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digitalphotopro.com February 2014 Retro-Cool Nikon Df See page 22 Art Streiber Coaxing Performances For The Still Frame Lessons For Directing Talent & Crafting Elaborate Ensembles Location Lighting! Mobile Monolights Compared Quick Guide To Softboxes Go BTS On A Corey Rich Shoot Use Instagram Buzz To Boost Your Biz The Photo Hit Man! Howard Huang Makes His Mark From Here To China Go-To Gear! Leading Shooters On Their Essential Equipment Secrets Inside Lightroom Pros & Cons Of Custom Defaults
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Page 1: Photo pro image

digitalphotopro.com

Febr

uary

201

4

Retro-Cool Nikon DfSee page 22

Art Streiber Coaxing Performances For The Still FrameLessons For Directing Talent &Crafting Elaborate Ensembles

Location Lighting!

Mobile Monolights Compared

Quick Guide To SoftboxesGo BTS On A Corey Rich Shoot

Use Instagram Buzz To Boost Your Biz

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

Go-To Gear!Leading Shooters

On Their Essential Equipment Secrets

Inside Lightroom

Pros & Cons Of Custom

Defaults

Page 2: Photo pro image

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

Page 3: Photo pro image

©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.

Introducing the no-compromise full-frame that’s so small, you’ll take it everywhere.

Interchangeable lenses. 36MP. OLED viewfi nder. 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

A NEW FRAME of MIND.

Sony® 7R Compact Full-Frame Interchangeable Lens Camera

Page 4: Photo pro image

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.

Page 5: Photo pro image

”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

Up to 136MB/sUSB 3.0 Hard Drive

It’s no secret that creative workfl ows have become more fl uid — 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 fl exibility 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

interface. And the whole solution is RAID 0 and 1 confi gurable.

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

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 affi liates in the U.S. and other countries. G-DOCK ev is a fi led trademark of HGST, Inc. and its affi liates in the U.S. and other countries. ©2013 G-Technology, a division of HGST, Inc. All rights reserved.

g-technology.com/WLAP

WORKS LIKE A PRO

Page 6: Photo pro image
Page 8: Photo pro image

8 I Digital Photo Pro digitalphotopro.com

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

Editor’s NoteAs we kick off

2014, things are

looking up. After some tumultuous years,

the U.S. economy is trending upward, and

I’ve heard from several photographers who

are seeing significant increases in their busi-

ness bottom lines. It’s anecdotal research, to

be sure, but just a few years ago, everyone I

spoke with was either down or way down.

There are still plenty of challenges, but there

always will be at least some challenges. After

all, if it was easy to make a living as a pho-

tographer, everyone would do it.

The Great Recession has trained us all to

through the use of battery power. Freeing

you from the wall socket, these monolights

also let you use your full arsenal of studio-

style light modifiers. They don’t have the

same output as a full-on strobe pack, but for

a lot of shoots, the combination of power,

mobility and control is hard to beat.

Of course, there always will be situations

when you just need power, pure and simple.

Art Streiber was in that position when he was

called upon to shoot a 100th Anniversary

photo for Paramount Pictures. The famous

photo is an impressive ensemble image. In

this issue, we have an excellent interview with

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

Contents

do more with less. As studio spaces have

been relinquished because of high costs,

more photographers are keeping their inter-

ests mobile. Instead of a room full of equip-

ment, we’ve pared down to the essentials. In

lighting, there has been a shift to using

portable on-camera flashes instead of heavy,

bulky power packs, when possible. Some-

times, the small flash just doesn’t have the

output you need, though, and between the

studio power pack and the small handheld

flash, monolights have risen as a sweet-spot

alternative. Today, manufacturers are making

these powerful lights even more useful

Art

Str

eib

er

Page 9: Photo pro image

digitalphotopro.com January/February 2014 I 9

Streiber, where he talks about how he works

with some of the most talented and famous

actors and actresses as a photographer.

Streiber is one of my favorite photographers

because of his ability to draw a performance

out of a person and capture that in a still

frame. Take a look at the article “Tell Me What

You Want Me To Do” to see more of his work

and learn more about his approach.

