablets. In a parallel fash- Without debating the ways one can apply tween fans and followers incredibly ion, my photography website and blog, filters or HDR effects with Instagram, the easy and accessible. JMG-Galleries.com, also received 28% service provides professional photographers gram with an excellent tool for self-promotion. Pros of its traffic from mobile users in 2013. like Jimmy Chin, David Sanger, Clark Little Mobile Trends Each year for the past five years, the and Jim Goldstein, who wrote this article, To get a feel for how drastically the percentage of my website visitors com- have attracted thousands of followers. winds are changing when it comes to ing from mobile devices has doubled. Their names and images are constantly in web-browsing behavior online, let’s Mobile activity is trending higher at circulation. With so many photographers take a step back to expand our view. an incredibly fast rate, and you can bet clamoring for attention, using Instagram As of November 5, 2013, Walker that where trends go with social media/ effectively can lead directly to your bottom line. Sands, a public-relations firm, released photo-sharing sites like Instagram, a report showing that 28% of all their your site will be sure to follow. As it clients’ traffic now comes from smart- stands, every day Instagram is adding

digitalphotopro.com January/February 2014 | 67

6 Instagram @DavidSanger (72K followers), travel stock photographer Pro Tips @Jimmy_Chin (113K followers), ac- Follow us on Twitter 1Consistent User Name. Make tion photographer and filmmaker sure your user name is consistent @ClarkLittle (588K followers), surf with that of your other social-media and fine-art photographer and stay updated accounts. This will make it easier @thephotosociety (165K followers), on the latest trends in for people to recognize you as they join Instagram. collective of National Geographic maga- zine photographers digital photography Use Hashtags. Employ both generic We can surmise how these photog- 2hashtags as you might with keywords, but also take advantage of raphers are benefiting from increased and technology. unique self-branded terms that make exposure, but there’s no guarantee large it easy for people to see a set of followings translate to sales in any con- images, especially if they’re added over sistent fashion. In fact, the larger benefits extended lengths of time. may include general brand awareness, Utilize Geolocation. This is a fan engagement, feedback and creative 3fast way to introduce your work inspiration. Says David Sanger, regard- to others who enjoy similar subjects ing his large following, “It certainly or events. helps and doesn’t hurt. Instagram acts as Engage With Fans. Don’t just reply a portfolio for me, opening doors to con- 4to comments on your photos, but tacts I might not have otherwise had.” engage with your fans and followers to Pro photographers vary in their ap- build rapport. proach when it comes to sharing their 5Web And Press Mentions. Always work, and looking closely at how they accountlink toon or your mention website your and Instagram in press use Instagram, there are a lot of les- twitter.com/digitalphotopro sons to be learned. Instagram itself announcements to facilitate faster growth in followers. is seldom used as the capture device, with most photos being taken by native Profile Information. Always include camera applications. The pressure to STATEMENT OF OWNERSHIP 6your website URL in your Statement of Ownership, Management and Circulation post often is managed by infusing new (Required by 39 U.S.C. 3685) Instagram profile to point people to

1.Title of Publication: DIGITALPHOTO PRO; 2. Publication No.1545-8520 the rest of your work and your work with past work that’s sourced 3. Filing Date: September 17, 2013; 4. Issue Frequency: Bi-Monthly Except Monthly in Nov & Dec; 5. No. of issues published annually: 7; 6. Annual business information. from either mobile devices or DSLRs. Subscription Price: $24.97; 7. Complete Mailing Address of Known Office of Publication: 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025- 1176 Contact: Liz Engel, Telephone: (310) 820-1500; 8. Complete Mailing Not all images shared are intended for Address of Headquarters or General Business Office of Publisher: 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 9. Full Names 55 million new photos with 1.2 billion publication and include conceptual/ and Complete Mailing Addresses of Publisher, Editor and Managing Editor: Publisher, Steven D. Werner, 12121 Wilshire Boulevard, 12th Floor, Los An- geles, CA 90025-1176; Editor, Christopher Robinson, 12121 Wilshire Boule- Likes being received, a clear indicator draft images to create variation and so- vard, 12th Floor, Los Angeles, CA 90025-1176; Managing Editor: Wesley Pitts, 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 10. of how fast photographe rs and photog- licit feedback. Increasingly common is Owner: Werner Publishing Corporation, 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; Steven D. Werner, 12121 Wilshire Boule- vard,12th Floor, LosAngeles, CA90025-1176;Lynne D.Irvine, 12121Wilshire raphy viewers are relying on mobile the tactic of sharing behind-the-scenes Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 11. Known Bondhold- ers, Mortgagees and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages or Other Securities: None; 12. publishing and sharing. footage to energize fans and followers.

DateDoes Fornot Circulationapply; 13. PublicatData Below:ion Name: Sept/Oct DIGITAL 2013; PHOTO15. Extent PRO; and Nature14. Issue of Circulation:; A. Total no. copies (net press run): Average no. copies each issue Behind-the-scenes footage also acts as a during preceding 12 months: 75,368; Actual No. Copies Single Issue published nearestto filingdate: 77,737; B. Paidand/orRequestedCirculation: 1.Paid/re- Varied Approaches great way to create a travel log or even quested outside-county mail subscriptions stated on form 3541: Average no. copies each issue during preceding 12 months: 26,058; Actual no. copies sin- Pro photographers use Instagram in a workflow lesson. gle issue published nearest to filing date: 25,629 2. Paid in-county subscrip- tions: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0 3. Sales through dealers myriad ways, including highlighting No matter what your photographic and carriers, street vendors and counter sales: Average no. copies each issue during preceding 12 months: 10,506; Actual no. copies single issue published nearest to filing date: 11,950 4. Other classes mailed through the USPS: Aver- work that’s part of long-term projects, focus or which strategies you adopt, ageno.copieseachissueduringpreceding 12months:0; Actualno.copiessin- gle issue published nearest to filing date: 0; C. Total Paid and/or Requested providing location and behind-the- one universal best practice should al- Circulation:Average no.copies eachissue duringpreceding12 months: 36,564; Actual no. copies single issue published nearest to filing date: 37,579; D. Free distribution by mail: 1. Outside-county as stated on form 3541: Average no. scenes footage, displaying portfolios, ways rule the day, and that’s to always copies each issue during preceding 12 months: 1,389; Actual no. copies single issue published nearest to filing date: 752 2. In-county as stated on form 3541: sharing experimental work to gauge in- post your best and have fun. DPP Averageno.copieseach issueduringpreceding12 months:0;Actualno.copies single issue published nearest to filing date: 0 3. Other classes mailed through theUSPS: Averageno.copieseachissueduringpreceding12months: 0;Actual terest, and sharing news and accolades, no. copies single issue published nearest to filing date: 0; E. Free Distribution Outside the Mail: Average no. copies each i ssue during preceding 12 months: etc. These varied approaches provide Jim Goldstein is a professional outdoor 75; Actual no. copies single issue published nearest to filing date: 75; F. Total Free Distribution: Average no. copies each issue during preceding 12 months: 1,464; Actual no. copies single issue published nearest to filing date: 827; G. ample room for photographers to ex- and travel photographer, as well as the Total Distribution: Average no. copies each issue during preceding 12 months: 38,028; Actual no. copies single issue published nearest to filing date: 38,406; H. Copies not distributed: Average no. copies each issue during preceding 12 periment and succeed. Unsurprisingly, VP of Marketing at BorrowLenses. months: 37,340; Actual no. copies single issue published nearest to filing date: 39,331.; I. Total: Average no. copies each issue during preceding 12 months: one common goal that runs across all com. Follow him on his blog, www. 75,368; Actual no. copies each issue published nearest to filing date: 77,737; J. Percent Paid and/or Requested Circulation: Average no. copies each issue dur- ing preceding 12 months: 96.15%; Actual no. copies single issue published these approaches is to increase one’s fol- jmg-galleries.com/blog, Twitter (@jim

innearestto the Jan/Febfilingdate: 2014 issue97.85%. of this; 16.This publication.;Statem entof17. I certifyOwnershipwill that all informationbeprinted furnished on this form is true and complete. I understand that anyone who lowing. Surprisingly, though, there isn’t goldstein), Facebook (www.facebook.com/ furnishes false or misleading information on this form or who omits material orinformationrequestedontheformmay besubjectto criminalsanctions(in- always a clear path to commoditize that jmggalleries), Google+ (www.gplus.to/jim cluding fines and imprisonment) and/or civil sanctions (including multiple damages and civil penalties). (signed) Dan Regan, Consumer Marketing Di- following. Take, for example, the fol- rector, September 17, 2013. goldstein) and Instagram (www.instagram. lowing professional photographers: com/jimgoldstein).

68 | Digital Photo Pro digitalphotopro.com

Digital Editions Everything you love about Digital Photo Pro, on your favorite mobile device or computer.

www.digitalphotopro.com/

Illustrating the dramatic impact that even a subtle change can bring to a photograph, commercial lifestyle photographer Corey Rich spent a day working out with cross-trainer Del Lafountain to capture a series of high-impact shots of the towering athlete as he muscled through several hundred kettlebell repetitions. Ultimately, despite an extended sequence of well-executed, me- ticulously composed shots, only one final image stood head and shoulders above the rest. Interestingly, while Rich’s original concept was to capture the athlete at peak form using high-powered Profoto strobes in the controlled environment of the gymnasium, the final most successful shot is composed of natural lighting with a bit of fill from a Litepanels 1x1 Bi-Color LED panel. Rich says that, as a photographer, it’s important to stay adaptable at all times, even if it goes against your original concept. “I went into this shoot feeling like, ‘Oh, this is going to be a great op- portunity to use strobes, to use Profotos,’” laughs Rich, “and you can see in the first experimental shots that the Profotos look pretty flat and pretty boring. First, I was trying to do this with bare strobes, and it looks like I tried softbox strips on each side, then I moved the strips to 45º angles to flat- ten the light, and finally I ended up eliminating one strip to see if I could create more directional light. Then I had that epiphany, which is, ‘Wait a The The evolution of a shoot with Corey Rich

By David Willis LL Photography By Corey Rich

70 | Digital Photo ProImagedigitalphotopro.comHERO

Final Image

second, what’s so appealing about this location is all of this natu- ral light pouring in from the windows, the daylight!’ And that’s when I took that step back, and I said, ‘Okay, hang on, the biggest attributes to this photograph are the big flag in the background, the natural light that’s pouring in through the window and then this very appropriate subject for this setting, the CrossFit athlete. Sometimes, that’s what it really requires—to distill it down to ‘what’s working’ and ‘what’s not working,’ and then eliminate the elements that aren’t working and capitalize on the elements that are.” Rich says that they had two Profoto 7b power packs with six or seven accompanying Profoto strobe heads. “The daylight com- ing out of Profotos and the quality of light to come out of the Litepanels, they’re both best in class in my opinion,” he says. “Beautiful daylight and an incredibly fine shape to the light. We have a variety of light modifiers for Profotos, and we have an- other set of modifiers for our Litepanels kit. I find that they actu- ally work quite well in tandem. For me, it’s a scaling situation; there are plenty of jobs where a set of four Nikon Speedlights

Despite beginning the set of images with the intention of using multiple Profoto strobe heads, the final image (left) is almost all natural light with a bit of fill added through a Litepanels 1x1 Bi-Color LED panel at right-front of camera. Rich also employed a commonly available smoke machine to add ambience to the cold gym and to enhance the natural beams of light coming in from the back window. “I don’t want the viewer to think about how I was lighting it,” says Rich. “In fact, my goal is that people shouldn’t even think that I added fill. It should feel like this was natural window light pouring in and wrapping around the body. As photographers, we know that’s not possible. There’s not enough light bouncing off that black floor to actually fill his body.”

digitalphotopro.com January/February 2014 | 71

Rich shoots the majority of his work on manual settings, and here you can see how even the slightest change in composition and exposure can have a profound effect on the final image. “This is a classic controlled environment, right?” asks Rich. “I’m setting up the lights, there’s window light pouring in, but nothing is changing. The idea of being in an automated mode sure doesn’t make sense—you’re setting yourself up because the camera will get fooled every time I make a subtle adjustment.”

will do the job. I mean they’re actually deciding factor between a good shot in a gymnasium and it’s just a lot of perfect—there’s less output, they’re and an excellent shot. He also added fill hanging halogen lights or fluorescent very mobile, and it’s very easy to work since he abandoned the strobes in favor tubes, and it just doesn’t look very with Speedlights. I can put them in my of the natural light in the gym. good. So the reason they were on set rolling bag and take them on the plane. “I realized, okay, let’s supplement the was to make my Litepanels the ‘house “We have a variety of Litepanels fill light with a continuous light source, lights.’ But, then, having them there in our kit, from little Cromas to big the Litepanels 1x1 LED light,” explains gave me the ability to switch gears and 1x1s and video lights,” Rich continues. Rich. “While I do a lot of work with start working with them as my main “But the instant we start bringing strobes, the beauty of continuous light- light source, as well.” Litepanels, we’re committing to trav- ing for still photographers is that you can For the composition, the idea was eling with a lot of luggage. When see it in real time. You’re not guessing to showcase the build and strength of you step up to Profotos, you have a how much power you want to output the CrossFit athlete. Generally, shoot- lot of cases going on the plane with through your strobe, then you fire the ing from below is a good way to give you. Case in point is this series of im- strobe, then you look at the back of the your subject a towering presence for an ages. I shot these in South Lake Tahoe, camera.... The feedback is immediate overall feeling of power and strength California. There’s no rental house for because you can see it with your eye in in a composition. Rich tried this ap- Profotos within a 150-mile radius of real time when using continuous lights. proach, as you can see in a couple of this town. Most of my shoots are even “And in a big space like a CrossFit the first outtakes where Lafountain oc- more remote than Lake Tahoe, so I’ll gym,” he continues, “sometimes con- cupies the majority of the foreground bring them if I need more power and tinuous lighting works really well for of the frame. While still successful, more control. The continuous lights, filling in background illumination by the framing of the American flag as of course, they come out when shoot- actually bringing up the entire room’s Lafountain’s backdrop ended up ac- ing video or I know I need to bring the exposure. I really brought the 1x1s, complishing the same concept in a ambient room light up.” and actually a whole kit of Litepanels, much less hackneyed fashion. Rich says Rich says that after he had honed in so that I could shape the light in the that he tried several focal lengths and on the available light pouring in through background. For example, I was light- a number of compositions before de- the gymnasium window as his base ing the subject most commonly with ciding on the versatility of a 24-70mm for exposure, he decided he wanted to Profotos, and oftentimes, I was work- zoom lens. The final shot was captured supplement the beams of light through ing with relatively low exposures and close to the 70mm focal distance. use of a commonly available smoke ma- slower shutter speeds so that I could “I really like the capability of a zoom,” chine, which he had picked up on a lark bring in the ambient light of the win- he says. “Zooms today, both telephoto during Halloween. An assistant fanned dow. Lighting the background with zooms and wide-angle zooms, they’re the smoke as he shot, and for several continuous allowed me to bring the just so razor-sharp. And to have that similar-looking exposures, the position entire environment up into a matching flexibility, to shoot at 83mm or 76mm of the smoke in the frame became the daylight exposure versus when you’re versus locked into those prime lenses,

72 | Digital Photo Pro digitalphotopro.com

it’s quite nice in a situation like this, I’m not much of a tripod guy, in fact, turing a number of very usable expo- where I’m making subtle adjustments, I almost never use a tripod unless I’m sures. “Never be satisfied with taking a really paying attention to the edges and shooting something that absolutely few images and feeling like you got it,” trying to make sure that I’m cleaning mandates or necessitates keeping the he emphasizes. “You have to slow down up the background relative to where camera still for more than 1⁄8th of a sec- and methodically look at your situa- I’m positioning the subject. The bottom ond. I feel like right up to about 1⁄8th of tion and try to block out all of the other line is that a zoom gives you an incred- a second I can handhold if I do a burst pressure. All you’re really focused on is ible amount of flexibility, and you’re not of images, even on a relatively long lens. what’s happening in that rectangle: How compromising sharpness or speed. Cer- “In this situation, my subject isn’t am I going to make the most compelling tainly, there’s a difference between an moving; he’s relatively stationary, at least image from the light, from the composi- ƒ/1.4 lens and an ƒ/2.8 lens, but that ƒ/2.8 in my final composition. He’s standing tion and from a moment in perspective? lens is still pretty darn fast, and it’s re- there relaxed, waiting for his next kettle- “Most sports photography is about markable that they’re sharp wide open.” bell swing, so I’m doing bursts of images capturing action,” he continues, Rich almost always shoots manu- so that I can make certain in a burst of “whether that’s freezing action or ally, and the subtle variations in expo- 12 frames, for example, that one of those whether that’s motion or creating a In order to capture the decisive moment, Rich would “machine-gun” sequences using the rapid-fire capabilities of his Nikon D800 and D4 full-frame DSLRs while Lafountain powered through repetitions. “I’m doing bursts of images,” Rich says, “and I’m doing that for the simple reason that I’m handholding.” feel for what the athlete is doing. Some of that’s action photography, some of that’s the before and after—the jubi- lation, the defeat, the contemplation in advance. I think this image really fits into the broader category of sports photography in that this is an action moment. Here, we have this amazing athlete, poised in his venue, which is the gym, and the shot implies that he just did all of these kettlebell swings. And you can see that at the beginning of the shoot, I was trying to shoot him swinging the kettlebell, where the ket- tlebell would be over his head, and it just didn’t look that good. It was cre- ating awkward body movements. It put his body in a weird position, and it just wasn’t working for me. So then I stepped away from actually shooting “In a controlled environment, it’s all about shooting enough,” explains Rich. “In this situation, ‘action,’ from trying to freeze the mo- there’s no vreason why I couldn’t continue to evolve the shot by making lots of exposures because, oftentimes, I’m surprised that an image I thought was the best while shooting turns ment with the kettlebell over his head, out to be not as good as the evolutionary set of images you’ve been capturing.” or midway up, and then I switched him into a more contemplative ‘think- sure that you can see between similar frames is going to be razor-sharp even ing about the workout’ pose. And that frames are the result of small changes though I’m handholding at relatively was more effective to me. he’d make to camera settings while low shutter speeds. The low-light ca- “That’s open-mindedness,” Rich con- he shot—and he shot plenty. In order pabilities in the D4 combined with the cludes. “It’s being open-minded about to capture the decisive moment, Rich burst capabilities are pretty remarkable. going in with a preconceived idea, but would “machine-gun” sequences using That camera has changed the world in then you need to be adaptable in terms the rapid-fire capabilities of his Nikon the way we see low light. We never be- of what’s actually going to generate the D800 and D4 full-frame DSLRs while fore could shoot at such high ISOs and best, most compelling, most engaging Lafountain powered through rep- have it look so great.” and interesting photograph.” DPP etitions. “I’m doing bursts of images,” But perhaps Rich’s most significant Rich says, “and I’m doing that for the talent is that he continues to push him- See more of Corey Rich’s photography at simple reason that I’m handholding. self even after he has succeeded in cap- www.coreyrich.com.

digitalphotopro.com January/February 2014 | 73

THEAMERICAN

Photo by Michael Sherman The 2013 American Landscape Photo Contest Winner

Presented By

2014 THIRD ANNUAL PHOTO CONTEST LANDSCAPE

OP’s premier contest is open for entries! The 2014 American Landscape Photo Contest is your opportunity to get published in the magazine and win thousands of dollars in prizes, including a DSLR. Go to outdoorphotographer.com and enter today!

Photo by Jeff Stasney Second Place Winner

Photo by DuLaurence “Duke” Miller Third Place Winner

ENTER TODAY! outdoorphotographer.com/tal2014

With a combination of portability, power, versatility and the ability to be used away from an AC outlet, battery-powered monolights are gaining an increasing following among professional photographers By The Editors

Battery-Powered

Monolights are self-contained pro flash units that recycling time, output range, number sports action) and use of light modifiers plug into standard AC wall sockets, no separate of pops per charge, modeling light like umbrellas, which reduce intensity. power pack needed. All the controls are on power, types and sizes of modifiers, Some units are rated in watt-seconds the flash head—no need to move to a size and weight, and price. Monolights (W-s), others in joules; one joule equals power pack to adjust power and other tend to be less powerful than studio one watt-second. Note that joules and settings (although manyMONOLIGHTS newer mono- strobe power packs and heads, but the watt-seconds are measures of generator lights feature standard or optional re- improved ISO capabilities of modern power, not necessarily light output; out- mote controls). Some monolights can DSLRs are mitigating that power dif- put also depends on the flash head and also operate from battery packs, mak- ferential. At the same time, monolights any light modifiers used. ing them suitable for use in the field give you access to all of the sophisti- just about anywhere. There’s even one cated modifiers of a studio strobe outfit. monolight that incorporates the bat- Output. More powerful units give you tery so you don’t need a separate bat- more options for depth of field (you tery pack. can shoot at smaller apertures), light The main features to look for in a placement (you can place lights far- battery-powered monolight are output, ther away if you have to, as for outdoor

76 | Digital Photo Pro digitalphotopro.com

range and/or with umbrellas or other light modifiers that increase the size of Location Lighting the light source relative to the size of Masters the subject, where the inverse-square Crafting the light for a photo is law isn’t a useful measuring stick. Some an art, and it’s also an exercise in pro-gear manufacturers include the puzzle-solving. Two photographers tested ƒ-stop for a flash head (or head you should follow to learn both the with specific light modifier) at a specific art and the puzzle-solving sides distance, which can be a useful compar- are David Hobby and Joe McNally. ison measure if another manufacturer Hobby is the founder of the popular provides the same data for its units. Strobist blog, and McNally is Output Range. Monolights can also be widely known as one of the most innovative location lighting masters operated at a range of power settings. in the world. As much as we focus This is helpful not only when you want on the light head in this article, to control light output, but to control it’s knowing how to manipulate the flash duration (lower power generally light that really creates the style, means shorter duration), battery life look, mood and emotion in the (full-power bursts take more out of photo. David Hobby’s Strobist blog the battery than lower-powered flash) is at www.strobist.blogspot.com, and Joe McNally’s website is at and recycle times (the flash will recycle www.joemcnally.com. more quickly at lower power settings). Because they’re self-contained, you can adjust the power of each unit sepa- the light will fall on your subject. A rately in a multiple-light setup for easy lot of photographers have come to control of lighting ratios. Color tem- rely on modeling lights because they perature can change with power set- make the process of lighting close to ting, although with today’s units, this WYSIWYG. With AC-powered flash generally isn’t a big problem. units, modeling lights aren’t a big Pops Per Charge. Battery power is a problem. But with battery-powered critical limiting factor. When compar- units, they add significantly to the ing potential purchases, note how many power drain. Therefore, one needs to full-power flashes the unit can produce be more judicious with the modeling on a full battery charge. Also check into light and be aware that, in some cases, the cost of extra batteries and how long battery-powered monolights don’t call it takes to charge them fully. for modeling light usage at all. Recycling Time. Recycling time de- Light Modifiers. One of the big ad- pends mainly on the power output vantages of studio-type flash is the used, and the size and state of the bat- range of excellent light modifiers avail- tery. You want to look for recycling able—parabolic reflectors, umbrellas, time to full power after a full-power light boxes, snoots, grids, beauty dish- Guide numbers aren’t really useful burst. Note that recycle times will in- es, barn doors and more. Many units for pro flash because they’re based on crease as the battery charge runs down, accept standard “S” modifiers. This is point-like light sources that follow the and that recycling times on battery one of the most important advantages inverse-square law (double the flash-to- power are generally slower than on monolights have over smaller, hot- subject distance and quarter the light, AC power for units that can use both shoe-type flashes. Although the over- triple the distance and get one-ninth the power sources. all power output is less than a studio light, etc.), like shoe-mount flash units. Modeling Light Power. Modeling strobe pack and head out- Pro units are generally used at close lights give you a good idea of how fit, you can use most, if 2 3 4

not all, of the same modifiers. Check to studio strobe packs and heads, and erally cost more than shoe-mount flash see what’s offered for each unit you’re they’re more bulky than shoe-mount units, low-end monolights less than considering to make sure what you flash units. Everything in life is a high-end shoe-mount units. You have need is available. trade-off, and when it comes to porta- to weigh the benefits versus the cost, Size. Portable means you’re going blility, monolights aren’t perfect, but as with everything in photography. to be carrying it so consider dimen- the trade-off is attractive for many Monolights can do things shoe-mount sions and weight. Battery-powered location photographers, in particular. flash can’t; if you need those features, monolights are more portable than Price. Higher-end monolights gen- you need a monolight.

5 6 7 8

Battery-Powered Monolight Sampler Max. Recycle Shortest Adj. Model. Pops per to Full Duration Street Unit Output Range Light Charge Power (sec.) ## Modifiers Weight Price BOWENS Gemini 400Rx 400 W-s 5 stops 250W 370# 4 sec.# 1/1000 Bowens 5.9 lbs. $399 Gemini 500R 500 W-s 5 stops 250W 300# 5 sec.# 1/900 Bowens 7.5 lbs. $649 Gemini 500Pro 500 W-s 5 stops 250W 300# 5 sec.# 1/2900 S-type 7.7 lbs. $899 Gemini 750Pro 750 W-s 5 stops 250W 220# 7.5 sec.# 1/2300 S-type 8.8 lbs. $1,049 Gemini 1000Pro 1000 W-s 7 stops 500W 150# 10 sec.# 1/2100 S-type 9.9 lbs. $1,249 *Small Travelpak 11.8 lbs. $620 *Large Travelpak 13.8 lbs. $757

BRONCOLOR Minicom 40 300 W-s 5 stops 300W 240 1.5 sec. 1/2500 Bron 6.6 lbs. $1,338 Minicom 80 600 W-s 5 stops 300W 120 3.0 sec. 1/1500 Bron 7.2 lbs. $1,630 Minicom 160 1200 W-s 5 stops 300W 60 7.5 sec. 1/1100 Bron 9.5 lbs. $2,245 *Power Box 900/W 14.3 lbs. $518 DYNALITE Uni400JRg 320 W-s 4 stops 100W 150 4 sec. 1/675 Dynalite 3.6 lbs. $599 *Jackrabbit II Pack 2.3 lbs. $459

FLASHPOINT Flashpoint 180 180 W-s 5 stops LED 700 N/S N/S Bowens 2.1 lbs.** $199 Flashpoint 320M 150 W-s 5 stops 100W 180 1.5 sec. 1/1000 Flashpoint 3.0 lbs. $99 Flashpoint 620M 300 W-s 5 stops 150W 100 1.5 sec. 1/1000 Flashpoint 4.5 lbs. $189 Flashpoint 1220M 600 W-s 4 stops 250W 100 4.5 sec. 1/1000 Flashpoint 5.3 lbs. $299 Flashpoint DG400 200 W-s 5 stops 7W LED N/S 3 sec. 1/800 Flashpoint 4.0 lbs. $179 Flashpoint DG600 300 W-s 5 stops 7W LED N/S 3 sec. 1/800 Flashpoint 4.4 lbs. $199 *Flashpoint M D/C Power Pack 2.7 lbs. $124

HENSEL Expert D 500 500 W-s 8 stops 300W 440 1 sec. 1/5600 EH 10cm 7.5 lbs. $1,020 Expert D 1000 1000 W-s 8 stops 300W 220 2 sec. 1/3250 EH 10cm 8.6 lbs. $1,435 Integra 250 Plus 250 W-s 6 stops 300W 880 2.6 sec. 1/2380 EH 10cm 6.1 lbs. $710 Integra 500 Plus 500 W-s 6 stops 300W 440 2.5 sec. 1/1390 EH 10cm 6.3 lbs. $615 Integra 1000 Plus 1000 W-s 6 stops 300W 220 4.2 sec. 1/1680 EH 10cm 8.6 lbs. $1,107 Integra Mini 300 300 W-s 6 stops 300W 440+ 2.4 sec. 1/1900 EH 10cm 5.0 lbs. $485 Integra Mini 600 600 W-s 6 stops 300W 350 3.4 sec. 1/1000 EH 10cm 5.1 lbs. $625

*PowerSpeed Max Max L 400 W-s 8 stops 300W 600 1.6 sec. 1/2000 EH 10cm 10.113.7 lbs. $1,995$4,980

* Battery pack for the monolights ## Shortest duration at full power; shorter durations are possible at ** Weight for head with battery reduced power (as short as 1/66,600 sec. with the Hensel Speed Max) # With Large Travelpak ^ ^ Price for kit, including battery pack

78 | Digital Photo Pro digitalphotopro.com

Profoto (Nikon compatibility is expected in 0.1 to 1.9 seconds (the unit can fire up Profoto’s battery-powered monolight 2014). Just plug the Air Remote TTL to 20 bursts per second at lower power is the B1 500 AirTTL, a self-contained unit to your camera’s hot-shoe, and the settings), and durations can be as brief cordless model with an onboard, ex- off-camera B1 unit will automatically as 1/19,000 in Freeze mode. changeable, integrated, lithium-ion adjust its output for correct exposure. battery, so you don’t have two pieces Power can be adjusted from 2 to 500 Paul C. Buff to deal with. The unit also offers TTL W-s in 1/10-stop increments (a nine- Paul C. Buff offers a number of exposure control with Canon DSLRs stop range), recycling times range from monolights that can be plugged

9 10 11

Battery-Powered Monolight Sampler Max. Recycle Shortest Adj. Model. Pops per to Full Duration Street Unit Output Range Light Charge Power (sec.) ## Modifiers Weight Price INTERFIT Stellar Xtreme 150 150 W-s 5 stops 150W 200 10 sec. N/S S-type N/S $229 Stellar Xtreme 300 300 W-s 5 stops 150W 100 10 sec. N/S S-type N/S $255 *Stellar Xtreme Battery Pack 1.8 lbs. $109

JTL Mobilight DC-600 600 W-s 4 stops 10W N/S N/S 1/800 JTL 5.5 lbs. $419 Mobilight 201 200 W-s 3 stops 150W 150 4 sec. 1/600 JTL 3.3 lbs. $269^^ Mobilight 301 300 W-s 3 stops 150W 100 4 sec. N/S JTL 3.8 lbs. $299^^ Mobilight 401 400 W-s 4 stops 10W LED N/S 9 sec. N/S JTL 10 lbs. $449^^ Mobilight 601 600 W-s 4 stops 150W N/S 6 sec. N/S JTL 4.5 lbs. $649^^

PAUL C. BUFF Einstein E640 640 W-s 9 stops 250W 500 3 sec. 1/2000 Buff 4.3 lbs. $499 AlienBees B400 160 W-s 6 stops 150W 500+ 0.75 sec. 1/6000 Buff 2.5 lbs. $224 AlienBees B800 320 W-s 6 stops 150W 500+ 1.5 sec. 1/3300 Buff 2.9 lbs. $279 AlienBees B1600 640 W-s 6 stops 150W 500 3 sec. 1/1800 Buff 3.7 lbs. $359 AlienBees ABR Ringflash 320 W-s 6 stops 8 10W 500+ 1.5 sec. 1/2000 Buff 2.5 lbs. $399 White Lightning X800 330 W-s 6 stops 250W 500+ 1.5 sec. 1/3300 Buff 4.1 lbs. $389 White Lightning X1600 660 W-s 6 stops 250W 500 3 sec. 1/1800 Buff 4.9 lbs. $439 White Lightning X3200 1320 W-s 6 stops 250W 250 7 sec. 1/900 Buff 7.1 lbs. $549 *Vagabond Mini Battery Pack 3.5 lbs. $239

PRIOLITE MB500 500 W-s 5 stops LED 400 3 sec. 1/4500 S-type 9.3 lbs.** MBX500 500 W-s 6 stops LED 220 2.5 sec. 1/4500 S-type 7.0 lbs.** $1,479^^ MBX1000 1000 W-s 7 stops 100W 160 2.5 sec. 1/4500 S-type 9.9 lbs.** $1,709^^

PROFOTO B1 500 AirTTL 500 W-s 9 stops 20W LED 220 1.9 sec. 1/1000 Profoto 6.6 lbs. $1,995

VISATEC Logos 800 300 W-s 4 stops 150W 240 1.5 sec. 1/800 Visatec 5.7 lbs. $992 Logos 1600 600 W-s 4 stops 150W 120 3.0 sec. 1/600 Visatec 3.1 lbs. $1,249 Solo 400 B 130 W-s 3 stops 150W 500 1.3 sec. 1/1200 Visatec 5.0 lbs. $484 Solo 800 B 300 W-s 3 stops 150W 240 1.4 sec. 1/800 Visatec 5.4 lbs. $644

*BronSolo 1600 Power B Box 900/W 600 W-s 3 stops 150W 120 1.9 sec. 1/600 Visatec 14.36.8 lbs. lbs. $807$518

Notes: Recycling times with battery power; will be quicker on AC Number of pops is unlimited on AC Pops per charge and recycling times are to full power after a full-power pop digitalphotopro.com January/February 2014 | 7 9

into AC or used with the Vagabond here in an article about bat- Power Box 900/W is an inverter Mini Lithium, a third-generation, tery-powered monolights because with a lead battery that converts true sine wave current-limited por- the company also offers a battery- its DC battery power to AC. Three of table power system. The all-digital powered inverter that works with Visatec’s four Solo monolights (400 B, Einstein E640 has a built-in fan and the mobile Broncolor monolights. 800 B and 1600 B) and all five Visatec microSD slot for firmware upgrades. Broncolor offers six AC-powered Logos monolights (800, 800 BC, 800 Four AlienBees units (160, 320 and Minicom monolights (300, 600 and RFS, 1600 and 1600 RFS) are compat- 640 W-s, and a 320 W-s ringflash) offer 1200 J, with or without RFS radio ible with the Power Box 900/W. The power settings from full to 1/32. Three control from a computer with eight- RFS units feature RFS radio control. White Lightning units (330, 660 and channel RFS interface). All can also 1,320 W-s) offer dual power, high ad- be powered (up to 900 W-s worth) by Priolite justable from full to 1/32 and low from the Power Box 900/W Battery Power Featuring exchangeable lithium- 1/4 to 1/128. All offer quick recycl- Supply, which is a stand-alone in- ion batteries built into the back of the ing and built-in slave triggers. The verter power supply. The Power Box lights, Priolite’s MBX500 Vagabond pack weighs just 3.5 pounds, can also handle modeling lamps and MBX1000 pro- but can operate up to four Paul C. Buff up to 450 watts. With a single vide studio control monolights (there are two outlets, but 300 W-s monolight, it can and power with- you can use a power strip to connect provide 240 full-power 12 out cords or exter- up to four heads). The quick-connect, flashes. The Minicom nal battery packs. rechargeable lithium battery provides monolights are available from 300 to With the power of 10 to 20 speedlights 200 to 250 full-power flashes with 1,200 joules, with built-in photocell, packed into one unit, the MBX have 1,280 W-s of heads connected, 800 to IR receiver, and in RFS 2 units, radio sufficient output for use on location on 900 flashes per charge with 320 W-s. remote control. The monolights can sunny days. Both units feature a quick The Vagabond Mini can power all the also be powered (up to 900 W-s worth) duration of 1/4500 at full power, mod- above-mentioned monolights. by the Power Box 900/W Charger, a eling lights, optical slaves and bidirec- stand-alone inverter power supply. tional radio controls. Interfit Interfit’s Stellar Xtreme AC/DC Visatec Hensel Monolights are 300 W-s units. They Visatec makes several AC-powered Hensel offers monolights that can have built-in slave sensors for flash and monolights that can be plugged into be operated with AC or battery power. IR, modeling lamps and user-change- the Broncolor Power Box 900/W. The The Expert D (500 and 1,000 W-s) fea- tures built-in radio receivers (Hensel Powerpack & Lighthead Options Freemask Wizard or Hensel Strobe Wizard, both 3-channel, or Profoto Air While this article has focused on the benefits of monolights that can use a receiver, 16-channel). The Integra Plus battery pack or plug into the wall, there are also battery-powered studio strobe- FM units (250, 500 and 1,000 W-s) in- type units available. These tend to be very powerful and give you maximum flexibility/control and all of the advantages of a large studio system. On the corporate a Freemask Strobe Wizard downside, these systems are heavy, bulky and costly. If you need maximum radio transmitter and Freemask (part power and you need it without being connected to an AC outlet or a portable of the Hensel hardware), which allows generator, a battery-powered studio strobe pack and heads is the answer. In this the photographer to take two shots on category are such systems as the Broncolor Move 1200, Elinchrom Ranger RX, a white seamless and drop in any back- RX Speed AS and Quadra RX, Hensel Porty L and Premium Plus, Paul C. Buff ground. The first shot is a normally lit Zeus, and Profoto Acute B2, Pro-B3 AirS and Pro-B4.

able flash tubes. Recycling time on AC Continuous Lights is 2 seconds to full power, on battery The dramatic rise in the number of photographers who are also engaged in motion power, 3 to 10 seconds. Power is ad- capture has created a lot of interest in continuous lights for still and motion. justable from full to 1/16 in 1/10-stop Continuous units let you see the actual lighting (electronic flash units’ modeling increments. The units include cool- lamps just give an approximation), but they don’t have the action-stopping ability of a flash or strobe. Most reasonable portable continuous lights are less ing fans. A full battery charge with powerful than strobe monolights, and incandescent continuous lights are hot the Mark II battery provides about 200 (LED and fluorescent lights are much cooler and more energy-efficient). Some full-power flashes. photographers prefer continuous lights for their ability to create a feeling of warmth in an image. This is highly subjective, but strobes have always been Broncolor characterized as creating a sterile look, and as continuous lights have become Broncolor makes AC-powered more portable, powerful and cost-effective, they’re certainly worth a look. monolights. We’ve included them

80 | Digital Photo Pro digitalphotopro.com

13

foreground image and the other is a sil- houetted background image that allows

eliminatesfor easy masking the need in for Photoshop. bluescreens This or greenscreens and the problems they cause. The compact Integra Mini units come in 300 and 500 W-s versions; the Speed Max can deliver flash durations as brief as 1/66,660 seconds and up to 31 flashes per second. All can be pow- ered (up to 2,000 W-s max) by the com- pany’s two-socket Power Max L mobile power supply, which can deliver up to 880 flashes at 250 W-s, 440 flashes at 500 W-s. The Power Max L can also be used to power the company’s continu-

ous lights. Bowens Bowens offers six Gemini mono- lights, from 400 to 1,500 W-s, which can be powered by AC or the Bowens Travelpak. The Gemini 400Rx has a built-in Pulsar radio receiver; the oth- ers have a slot for a Pulsar receiver card. The units are ruggedly built, and have either a 5- or 7-stop range and bright modeling lights starting at 250 watts. The 500R features a digital readout with two dials for quick independent control over full stops and tenths of a stop. The Pro models also incorporate a cooling fan, and faster recycle and flash duration. The Travelpak comes in Small and Large versions. Both provide 400 to 1,500 W-s output and recycling in 4 to 15 seconds; the Small provides 50 to 185 full-power pops per charge; the Join e Discussion Large, 100 to 370. Each can power up With Other to two Gemini heads. Photo Enthusiasts! Dynalite Dynalite’s Uni400JRg monolight can be powered by AC or with the compact Dynalite Jackrabbit II battery. With the Jackrabbit II battery, the Uni400JRg can deliver up to 150 full-power (320 W-s) flashes with a 4-second recycling facebook.com/digitalphotopro (Cont’d on page 95)

digitalphotopro.com January/February 2014 | 81

Using a massive, new Polielettronica HD C-printer, Duggal Visual Solutions is producing jumbo-sized photographs with an apparent resolution of 6100 dpi By David Schloss

Since the beginning of the medium, photographers the output technology. If your files are late ’50s and then launched his photo- have sought to make the largest possible sharp big enough and your photos are sharp processing business in the 1960s. prints of their images. The image file size is enough, a new Polielettronica printer at The massive 30,000-square-foot facil- often a limiting factor for print size. You Duggal Visual Solutions in New York ity on 23rd Street in New York City is can up-res a file with excellent results, gives you an attractive option. a sprawling and frenetic hub of activ- but at a certain point the apparent reso- Duggal Visual Solutions is a corner- ity. My father, a commercial photogra- lution does break down. Today’s high- stone of the photographic business that pher in Manhattan in the 1970s, used res cameras and, in particular, very has defined photographic processing Duggal for large output prints; I used high-resolution medium-format DSLR since founder Baldev Duggal arrived Duggal in the 1990s when I attended backs, are shifting that limiting factor to in the United States from India in the the School of Visual Arts and needed a

82 | Digital Photo Pro digitalphotopro.com

shop to process my rolls of Velvia and ous tone and both highlight and shad- photo paper, which is fed into a wash- make Photo CDs. ow detail. ing-machine-sized lighttight cham- Entering the front door of the com- Installed in March 2013, the ber around four feet wide. A circular plex feels the same as it did decades ago Polielettronica has been used by ev- drum holds the paper via suction, and (albeit, at a different location), when eryone from fashion photographers to the device slowly moves a laser to ex- I was a regular. Technicians in white cartographers, thanks to the incredibly pose the paper. lab coats calmly take orders, answer high resolution of the output. One of The HD C-printer needs to perform phones and dispatch packages across the prints that Duggal shows off is a calibration when the paper is changed, the boroughs. Only now the front desk map with type so small, a loupe is need- but when it has been completed, the is the proverbial tip of the iceberg, ed to see the text—yet under the loupe, device will stay in register, unlike ink- masking the enormous processing and the letters are clear and crisp. jet or other printers that tend to come corporate headquarters behind it. It’s Cartographers aren’t the only fans of out of alignment over time. also the gateway to services at the com- the new printers: Canon, Nikon and Evaluating the images, I found them pany’s seven buildings at the Brooklyn Sony all ordered massively large out- to be excellent, although not necessar- Navy Yard, each between 30,000 and put from the device for the PhotoPlus ily the best choice for all photogra- 40,000 square feet. Expo trade show in New York City in phers. For casual output and even for With such a powerful command of October 2013. some gallery work, we’ve seen inkjet the photographic output business in The process of taking a digital file devices produce highly detailed work New York City and beyond, it’s no and creating an oversized digital with good longevity. wonder that Duggal gets some exclu- print is pretty complex, so the Duggal But the HD C-printer has two things sive toys to play with. One such toy is tech pulled the side off of the printer going for it, most importantly, the the reason I’m at the company’s head- and showed me how a photograph is C-print look. There’s a different quarters: a massive digital HD C-print turned into a gigantic print. look—albeit, sometimes subtle—be- machine by Italian firm Polielettronica. First, a file is run through a RIP, or tween something produced on an C-prints hearken back to the days Raster Image Processor, the device that inkjet and work that’s produced on of Kodacolor and refer to the use of The new Polielettronica chemicals and photo-sensitive papers HD C-printer that Duggal Visual to create output versus technologies Solutions installed in mid-2013 like lithography or inkjet printing. is capable of rendering fine details with stunning sharpness Digital C-prints keep the color satu- and clarity. Examining the ration, vibrancy and feeling of film resolution in a printout of a output without needing to reproduce map reveals the precision. an image via a camera. Feed a digital image to a digital C-printer and out comes an image with the look of film, but it’s a digital creation. Digital C-printers work by exposing the photographic paper with a trio of laser beams and then developing that exposed film in traditional chemicals. separates the images into the RGB data photographic paper using photograph- While there’s a variety of digital C- needed to flow from the lasers, and ic chemical processing, and it’s a look printers on the market, the Lambda is then gets queued for print. Despite the that photographers and designers often the most popular (and is also available huge amount of technology inside the seek out. at Duggal), with an output resolution box, the printer needs to be fed paper The other great thing about this maxing out at 400 dpi—an apparent in gigantic lighttight cassettes. printer is the super-large output size. resolution of 4000 dpi. The cassettes are filled the old-school At 100 inches, it bests the widest inkjets The Polielettronica printer has a 610 way, in a large darkroom near the by a considerable margin and produces dpi maximum resolution and 48-bit col- printer. It’s a bit like loading shells into best-in-class images. or, and provides an apparent resolution a deck-mounted gun on a Navy ship, For the next year, Duggal will be the of 6100 dpi. Duggal isn’t the only com- with a loading card used to align the exclusive user of the 100-inch version of pany to use the HD C-printer, but it’s cartridges. Some of the papers need to the Polielettronica HD C-printer, ex- the only one to have the newest, largest sit in the canister at least three weeks plaining the popularity of the unit dur- model, which produces output up to after rolling before use, so job estima- ing the leadup to PhotoPlus Expo. DPP 100x50 inches. tion is important. With 48-bit color depth, the machine The HD C-prints can be output on Visit duggal.com/hdc.aspx or call Duggal creates images with excellent continu- transparency, metallic, matte or glossy Visual Solutions at (646) 638-7316.

digitalphotopro.com January/February 2014 | 83

 The Essentials

WeTop reached pros out to several share professional the photographer gears with they a simple question:can’t What’ lives the without gear you can’t live without? We asked them to think about DSLRs, certainly, but also about things in their bag that are less obvious. The range of responses was pretty interesting. From cameras to software, to apps and good-luck charms, manicures and insurance policies, check out the things that the best in the business rely on to get the job done.

August Bradley www.augustbradley.com Hasselblad H4D. I shoot all of my commercial and exhibition work on this camera because of its resolution, color depth, smooth tonal gra- dients, skin tones and versatility in post. I also love the feel of this cam- era; it becomes an extension of my hand and eye. Datacolor Spyder4. Consistent, accurate tonal gradients and colors are hugely important to me, and this keeps my color management tight. Adobe Photoshop Lightroom. Enables extraordinary control along with very fast postproduction workflow. Essential for getting jobs done on time, and for achieving the looks I’m after.

84 | Digital Photo Pro digitalphotopro.com

Peter Read Miller www.peterreadmiller.com Hoodman HoodLoupe. The HoodLoupe is always around my neck on a shoot. Not only is it great for viewing my camera’s LCD on a bright sunny day, but the adjustable diopter allows me to see the screen clearly and check critical focus with- out having to put on my glasses. Canon Angle Finder C. I love to shoot from a low angle, often with my camera on the ground, and especially while shooting football. As time and photography have taken their toll on my neck and the rest of my body, it’s not easy for me to look straight through the camera when it’s that low. The Angle Finder allows me to kneel over the camera and look straight down to see the image. Gumby And Pokey. These small replicas of the claymation figures have been my good-luck charms for the past 20 years. They have been in my pocket on 99.9% of my shoots in the last 20 years. Although original Pokey is missing his leg and has been retired, and original Gumby was lost in a bicycle path mishap during the London Olympics, I’ve replaced them both, and their magic lives on.

Tyler Stableford www.tylerstableford.com Think Tank Photo Speed Racer Bag. The thing I use all the time is the Think Tank Speed Racer hipbelt bag. I take out all the divider compartments and all the padding, and I just shove as many lenses and camera bodies as I can in there. I use them for skiing, climbing—any type of field shooting. They’re super-versatile. If I need to carry a lot of gear on a quick shoot, I can carry it along with an avalanche pack for skiing in the backcountry. It just works well in all situations. I really use it for everything— climbs, coal mines, oil rigs. There’s rarely a time when a Speed Racer isn’t on my body. Canon EOS-1D C. One camera that’s with me now is the Canon EOS-1D C. It’s essentially with us on every shoot for the main reason that we can shoot 1080p video at 60 fps, shoot 4K, and shoot full-frame stills, full res. So it’s the most versatile camera out there for me. It’s our go-to second camera. That’s for both stills and video, since probably over half of my work is video now. Peanut Butter CLIF Bars. I take them all over the world. Just food for surviving long days. Sun Scout. A favorite app on my phone, Sun Scout tells you when and where the sun is going to rise and set, and how it tracks in the sky. On a scout day, I can stand in a position and figure out what’s going to happen tomorrow, where the sun is going to go. Essential- ly, I can set up my shot in advance. So, on mo- tion shoots, it’s a big thing because of all the setup with equipment like cranes. It’s great to know what the sun is going to do.

digitalphotopro.com January/February 2014 | 8 5



Ketch Rossi www.ketchrossitreeoflife.com RED EPIC DRAGON. It’s my “GO2” camera. In life, we’ve learned to always compromise; choosing a camera is no different. However, when it comes to choose what to me is such an important tool, I carefully consider all reasoning for the pur- chase—what am I using the camera for, what are the most important as- pects that such camera must deliver on, etc. In the past 30 years, I’ve used just about every camera ever made in the still photography world, and in recent years, I’ve ventured into what was always my final goal— filmmaking—and in this I needed a motion camera. Now the new dilemma is that when thinking of only “ONE” cam- era to become my absolute “GO2” camera, I don’t want to lose the ca- pacity to shoot still images because, after all, it was through still photog- raphy that I’ve become who I’ve be- come in the acquisition of imagery. Yet now, what has priority is no longer still imagery, but motion imagery acquisition, and it needs to be of the highest quality, as to not only be as good as 35mm film, but surpass it, and be compa- rable to 65mm film. That camera is the RED EPIC DRAGON, busting a 19-megapixel sensor, capable of shooting up to 100 frames per second in 6K. Not only can I shoot slow motion for narrative work, but I can use this incredible power to film a motion stream of 1 to 100 frames per second, and from there pull out my best still grabs to print, something that no other camera in the world can do, still or motion. It proves to be an invaluable tool when shooting fast-moving subjects of any kind, from natural events in nature, FX, sports, and allowing for capturing that perfect moment in a mod- el’s hair or dress movement, etc. The applications are infinite, really, with this kind of power. Additionally, it offers a high dynamic range of 16.5+ stops, high ISO sensitivity being as good as low ISO sensitivity, with extremely well-controlled noise and giving you those beautiful super blacks, with a crisp contrast, yet very gentle and subtle to skin tones. It of- fers user-interchangeable lens mounts for PL, Canon, Nikon, Leica M, and add to that the new RED MOTION MOUNT, which allows for controlling electronically up to 8 stops of NDs, with included linear polarization and IR filtering, in a global shutter, including a completely new Soft Shutter mode, to allow for more control and creative possibili- ties than ever before in both fields of motion and still image capture. This camera has an incredible array of accessories to change configurations as needed in order to cover just about anything you can think of. At last, I now have a camera that allows me to capture the highest-quality motion images than ever before possible with any camera, film or digital, yet still also allowing to extract still images of 19 megapixels, and while not wanting to compare in image size to some of the new medium-format digital backs with up to 80 megapixels, I give up the extra pixels for the overall capacities that the RED EPIC DRAGON

likebrings none in boththat hasworlds existed of motion before. and It’s stilla camera image th captureat could together go from with Hollywood’s a freedom big-budget of configuration block-s busters for a 4K or IMAX printout, to a fashion photographer’s set, to print magazine spreads and large prints, with no problem at all.

86 | Digital Photo Pro digitalphotopro.com

Caesar Lima www.caesarlima.com Phocus. I have my iPad out and use the Phocus app to preview the images wirelessly. This app works with my Hasselblad. While the client’s hair and makeup and wardrobe team stay in front of the monitor, I have my own screen, and I can show the model the images as feedback. Sony RX-1. I use the RX-1 for shooting the “be- hind the scenes.” It’s a quality camera, with a full-frame, 24-megapixel sensor, and sometimes the client actually uses the images in their cam- paign. I always shoot at ƒ/2. It gives great depth of field, and it also helps to keep the cast and crew engaged when we’re not shooting. iPod. Music is so important. We have many different playlists to capture the specific mood for the type of shoot we’re doing—fast and slow, different genres, etc. It helps to get the models in the right mood. If you’re shooting something that needs action or attitude or romance or sensuality, music is very impor- tant. I have a wireless system at the studio so anyone can play music from their iPhone or iPad.

Sarah Silver www.sarahsilver.com Julliard Box. I got the JULLIARD box a million years ago from a dancer attending the Julliard School. It’s a 16x18x17-inch, square- ish wooden box with JULLIARD stenciled on the side, and it was part of a dance that he was doing. He left it for me at the studio, and the box turned into the “everything” box. We do castings on

it. We stand on it to get height instead of apple boxes. We use it for seated beauty. Basically, anytime we need to do anything that requires a box, we use the JULLIARD box. Years later, we even repainted the box black, but made sure not to cover the stencils. One time we had the creative directors of Julliard at the studio, and they asked, “Did you steal our box?” It was a funny moment. A Fresh Manicure. Everybody loves nails. Okay, well, maybe not, but everybody loves nails that are extravagant—it’s hard not to comment on flashy nails, and it’s a great con- versation starter. I don’t know how it began for me, but somewhere along the way, I became obsessed with nails. (I’m an obsessive ex-nail biter and have been in “nail rehab” for seven years now.) I’ve never missed a manicure— every two weeks without fail—and I’ve gotten really into bright colors and a long, long pointy shape. They’re 100% my nails, and people always say, “Wow, your nails are so...” You would be surprised how many people love nails. Screen Square. We used to have this problem where we would run out of room tacking up pictures of selects onto my shoot monitor to help with making a layout while on set. We would have 4x6 printed images taped to images taped to other images running the entire perimeter of the screen. A very special person made a foamcore “frame” that fits around the monitor like a collar that we can use like a pincushion to put our favorite images on. That way, we can keep track of what we like and where we’re going. It’s the only way I can map out a shoot, and I literally can’t work without it.

digitalphotopro.com January/February 2014 | 8 7



Martin Wonnacott wonnacott.com Fresh Pair Of Paul Smith Socks. The socks are important to me, and like a lucky charm, in some ways. I always work without shoes on set and have done for years. It makes me feel at home, first of all. It also serves a practical purpose by allowing me to feel the stands as I move around in the dark. I also only wear Paul Smith socks because they’re whimsical. Fresh Flowers In The Studio. Flowers are important to me because I believe in first impressions. I truly want clients to be as comfortable as possible when working with me. I think fresh flowers are calming and soften a space. They’re one of those de- tails I always pick up on when I enter places. Fresh Coffee. Coffee has to be good and on tap. I have a great espresso machine in my N.Y. studio, which helps start the day. Nobody likes bad coffee.

Alison Wright www.alisonwright.com Because I photograph in remote locations around the world, I’ll always have these three things. My Medevac Insurance Card. When my bus crashed on a remote jungle road in Laos and I near- ly died of my injuries, I didn’t have Medevac insur- ance. It was $25,000 out of pocket to be airlifted to a hospital in the U.S. I now have it. A Buddha Amulet. I received this amulet in Thailand, and it has been blessed by numerous monks and lamas during my Himalayan travels. I carry it in the hope that it will protect me from ever having to actually use my Medevac insurance. Nikon AF-S 50mm F/1.4G. This lens is just so deliciously sharp. It’s ideal for portraits, and it’s fast enough for low-light use. I never know when I might come across a great face that just begs to be photographed, but I’m ready with the 50mm. DPP

88 | Digital Photo Pro digitalphotopro.com

s n i o t l u o S Jibbing P P D with parts from the local Home Depot. Get a cool move in motion The camera has to pivot to keep the framing consistent as you move the jib shots and a new perspective up and down. For example, let’s say in still shots with these you’re a wedding shooter and you’re doing a little video segment for the client. Youwant tostarttheshot framed versatile camera supports up from eye level as the couple kisses, We’ve written a fair amount about sliders in DPP . and with the camera mounted on the A slider is a simple rail with a camera jib, you’ll raise the camera to get more mount that allows you to get a smooth of an overhead perspective. As the cam- dolly effect in your motion shots. This era moves up, it also moves back a little, small device creates a sophisticated so you’ll also be backing off slightly, effect and immediately gives your which shows more of thesurroundings. project an added level of visual inter- It’s not a big move. The camera will est. Even a relatively short rail of three move up about three feet. If the camera or four feet can create a fantastic shot. doesn’t pivot, instead of keeping the You can change the angle of the rail for bride and groom in the frame, you’ll diagonal moves andeven close to verti- end up with the camera pointed sky- cal, but they’re best suited for more ward. That pivot mechanism is critical, horizontal motion. To properly work and it’s best left to the manufacturers. in the vertical axis, what you need is a We mentioned that the bigger the jib or a crane. The only problem with camera, the bigger the jib system has jibs has been that they’re usually large, to be. For the smaller jibs we address heavy, difficult to transport and in this article, a DSLR with a moder- require an assistant—until now. ately sized lens is the sweet spot. If Seeing the opportunity presented you’re using a big telephoto (like a by the DSLR filmmaking revolution, 300mm ƒ/4 or larger), that large,heavy manufacturers have started to make lens, even on the relatively small smaller and lighter jibs that are DSLR, may require a bigger, more designed specifically for these light- heavy-duty jib system. weight cameras. If you’ve seen any As with most equipment, there’s a kind of behind-the-scenes footage weight you need. For Hollywood lot of variety in available jib sizes. from a film production, you’ve proba- movies that are shot with big, tradi- We’re focusing on jibs that are suitable bly seen a jib or a crane of some kind. tional movie cameras, the whole sys- for DSLR users and are relatively Looking like a long boom mounted tem has to be huge and extremely lightweight and portable. By portable, asymmetrically on a big tripod, the heavy. For us as DSLR filmmakers, we mean a range from airline travel- unit has a camera on one end and a things can come way down in scale. ready up to fitting in the trunk of a car counterbalance system on the other. For all of its apparent simplicity, or small SUV. Essentially, it’s a simple lever with the there’s one especially critical aspect to a Jibs are pretty simple tools, and with tripod acting as the fulcrum. The jibthat makes it less suitable for DIYers a little practice, a novice can quickly longer the lever and the heavier the who might want to try building one become good at using one smoothly. camera, the more counterbalance Some jibs can be motorized, which is a particularly nice feature for doing smooth and repeatable moves. Also, if you’re going to do any time-lapse work, a motor is a necessity. Here are a few selected examples of what’s available.

THIS SPREAD, CLOCKWISE FROM TOP: Libec Swift Jib50, DitoGear MiniJib, Carbon XL 10, Kessler Pocket Jib Traveler. NEXT PAGE: Cinevate Axis Jib. 90 I Digital Photo Pro digitalphotopro.com

DitoGear MiniJib DitoGear’s MiniJibis great forwork- ing in small spaces. It’s available with arm lengths of 1.0 and 1.5 meters, and can handle up to 7.5 kg for motorized operation and 15.4 kg for manual oper- ation. You can use it three ways: motor- ized with the OmniHead; manually with the MiniJib Manual Operation add-on; or manually mounted on slid- Kessler Pocket Jib Traveler ers, dollies and other supports. The Kessler is well known as an innova- MiniJib can be used with any of tor in gear for DSLR filmmakers. The DitoGear’s Motion controllers, from the company makes several jibs in different battlefield-tested OmniController to sizes. The Pocket Jib Traveler is the the state-of-the-art multiaxis wireless company’snewest andmost portable jib. Evolution. www.ditogear.com It collapses down to 27 inches in length and weighs 5.5 pounds. Kessler Libec Swift Jib50 designed the jib to be ultralight and Libec’s Swift Jib50 features a tele- packable for any shooting endeavor. It scopic arm that can extend 35.5 inches has drag control and locks, and because or slide back 12 inches toward the rear. of its unique folding mechanism, the This allows higher angles than other Pocket Jib Traveler doesn’t need to be Libec jib arms. Maximum payloads taken apart for travel. You can attach a are 22 pounds at full extension (75 camera rig that weighs up to 10 pounds inches), 33 pounds at 57-inch exten- to the jib. For a DSLR shooter, that’s sion and 44 pounds at minimum sufficient for most situations. As with extension (39.5 inches). The unit itself any jib, the Pocket Jib Traveler needs a weighs 36.1 pounds. It’s available weight forcounterbalance. The unit has alone or in a kit with a tripod and a sliding, extending rail for the counter- dolly. Ideal for budget-limited, small- balance,which helps minimize theactu- crew projects, the Swift Jib50 is easy al amount of weight you need to use. to operate from the rear or for del- 3 1 The jib has ⁄ 8-16 and ⁄ 4-20 mounting icate camera work from the front. options, allowing attachment to any www.libecsales.com tripod. www.kesslercrane.com (Cont’d on page 92) Your headquarters for free creative education

• Daily original videos • Workshops • Online tutorials • Product reviews • Gear guides

Scan here to visit

Adorama.com

DPP SOLUTIONS TELL ME WHAT YOU WANT ME TO DO staff photographer. At the time, they (Cont’d from page 91) (Cont’d from page 56) also had a men’s magazine called M . As Carbon XL 10 acknowledging their latest project. I the staff photographer, I had to shoot The light and versatile Carbon XL establish that I’m in charge and I want everything, from fashion and portraits 10 can become a camera crane, cam- to make them look great. At the same to still lifes, interiors, travel stories and era jib, dolly with track, motorized time, I want to be very collaborative special events. After a couple of years in time-lapse track, car mount, zero- with my subjects. “This is what we’re L.A., where I met my now wife, they gravity head, remote-control camera planning to do today. What do you transferred us to Milan where we were and motorized rotating platform, all think of this?” I acknowledge their from 1989 to 1993. My love of all genres from a single kit of components. All time limits and respect that they have of photography comes from perhaps my Angle Balance requires less counter- shown up to do a job. I’ve been really being at the very beginning of my ca- weight, while Aim and Shoot fortunate that I’ve never had an actor reer a photographic jack-of-all-trades. Controls make it easy to adjust the walk off the set and I’ve never had a We ended up back in L.A. in 1993. pan and tilt of the camera when it’s shoot completely break down, though I’ve always loved magazine photog- located remotely at the end of the there was one time in Las Vegas when raphy. My great-grandfather started crane arm. Designed specifically for Jerry Lewis kicked me out of his office the first wholesale magazine distribu- airline travel and difficult-to-access after I asked him to sit on the couch. tion company in Los Angeles, and my locations requiring hand-carrying, DPP: Why was he so uptight about the grandfather worked there, my uncle the carbon-fiber system weighs just 50 couch? Did it belong to Dean Martin? and father worked there a little bit. pounds (100 pounds including cases). Streiber: I’m really not sure why he On Saturdays, I would go down to the www.Carbon-XL.com got bent out of shape. We had already Sunset News Company warehouse. It photographed him at his desk. I think was wall-to-wall magazines, every- he was just over being photographed. thing from TIME and LIFE to Sports DPP: What initially sparked your in- Illustrated to Richie Rich, Archie and terest in photography? Playboy. I still get that same kind of Streiber: It started in fifth or sixth visceral response to the glossy maga- grade. My grandfather was a very ad- zine covers I had when I was a kid. I vanced amateur. He had his own dark- love contributing to magazines. room and processed black-and-white DPP: What changes do you make film and C-41 color negatives and made when you shoot in more of a report- prints. When I was in eighth grade, age mode backstage at the Academy he sold my brother and me his Canon Awards® for magazine assignments? AE-1 for $5 and threw in a Streiber: I’m shooting with lens for $2. I started taking >> More On The Web the Canon EOS 5D Mark III For more classic imagery black-and-white candids at from iconic photographers, and I have an assistant holding school, and developing and see the Profiles section of an off-camera Quantum Qflash DPP on the web at proofing the negatives in www.digitalphotopro.com. so I can give the light a little bit his darkroom and making of shape. To get into that mode, prints with him. Eventually, I became it’s quite natural for me to put on black Cinevate Axis Jib the photography editor of the newspa- jeans and a black fleece, and try and hide Featuring a single-tube design, per and yearbook in high school. When in the shadows and capture these mo- Cinevate’s Axis Jib sets up quickly and I went to college, I joined the staff of the ments that occur right in front of you at ® provides strong, solid support for up school paper. After college, I did an in- the Academy Awards . I love this kind to 50 pounds—anything from a ternship at the Riverside Press-Enterprise, of documentary work, and I’ve always ® Canon EOS 5D Mark III to a fully then a traineeship at the L.A. Times. I loved the Oscars , ever since I was a kid. loaded ARRI ALEXA. The four-foot thought I was going to be a photojour- It’s a real honor and privilege to be back- arm produces a seven-foot vertical arc. nalist traveling the world looking for stage in the days leading up to and the ® Dry-erase marker rings and a remov- photo stories and places of conflict. night of the Oscars . I used to be the only DPP: able magnetic marker provide good How did your career evolve guy back there. There are now five or six repeatability of movements. The Jib’s into focusing on celebrity portraiture? of us, so it’s a little more crowded and the Streiber: 100mm bowl indexes at 90°, has I fell into first lifestyle pho- elbows are sharper, but there are amaz- pan and tilt locks, and supports tography, fashion photography and ing moments that you just don’t have the underslung vertical- and horizontal- portraiture, and eventually celebrity opportunity to capture anywhere else. DPP mounted heads. The fully enclosed portraiture. I started freelancing for Women’s Wear Daily and W in Los You can see more of Art Streiber’s work structure provides maintenance-free Angeles. In about 1987, they needed a at artstreiber.com. operation. www.cinevate.com DPP 92 I Digital Photo Pro digitalphotopro.com

(R)EVOLUTION (Cont’d from page 40) Tilt-Shift blur effects, as the pins interact with each other using the same Blend mode (similar to Multiply) that adds the blur radius fields from each effect, as well as the areas of clar- ity. Where there’s an overlap, the clar- ity is preserved. To customize blur effects even fur- ther, you can apply filters multiple times at different settings and in dif- ferent combinations. This field is rich with possibilities. All blurring can cause poster- ization. Guard against this by check- ing at 100% screen magnification. Often, posterization can be cured by adding small amounts of noise. (See my column on adding noise on the Digital Photo Pro website at www.digitalphotopro.com/technique/ revolution.html.) Want to make image areas look even softer? Sharpen the areas that surround them. The opposite is equal- ly true. Blurring techniques can make sharpening techniques look evenmore effective. Consider blurring tech- niques the complement to sharpening techniques; they’re just as important. Combine blurring and sharpening techniques for extraordinary effects, which can be as subtle or as dramatic as you like. Never before have photographers had so many ways to control the qual- ity of detail in their images. Knowing what you can do, how far you can go and when to do it will help you enrich your understanding of photography, refine your eye and deepen your per- sonal vision. Explore your options to find the tools and looks that will help strengthen your unique voice. It’s time well spent. DPP

John Paul Caponigro, author of Adobe Photoshop Master Class and the DVD series R/Evolution , is an internationally renowned fine artist, an authority on digital printing, and a respected lecturer and workshop leader. Get access to a wealth of online resources with his free enews Insights on his website at www.johnpaulcaponigro.com.

Your source for products

L A and services I T I G PhotoPro® MarketPlace D

Protecting the Future Expert Service On All

Photographic Equipment Servicing all major brands, including ofWWF isNature developing global solutions to reduce carbon emissions and NIKON • MINOLTA • PENTAX helping vulnerable communities, CANON • OLYMPUS • FUJI MAMIYA • HASSELBLAD species and habitats adapt to a LEICA • KODAK • CONTAX changing climate. AND MORE... CAMERAS, LENSES, DIGITAL Be Part of Our Work WE DO THEM ALL worldwildlife.org

Authorized Service Center

Serving Professionals Since 1976

629 Fifth Avenue, Pelham, NY 10803 (914)738-6500(914) 738-6500 specialtyphoto@FAX (914) 738-0aol.com837

94 Digital Photo Pro digitalphotopro.com

BATTERY-POWERED MONOLIGHTS HI-TECH STUDIO Profoto has two distinct lines of (Cont’d from page 81) (Cont’d from page 35) softboxes. With a variety of sizes and time. It can also be plugged directly into keeps light efficiency in mind. Each shapes, the RFi line for strobe shoot- AC power, with 1.4-second recycling softbox includes a main canopy, rear ing lets you choose an optional and 400 W-s output. You can adjust cowell, front diffuser, internal diffuser, speed-ring adapter to make the box power from full to 1/8 in 1/3-stop incre- support rods and zip-up carrying case. compatible with over 20 different ments. Dynalite also offers the XP800 www.bowensusa.com flash manufacturers. Each adapter pure sine wave inverter with three AC Broncolor’s new line of nine soft- has full rotation and tilt function. power outlets for flash heads and three boxes shows a range of shapes and The HR (Heat Resistant) line can be USB ports for electronic devices. sizes, from the 2x2-foot The Universal used with either flash or continuous

Photogenic 1xsqu3.a9-refootboThx teoStvriaprisoouftsborxecantandg4.le9-s, alirgrhaty soofusrhceasp.esAalnsod asivzaeisla, btlhee ihnigahn- Photogenic’s compact Studiomax III foot The Ultimate octabox. With col- quality fabric endures up to 1000W. AKC-160B (160 W-s), AKC-320B (320 ored markings on the tension rods and Both lines feature soft grids, flat W-s) and AKC-320BR (320 W-s, with support rings, assembly is quick and front diffuser and stripmask acces- built-in radio remote receiver) can op- easy. Three different diffusers and sories. profoto.com erate on AC or battery with the option- grid accessories provide added light With a double layer of heat-shield al AKB-1 battery pack, which provides control. Using adapters, Broncolor fabric and tent-style heat release up to 150 full-power flashes per charge. softboxes can be used with flash vents, Westcott softboxes are units from many different companies. equipped for use with lights up to Flashpoint hasselbladbron.com 1000 watts. These softboxes are avail- The Flashpoint 180 Battery Powered Photoflex’s line of softboxes able with white or silver interiors in Monolight uses two NP-F960 batter- includes rectangular and octagonal rectangular, octagonal, Stripbank ies to provide up to 700 full-power shapesfor both strobes andcontinuous and Asymmetrical Stripbank. Each (180 W-s) flashes per charge. The un- lights. The MultiDome is specifically comes standard with a 5- or 7-year der-$200 kit includes the monolight, designed to work with strobes and warranty. www. fjwestcott.com reflector, small umbrella, two batteries provides some of the most diverse An economical full-kit option and charger, cords and carrying bag. lighting options from a single diffuser that’s easy to set up, the CL-SPSBS- The Flashpoint M-series monolights due to the softbox interior. With a FT1 Cool Lights 24x24-inch Speed can be powered by AC or DC (battery), white interior lining, the softbox fea- Softbox & Grid is designed specifi- and the Flashpoint 320M, 620M and tures removable gold/silver panels for cally for the Cool Lights CL-SFT1 1220M (150, 300 and 600 W-s, respec- switching between warm or contrast- fluorescent continuous light fixture. tively) feature low-cost, proportional ing light between frames with only The softbox reduces setup time by modeling lights, built-in slaves and one light. The MultiDome also comes quickly popping open and attach- fan cooling. The DG400 (200 W-s) and with a CircleMask for creating a ing to the speed ring with ten- DG600 (300 W-s) have cool LED mod- circular shape on the rectangular sion. Carrying cases, diffusion silk eling lights and digital readouts. form, perfect for portrait catchlights. and egg crate are all included. www.photoflex.com www.coollights.biz DPP JTL JTL’s Mobilight DC-600 (600 W-s) and DC-1000 (1000 W-s) monolights operate off a proprietary rechargeable battery, providing up to 500 full-power flashes with the DC-600 and up to 260 with the DC-1000. Both have a built- in photo slave and 360° universal radio receiver for wireless remote control. DPP

1) Bowens Gemini 500R 2) Bowens Large Travelpak 3) Bowens Gemini 400Rx 4) Dynalite XP-800 Pure Sine Wave Inverter 5) Dynalite Uni400JRg 6) Flashpoint 180T 7) Paul C. Buff AlienBees B800 8) Paul C. Buff White Lightning X3200 9) Paul C. Buff Vagabond Mini Lithium 10) Profoto B1 500 AirTTL 11) Priolite MB500 12) Interfit Stellar Xtreme Kit 13) Broncolor Minicom 160 RFS ABOVE: Chimera F2X Lightbank and Mini Lightbank digitalphotopro.com January/February 2014 I 95

Lumix DMC-GH3 .JSSPSMFTT 4ZTUFN $BNFSB OM-D E-M1 .JSSPSMFTT 4ZTUFN $BNFSB t .BHOFTJVN "MMPZ 8FBUIFS4FBMFE #PEZ t  5JMUJOH -$% 5PVDITDSFFO t 'VMM )% Q 7JEFP BU GQT t .JDSP 'PVS 5IJSET 4ZTUFN t  'SFF"OHMF -$% t 4%4%)$4%9$ $BSE 4MPU t .JDSP 'PVS 5IJSET 4ZTUFN t 'VMM )% Q 7JEFP t 4%4%)$4%9$ $BSE 4MPU t #VJMU*O 8JSFMFTT $POOFDUJWJUZ t #VJMU*O 8J'J UP -JOL t %VTU4QMBTI'SFF[FQSPPG to Smart Devices .BHOFTJVN "MMPZ #PEZ

Mega Mega Body Only...... #PA DMCGH3 B 16 Pixels #OLEM1* 16 Pixels

EOS-70D DSLR EOS-5D Mark III D-SLR The Professional’s Source™ t %VBM 1JYFM $.04 "' XJUI -JWF 7JFX t  $MFBS 7JFX )JHI 3FTPMVUJPO -$% t %*(*$  *NBHF 1SPDFTTPS t %*(*$  *NBHF 1SPDFTTPS t 1PJOU t 4%4%)$4%9$ $BSE 4MPU )JHI %FOTJUZ "' t 6TFT $BOPO &' -FOTFT t 6TFT $BOPO &'  &'4 -FOTFT t %VBM $' 4% $BSE 4MPUT t 6Q UP  '14 t  7BSJ"OHMF 5PVDITDSFFO t 'VMM )% Q BOE Q 'PSNBUT www.BandH.com t #VJMU*O 8JSFMFTT $POOFDUJWJUZ t #VJMU*O )%3 BOE .VMUJQMF &YQPTVSF .PEFT t 'VMM )% Q 7JEFP

Body Only #CAE70D ...... 1199.00 Body Only #CAE5D3* ...... 3399.00 Mega Mega Kit with 18-55mm STM #CAE70D1855 ...... 1349.00 20 Pixels Kit with 24-105mm L IS #CAE5D324105...... 3999.00 22 Pixels

When in New York, EOS-6D DSLR EOS-1Dx D-SLR Visit our SuperStore t 'VMM'SBNF $.04 4FOTPS t  -$% t %VBM %*(*$  *NBHF 1SPDFTTPST t %*(*$  *NBHF 1SPDFTTPS t &ZF-FWFM 1FOUBQSJTN 7JFXGJOEFS 420 Ninth Ave. t 6TFT $BOPO &' -FOTFT t  -$% .POJUPS t 6TFT $BOPO &' -FOTFT t 4%4%)$4%9$ $BSE 4MPU t %VBM $' DBSE TMPUT Corner of 34th Street t #VJMU*O 8J'J BOE (14 $POOFDUJWJUZ t  Y  )% 7JEFP $BQUVSF New York, N.Y. 10001 t 'VMM )% Q XJUI .BOVBM $POUSPMT t -JWF 7JFX 4UJMM BOE 7JEFP 3FDPSEJOH t #VJMU*O )%3 BOE .VMUJQMF &YQPTVSF .PEFT t 1PJOU )JHI %FOTJUZ "VUP 'PDVT Body Only #CAE6D ...... 1899.00 Mega Mega Kit with 24-105mm f/4 L #CAE6D24105 ...... 2499.00 20 Pixels Body O nly #CAE1DX* ...... 6799.00 18 Pixels

on Select Bodies, Lenses and Flashes! on Select Bodies, Lenses and Flashes!

EOS Flash System (USA) TS-E MF Lenses (USA) AF Flashes D-Type AF Lenses 270EX II .....169.99 430EX II .....299.99 17/4.0 L ...2499.00 24 /3.5 L II ..2199.00 4# ...... 146.95 4# ...... 326.95 50/1.8 D (52ø)...... 50/1.4 D (52ø)...... 320EX ...... 600 EX-RT..549.99 45/2.8 .....1399.00 90/2.8 .....1399.00 4# ...... 4# ...... 546.95 50/1.8 G AF-S (58ø) ...... 216.95 MR-14EX Ringlight...... 3 8JSFMFTT 5XJO 'MBTI ...... 50/1.4 G AF-S (58ø) ...... 5&9 5XJO 'MBTI ...... 829.99 EF “L” Lenses (USA) 14/2.8 USM II ...... 2359.00 3$ 8JSFMFTT 5XJO 'MBTI 4ZTUFN ......  % .JDSP   ...... EF-S Lenses for Digital Only (USA) 24/1.4 II (77ø) ...... 1749.00 60/2.8 G AF-S ED Micro (62ø) ...... /PU DPNQBUJCMF XJUI GVMM GSBNF DBNFSBT DX ED-IF Lenses for Digital Only  %  XJUI )PPE ...... 35/1.4 USM (72ø) ...... 1479.00 60/2.8 USM Macro (52ø)...... 469.99  'JTI&ZF ...... 85/1.8 G AF-S (67ø) ...... 496.95 50/1.2 USM (72ø) ...... 1619.00 10-22/3.5-4.5 USM (77ø) ...... 649.99 35/1.8 G AF-S (52ø) ...... 196.95 85 /1.4 D IF (77ø) ...... 85 /1.4 G AF-S (77ø) ..... 15-85/3.5-5.6 IS USM (72ø) ...... 799.99 85/1.2 USM II (72ø) ...... 2199.00 40/2.8 G AF-S Micro (52ø) ...... 276.95 105/2.8 G AF-S ED-IF VR Micr o (62ø) ...... 17-55/2.8 IS USM (67ø) ...... 879.99 100/2.8 IS USM Macro (67ø) ...... 1049.00 85/3.5 G ED VR M icro (52ø) ...... 526.95  %$ % XJUI )PPE  ...... 17-85/4-5.6 IS USM (67ø) ...... 135/2.0 USM (72ø) ...... 1089.00 10-24/3.5-4.5 G AF-S (77ø) ...... 180/2.8 D ED-IF (72ø)...... 18-135/3.5-5.6 IS (67ø) ...... 499.99 180/3.5 USM Macro (72ø)...... 1579.00 12-24/4 G AF-S (77ø) ......  % &%*' .JDSP X$BTF  ...... 18-200/3.5-5.6 IS (72ø) ...... 699.99 16-85/3.5-5.6 G AF-S VR (67ø) ...... 200/2.0 IS USM (52ø) ...... 200/2 G AF-S ED-IF VR II (52ø) ...... 55-250/4.0-5.6 IS USM (58ø) ...... 299.99 17-55/2.8 G AF-S (77ø) ...... 300/4.0 IS USM (77ø) ...... 1449.00 300/4.0 D AF-S ED-IF (77ø) ...... EF Lenses (USA) 18-55/3.5-5.6 G AF-S II (52ø) ...... 300/2.8 IS USM II (52ø rear) ...... 14-24/2.8 G AF-S ED-IF ...... 1996.95 20/2.8 USM (72ø) ...... 539.99 18-55/3.5-5.6 G AF-S VR (52ø) ...... 196.95 400/5.6 USM (77ø) ...... 1339.00 16-35/4.0 G AF-S ED VR (77ø) ...... 1256.95 24/2.8 IS USM (58ø) ...... 599.99 18-105/3.5-5.6 G AF-S V R (67ø) .....396.95 28/2.8 IS USM (58ø) ......  'JTIFZF 64...... 1499.00 17-35/2.8 D AF-S ED-IF (77ø) ...... 549.99 18-200 /3.5-5.6 G AF-S VR II (72ø) ...... 846.95 35/2 (52ø)...... 16-35/2.8 USM II (82ø) ...... 1699.00 18-35/3.5-4.5 G ED (77ø) ...... 746.95 18-300 /3.5-5.6 G AF-S ED VR (77ø) ...... 996.95 35/2 IS USM (67ø) ...... 599.99 17-40/4.0 USM (77ø) ...... 839.99 24-70/2.8 G AF-S ED-IF (77ø) ...... 1886.95 55-200/4-5.6 G AF-S (52ø) ...... 50/1.8 II (52ø) ...... 125.99 24-70/4.0 IS USM (77ø) ...... 1499.00 24-85/2.8-4.0 D IF (72ø) ...... 55-200/4-5.6 G AF-S V R (52ø) ...... 246.95 50/1.4 USM (58ø) ...... 399.99 24-70/2.8 USM II (82ø) ...... 2299.00 24-120 /4.0 G AF-S ED VR (77ø) ...... 55-300/4.5-5.6 G AF-S V R (58ø) .....396.95 1296.95 50/2.5 Macro (52ø)...... 299.99 24-105/4 IS USM (77ø) ...... 1149.00 28-300 /3.5-5.6 G AF-S ED VR (77ø) ..... 1046.95 85/1.8 USM (58ø) ...... 419.99 28-300/3.5-5.6 IS USM (77ø) ...... D-Type AF Lenses 70-200 /2.8 G AF-S ED-IF VR II (77ø)...... 2396.95 100/2 USM (58ø) ...... 499.99 70-200/4.0 IS USM (77ø) ...... 1349.00 70-300/4.5-5.6 G-AFS VR (67ø) ...... 586.95 100/2.8 USM Macro (58ø)...... 599.99 14/2.8 D ED...... 24/2.8 D (52ø)...... 28-135/3.5-5.6 IS USM (72ø) ...... 479.99 70-200/2.8 USM (77ø) ...... 1449.00  %  XJUI )PPE ......  % XJUI $PMMBS  ...... 70-300/4-5.6 IS US M (58ø) ...... 649.99 70-200/2.8 IS II USM (77ø) ...... 2499.00 24/3.5 D ED PC-E (77ø) ...... 80-400/4.5-5.6 D VR (77ø) ...... Over 70,000 square feet 70-300 /4.5-5.6 DO IS USM (58ø) ...... 70-300/4.0-5.6 IS USM (67ø) ...... 1599.00 28/1.8 G AF-S (67ø) ...... 696.95 200-400/4 G AF-S ED VR II (52ø) ...... 75-300/4.0-5.6 III (58ø) ...... 199.99 100-400/4.5-5.6 IS USM (77ø) .... 1699.00 28/2.8 D (52ø)...... 35/2.0 D (52ø)...... TC-14E II (1.4x) Teleconverter ...... of the latest gear 75-300/4.0-5.6 III USM (58ø) ...... 1.4x III Tele ..499.99 2x II I Tele ....499.99 45/2.8 D ED PC-E Micro (77ø) ...... TC-17E II (1.7x) ..... TC-20E III (2x)...... The most knowledgeable Sales Professionals

Hands-on demos Flash System AF Flash System Flash System FL-300R Flash ...... 169.95 FL-600R Flash ...... 299.00 AF-360FGZ ...... AF-540FGZ ...... HVL-F20M ...... 149.99 HVL-F20S ...... 149.99 Convenient free parking FL-50R Flash ...... RF-11 Ring Flash .. 499.95 249.95 SMCP-DA Digital AF Lenses HVL-F43M ...... 398.99 HVL-F60M ...... 548.00 Zuiko 4/3 System Digital Lenses available 21/3.2 AL Limited “Pancake” (49ø) ...... Digital Lenses 35/3.5 Macro ED (52ø) ...... 229.95 40/2.8 Limited “Pancake” (49ø) ...... 24/2 Carl Zeiss (72ø) ...... 1399.99 50/2.0 Macro ED (77ø) ...... 499.95 7-14/4.0 ED (72ø) ...... 1799.95 70/2.4 Limited “Pancake” (49ø) ...... 50/1.4 (55ø) ...... 449.99 100/2.8 Mac (55ø) ..799.99 11-22/2.8-3.5 ED (72ø) ...... 799.95 10-17/3.5-4.5 ED IF (77ø) ...... 16-80/3.5-4.5 DT Carl Zeiss (62ø) ...... 999.99 12-60/2.8-4 ED SWD (72ø) ...... 999.95 16-50/2.8 ED AL IF SDM (77ø) ...... 11-18/4.5-5.6 DT (77ø) ...... 799.99 14-42/3.5-5.6 ED (58ø) ...... 249.95 50-135/2.8 ED IF SDM (67ø) ...... 18-250/3.5-6.3 DT (62ø) ...... 649.99 18-180/3.5-6.3 ED (62ø) ...... 499.95 50-200/4-5.6 ED WR (52ø) ...... 70-200/2.8 G APO (77ø) ...... 1999.99 EC-14 1.4x Teleconverter ...... 439.95 55-300/4-5.8 ED (58º)...... 75-300/4.5-5.6 (55ø)...... 249.99 Su scr i e to our fre Cat log BandH.com/catalog 10-22/3.5-4.5 18-135mm f/3.5-5.6 18-200/3.5-5.6 DX G SB-910 Speedlight 212-444-6633 EF-S USM Digital Lens ED AL (IF) DC WR Digital Lens AF-S ED-IF VR II Digital Lens i-TTL 4IPF .PVOU 'MBTI

t &YDMVTJWFMZNN FRVJW EFTJHOFE GPS %JHJUBM 4-3T t %FTJHOFE41 $PBUJOH FYDMVTJWFMZ 3FQFMT %VTU GPS %JHJUBM 4-3T t NN&YDMVTJWFMZ FRVJW EFTJHOFE GPS %JHJUBM 4-3T t 5VOHTUFO(VJEF /P h 'MVPSFTDFOU 'JMUFST *ODMVEFE 16-35mm 8BUFS  (SFBTF 27-300mm t 4JNQMJýFE (SBQIJD t  BTQIFSJDBM t 8FBUIFS SFTJTUBOU t 73 ** 7JCSBUJPO 3FEVDUJPO 6TFS *OUFSGBDF (6* lens elements t 2VJDL4IJGU t 48. 4JMFOU t #PVODF 4XJWFM t  G4UPQ 3BOHF 'PDVT 4ZTUFN Wave Motor)  ;PPN )FBE Page 1 t .JOJNVN GPDVT  t .JO GPDVT h t  G4UPQ 3BOHF (17-200mm) t NN ýMUFS EJBNFUFS t NN ýMUFS EJBNFUFS t 'PDVT h UP *OýOJUZ t 8JSFMFTT $POUSPMMFS t 8FJHIU  P[ t 8FJHIU  P[ t 8FJHIU  P[ t 8FJHIU  P[

Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.

Alpha A7 DSLR Alpha NEX-6 Mirrorless System Camera t 'VMM 'SBNF &YNPS $.04 4FOTPS t 'BTU )ZCSJE "' XJUI 1IBTF%FUFDUJPO "' t %JSFDU $PNQBUJCJMJUZ XJUI &NPVOU -FOTFT t  -$% t 6TFT 4POZ &NPVOU -FOTFT t  5JMUBCMF 5'5 -$% t .VMUJ*OUFSGBDF 4IPF t 9(" 0-&% 5SV'JOEFS &7' t 4%4%)$4%9$ .4 1SP %VP t 4%4%)$4 %9$  .4 1SP %VP1SP )(%VP 1SP )(%VP$BSE 4MPUT $BSE 4MPU t $BQUVSFT  )% 7JEFP t 'VMM Q XJUI 6ODPNQSFTTFE 0VUQVU t 8J'J $BQBCMF t 'BTU GQT #VSTU 4IPPUJOH t #VJMU*O 8J'J BOE /'$ t %JSFDU "DDFTT *OUFSGBDF t 1MBZ.FNPSJFT $BNFSB "QQT Body Only...... #SOA7B Mega Mega Kit with 28-70mm Lens...... #SOA7KB 24 Pixels with 16-50mm Lens ...... #SONEX6L* 16 Pixels

D7100 DSLR D800 D-SLR The Professional’s Source™ t .BHOFTJVN "MMPZ #PEZ t .PJTUVSF 3FTJTUBOU t YNN $.04 '9 'PSNBU 4FOTPS t &91&&%  *NBHF 1SPDFTTPS t  -$% t  -$% .POJUPS t /JLPO ' .PVOU -FOT .PVOU t Q 'VMM )% 7JEFP $BQUVSF t $'  4% %VBM $BSE 4MPUT t 0QUJDBM -PX1BTT 'JMUFS t "DDFQUT /JLPO "' -FOTFT Y GBDUPS t &ZF-FWFM 1FOUBQSJTN 7JFXGJOEFS t %VBM 4%4%)$4%9$ $BSE 4MPUT t  Y Q )% 7JEFP $BQUVSF Over 300,000 products, t #VJMU*O 'MBTI XJUI $PNNBOEFS 'VODUJPO t .BUSJY$FOUFS8FJHIUFE4QPU .FUFSJOH at your leisure t /JLPO *OD MJNJUFE XBSSBOUZ JODMVEFE t #VJMU*O 'MBTI  J55- 'MBTI $POUSPM t /JLPO *OD MJNJUFE XBSSBOUZ JODMVEFE #PEZ 0OMZ #NID7100 ...... 1199.95 Mega Mega XXXBandHDPN ,JU XJUI NN 73 #NID710018105 ...... 1599.95 24 Pixels #PEZ 0OMZ #NID800 ...... 2996.95 36 Pixels

D610 DSLR D4 DSLR t '9'PSNBU 'VMM'SBNF $.04 4FOTPS t  -$% t 3"8 5*'' +1&( 3"8+1&( 'JMFT t  -$% t 6TFT /JLPO "' -FOTFT t &91&&%  *NBHF XJUI -JWF 7JFX t '9GPSNBU GVMMGSBNF $.04 1SPDFTTPS t 4%4%)$4%9$ $BSE 4MPU 4FOTPS t Q )% #SPBEDBTU 2VBMJUZ 7JEFP t 'VMM )% Q 7JEFP 3FDPSEJOH BU  GQT t &91&&% *NBHF 1SPDFTTPS t  *40 t &YQBOEBCMF 4FOTJUJWJUZ UP *40  t $PNQBUJCMF XJUI .PTU /JLLPS 0QUJDT t /JLPO *OD MJNJUFE XBSSBOUZ JODMVEFE t .BUSJY $FOUFS8FJHIUFE 4QPU .FUFSJOH t $' 5ZQF   92% $PNQBUJCMF t /JLPO *OD MJNJUFE XBSSBOUZ JODMVEFE #PEZ 0OMZ #NID610 ...... 1996.95 Mega Mega ,JU XJUI NN 73 -FOT #NID 6102485...... 2596.95 24 Pixels #PEZ 0OMZ #NID4...... 5996.95 16 Pixels

AF LENSES AF LENSES DC o GPS %JHJUBM 4-3T 0OMZ t DG – Optimized for Digital SLRs DX – for Digital SLRs Only FX o %FTJHOFE GPS GVMM GSBNF %4-3T $  $BOPO /  /JLPO 0  0MZNQVT 1  1FOUBY 4  4JHNB 4.  4POZ.JOP MUB  "MTP "WBJMBCMF GPS 4POZ "MQIB %4-3 CanonE OS NikonA F Price H o )4. .PEFM XJUI $BOPO /JLPO 4JHNB FX 100/2.8 Pro D Macro (52ø) #TO10028PCAF #TO10028PNAF 489.00 R o 3FBS 4MJQJO (FMBUJO 'JMUFS 4MPU SKU # Available for Price DX 10-17/3.5-4.5 ATXFis heye #TO101735CAF #TO101735NAF 669.00 DG 15/2.8 EX Diagonal Fish-Eye R #SI1528DG* C, N, P, S, SM 609.00 DX 11-16/2.8 Pro II (77ø) #TO111628PCII #TO111628PNII 599.00 DG 20 /1.8 EX DF RF A spherical (82ø) #SI 2018* C, N, P,S , SM 629.00 DX 12-24/4.0 Pro II (77ø) #TO12244DXC #TO12244DXN 449.00 DG 28/1. 8 EX DFAs p h. Macro (77ø) #SI2818M* C, N, P, S,S M 449.00 FX 16-28/2.8 Pro (77ø) #TO1628FXC #TO1628FXN 699.00 DC 30/1.4H SM( 62ø) #SI3014DCHSM* C,N ,S 499.00 FX 17-35/4 Pro (82ø) #TO1735F4FXC #TO1735F4FXN 549.00 DG 35/1.4H SM( 67ø) #SI3514* C,N ,P ,S ,S M 899.00 DG 50/1.4E X( 77ø) #SI5014* C,N ,P ,S ,S M 499.00 Six-Year Manual Focus Lenses 800-336-7520 DG 50/2.8 EX Macro (55ø) #SI5028MDG* C, N, P, S, SM 369.00 AF LENSESL Warranty In Stock – Call for Prices DG 70/2.8 EX Macro (62ø) #SI7028MDG* C,N ,P ,S ,S M 499.00 Di GPS EJHJUBM  ýMN 4-3 DBNFSBT t Di-II GPS %JHJUBM 4-3T 0OMZ t Di III for mirror-less cameras Only 212-502-6324 DG 85/1.4E XH SM( 77ø) #SI8514* C,N ,P ,S ,S M 969.00 $  $BOPO /  /JLPO 1  1FOUBY 4.  4POZ.JOPM UB 4&  4POZ & .PVOU DG 105/2.8 EX OS Macro (62ø) #SI10528MDG* C, N, S, SM 969.00 ** Price After Rebate (Exp. 12-31-13) SKU # Available for Rebate Price DG 150/2.8 EX APO Macro OS HSM (72ø) #SI15028AMO* C, N, P, S, SM 1099.00 Di-II 60/2.0 LD IF Macro (55ø) #TA602DI* C,N , SM — 524.00 Fax: DG 300/2.8 APOE X HSM #SI30028DG* C,N ,P ,S ,S M 3399.00 Di 90/2.8M acro( 55ø) #TA9028M* C, N, P, SM — 499.00 212-239-7770 DC 8-16/4.5-5.6H SM #SI8164556* C,N ,P ,S ,S M 699.00 Di-II 10-24/3.5-4.5 (77ø) #TA102435* C, N, P, SM $50 449.00** DC 10-20/4-5.6 EX HSM (77ø) #SI102045D* C,N ,P ,S ,S M 479.00 Di-II 17-50/2.8 XR LD IF Asph. (67ø) #TA175028* C, N, P, SM — 499.00 DG 12-24/4.5-5.6 EX Asph. HSM R #SI1 2244 5* C, N, S, SM 949.00 Di-II 17-50/2.8 XR VC LD IF Asph. (67ø) 5"2 C, N $50 599.00** DC 17-50/2.8 EX OS HSM (77ø) #SI175028* C,N ,P ,S ,S M 669.00 Di-II 18-200/3.5-6.3 (62ø) #TA1820035* C, N, P, SM $20 179.00** DC 17-70/2.8-4.0 OS Macro HSM (72ø) #SI1770284DC* C, N, P, S, SM 499.00 Di-III 18-200  7$  #MBDL PS 4JMWFS #TA1820035S* SE — 739.00 DC 18-200/3.5-6.3 OS II HSM (72ø) #SI1820035* C,N , P, S,SM 499.00 Di-II  7$ 1;%  #TA18270* C, N, SM $70 379.00** Di $100 1199.00** DC 18-250/3.5-6.3 OS Macro HSM (62º) #SI1825035M* C, N, P, S, SM 549.00 24-70/2.8 VC USD (82ø) #TA247028* C, N, SM Store & Mail Order Hours: Di 28-75/2.8X R (67ø) #TA287528* C, N, P, SM — 499.00 DG 24-70/2.8 EX IF HSM (82ø) #SI247028* C,N ,P ,S ,S M 899.00 Di 28-300/3.5-6.3 XR LD (62ø) #TA2830035XD* C, P, SM — 419.00 4VOEBZ  t .PO5IVST  DC 50-150/2.8 EX APO OS HSM (77ø) C, N, S #SI5015028* 1099.00 Di 70-300/4.0-5.6 VC USD (62ø) #TA70300* C, N, SM $100 349.00** 'SJEBZ  &45 %45 DG 50-500 /4.5-6.3 APO OS HSM (95ø) #SI 50500 * C, N, P,S , SM 1659.00 Di 75-300/4.0-5.6 LD (62ø) #TA753004* C, N, SM — 164.00 DG 70 -2 00/2 .8 EX OS HSM (77 ø) #SI 70200 28* C, N, P,S ,S M 1399.00 Di 200-500/5-6.3 LD IF (86Cø) #TA2005005* C, N, SM — 949.00 4BUVSEBZ $MPTFE DG 70-300/4-5.6 Macro (58ø) #SI703004S* C,N ,P ,S ,S M 169.00 Y 41 "' 1SP 5FMFDPOWFSUFS #TA14XP* C, N — 224.00 DG 70-300/4-5.6 OS (62ø) #SI7030045* C,N ,P ,S ,S M 359.00 Y 41 "' 1SP 5FMFDPOWFSUFS #TA2XP* C, N — 254.00

Muse 17-50mm f/2.8 12-24mm 58 AF-2 TTL When in New York, 4FMFDUJWF 'PDVT 4-3 $BNFSB -FOT XR LD-IF Di II Digital Lens f/4.0 AT-X Pro II DX Digital Lens 4IPF .PVOU 'MBTI Visit our SuperStore 'BTU BOE -PPTF t &YDMVTJWFMZ EFTJHOFE GPS VTF XJUI t &YDMVTJWFMZ EFTJHOFE GPS VTF XJUI t (VJEF /P h *EFBM GPS UBCMFUPQ BOE EJHJUBM 4-3 DBNFSBT EJHJUBM 4-3 DBNFSBT t 'VMM 55- .PEF macro photography. t .BHOJýDBUJPO t 'PDVT $MVUDI .FDIBOJTN t ;PPN )FBE  420 Ninth Ave. 4RVFF[F UIF .VTF UP SBUJP PG  t .JO 'PDVT  t #PVODF  4XJWFM )FBE Corner of 34th Street GPDVT BOE CFOE ZPVS t .JO 'PDVT  t  BOHMF PG WJFX t 6QEBUF WJB 64# 1PSU 4XFFU 4QPU BSPVOE t 8FJHIU  P[ t NN ýMUFS EJBNFUFS t 8FJHIU  P[ New York, N.Y. 10001 the photo. t 8FJHIU  MC for Canon, Nikon, for Canon, Leica, Nikon, for Canon, Leica, Nikon, Olympus, Pentax, Sony/Minolta for Canon, Nikon Olympus, Panasonic, Pentax, Pentax, Sony #LEMU* ...... 149.95 #TA175028* ...... 499.00 #TO12244 DX* ...... 449.00 Samsung, Sony #ME58AF2*. 399.99

10-20mm f/4-5.6 18-200mm f/3.5-6.3 EM-140 DG TTL 285HV Professional We Buy, Sell, and Trade EX HSM DC Digital Lens II OS HSM DC Digital Lens Ringlight Flash Auto 4IPF .PVOU 'MBTI t &YDMVTJWFMZ EFTJHOFE t &YDMVTJWFMZ EFTJHOFE t 8JSFMFTT 55- þBTI DPOUSPM t (VJEF /P h

4-3GPS VTF DBNFSBT XJUI EJHJUBM 4-3GPS VTF DBNFSBT XJUI EJHJUBM t *EFBM)JHI 4QFFEGPS QIPUPHSBQIJOH 4ZODISP t SBOHF"VUPNBUJD UP h FYQPTVSF t 'PDVT h UP *OýOJUZ t 0QUJDBM 4UBCJMJ[FS 04 TVCKFDUT JO ýOF t  BVUP GTUPQ TFUUJOHT t .BH SBUJP PG  t .JOJNVN 'PDVT h EFUBJM  DMPTFVQ t 3FNPWBCMF TFOTPS t 8FJHIU  P[ t .BH SBUJP PG  photography t #PVODF )FBE t 8FJHIU  P[ t ;PPN )FBE  for Canon, Nikon, Olympus, for Canon, Nikon, t 8FJHIU  P[ Pentax, Sigma, Sony/Minolta for Canon, Nikon, Pentax, Sigma, Pentax, Sigma, Sony/Minolta Page 2 #SI10 2045 D* ...... 479.00 Sony #SI1820035* ...... 499.00 #SI EM140D G* ...... 379.00 #VI 285H V ...... 85.00

NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906 012014

n o i t a r m f o i n Moving Targets i s M The many facets of photography today

It’s cliché to say that professional photography has been in the midst of tremendous upheaval, but we’re going to say it anyway. We’re restating the obvious because the upheaval has been so unprecedented. Over the past decade, we’ve seen fun- damental shifts in the stock business, a massive influx of undervalued images from amateur photographers who are happy to see their photos used in exchange for little or, more often, no money, as well as a steady erosion of job pricing. Tough times, indeed. But amidst all of the chaos, there are some lights burning bright. Since 2008, a sea change has t h : occurred in image capture. In the fall M y of 2008, Nikon introduced the D90, and almost simultaneously, Canon Y o u D o n ’ h t o o t e d T o S introduced the EOS 5D Mark II. N e o n These DSLRs had one critical similar- M o t i ity. They both could shoot video. In camera or maybe one of the have unwittingly flooded the one of the greatest occurrences of syn- prosumer models that were bet- market with cheap images. And this ergy to hit the photography industry, a ter, but also large and complex. opportunity is golden. Motion is in Pulitzer Prize-winning photojournal- The new class of HD-video- demand, and it’s highly valued. To any ist got an early 5D Mark II and pro- capable DSLRs put incredibly high still photographer who says that he or duced a short, captivating movie. image quality into the hands of still she has no experience with motion, we Vincent Laforet’s short film Reverie photographers in the form of a camera say hogwash. What’s a still photogra- was an Internet smash. It went viral to that was familiar combined with an pher if not a director? In this issue of the point where servers were crashing arsenal of lenses they already owned. DPP, Art Streiber describes how he because of the traffic. At that moment, Going from still shooting to motion works as a director constantly, and everything changed. was a matter of flipping a switch, Streiber has a lot of company. DSLRs that can shoot such high- rather than changing to a camera with If you’ve lamented the erosion of quality video were a revelation. Many diminished low-light capacity and rates and the diminished demand for filmmakers might have paused to ask lesser overall image quality. And, of day jobs, flip the switch on your DSLR what the big deal was— course, there was the glori- to motion and start immersing your- after all, they were used to >> More On The Web ous “cinematic look” that self in it. It’s not a matter of becoming using high-res movie cam- Go to www.digitalphotopro.com was now accessible. Laforet a narrative filmmaker. Sure, you could to learn more about cutting- Reverie eras, but for still shooters, edge technology and how it’s and didn’t destroy do that, but clients want all sorts of a whole new door was changing photography. depth of field, but it pointed other motion. From the condensation opening. Up to 2008, the the way to a motion look dripping down the side of a cold glass video camera a still photographer was that hadn’t been achievable to most of to the hair flip of a model on the run- likely to use was a dedicated motion us up to that point. way, motion is a way for you to boost camera with its own interface and So amidst all of the chaos of the your worth and your rates. The glory controls. Also, it was likely to produce past decade, motion capture has days of the photo business probably mediocre image quality. Still shooters emerged as an area where still photog- never will come back, but don’t curse who carried a video camera in their raphers again have a chance to differ- the darkness; instead, light a candle. bag for occasional motion shooting entiate themselves and their skills The future is brighter than you may probably had a high-end consumer from the throngs of amateurs who have thought. DPP 98 I Digital Photo Pro digitalphotopro.com

The moment when you no longer take pictures, you make them. This is the moment we work for.

// FREEDOM MADE BY ZEISS

Carl Zeiss SLR lenses Set yourself free. Free of the performance limitations of other lens systems. Free of trade-offs between sharpness and harmonious bokeh. Free of inconsistent build quality, unnecessary flare

and mechanisms that focus “precisely enough.” Get to know the outstanding uniform characteristics of the manual focus ZE and ZF.2 lenses and get back to making images that matter.

www.zeiss.com/photo/freedom