I can’t recall of any photo-related compa-

ny that has been as divisive among profes-

sional photographers as Instagram. Between

the filters and the changes to the Terms Of

Use, many pros have been vocal and vehe-

ment about their overall disapproval of the

company. This has gone on even as usage by

the overall population has soared. For all of its

foibles, Instagram, like the rest of the social-

media landscape, isn’t the enemy anymore

than digital was the enemy in the film era or

35mm was the enemy in the large-format

era. People love photographs, and they want

to be able to take more pictures and do more

with them. Instagram is simply serving that

demand. As professional photographers, we

shouldn’t be resentful of Instagram. In fact,

pros should embrace it as another vehicle for

helping your business. Think about it: This is

an enormously popular service with the sole

purpose of circulating images with attribution.

If you’ve been steadfastly opposed to par-

ticipating in Instagram, check out Jim

Goldstein’s article. He’ll give you some new

things to think about and ideas on how you

can make use of Instagram on your terms.

As I gear up for the 2014 issues, I want

to hear from DPP readers about article top-

ics that would be of interest. Let me know

what’s on your mind. You can find me on

Twitter @DPPRobinson or send me an email

at [email protected].

—Christopher Robinson, Editor

Page 10: Photo pro image

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

Member, Alliance forAudited Media Member

EDITORIAL

CHRISTOPHER ROBINSON

Editor

WESLEY G. PITTS

Managing Editor

MAGGIE DEVCICH

Associate Editor

DAVID WILLIS

Associate Editor

ASHLEY MYERS-TURNER

Associate Editor

MIKE STENSVOLD

Senior Editor

J. ANA FLORES, SAVA ALCANTARA

Copy Editors

JOHN PAUL CAPONIGRO, ROBERT HAWK,MICHAEL GUNCHEON, WILLIAM SAWALICHContributing Editors

JEFF SCHEWE, DOUG SPERLING, RYAN STEVENSProfessional Advisors

ART

KURT R. SMITH

Art Director

ERIC BECKETT

Assistant Art Director

CANDICE OTA

Graphic Designer

WWW.DIGITALPHOTOPRO.COM

WESLEY G. PITTS

Online Director

MIKE DECKER

Web Art Director

DAMIAN GREENE

Web Developer

LISETTE ROSE

Web Production Associate

PHOTO MEDIA GROUP

STEVEN D. WERNERPublisher/Editor In Chief

CHRISTOPHER ROBINSONPhotography Group Editorial Director

KURT R. SMITHExecutive Art Director

EDITORIAL OFFICES

Werner Publishing Corporation12121 Wilshire Blvd., Suite 1200Los Angeles, CA 90025-1176(310) 820-1500

Printed in the U.S.A.Digital Photo Pro is published by Werner Publishing Corp. Executive, editorial andadvertising offices: 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-1176,(310) 820-1500. Email us (editorial matters only) at [email protected] orvisit our website at www.digitalphotopro.com Copyright © 2014 by WernerPublishing Corp. No material may be reproduced without written permission. Thispublication is purchased with the understanding that information presented is frommany sources for which there can be no warranty or responsibility by the publisheras to accuracy, originality or completeness. It is sold with the understanding that thepublisher is not engaged in rendering product endorsements or providing instruc-tion as a substitute for appropriate training by qualified sources. EDITORIALSUBMISSION: Digital Photo Pro assumes no responsibility for solicited or unsolicitedcontributions and materials. Submissions for review should be limited to no morethan 40 photographs. Please submit duplicates for our review. Otherwise, insurancefor such materials, in transit or in our possession, must be the responsibility of thewriter or photographer. Digital Photo Pro does not accept or agree to the conditionsand 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 beprearranged, executed in writing and signed by both parties prior to the shipmentof materials in question. All submissions must be accompanied by a self-addressed,stamped envelope (SASE) with sufficient postage to cover the cost of return. Theclass of mail and insurance coverage for returns will be determined by the amountprovided 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-ing delivery of your magazine, is contingent upon you providing us with your correctmailing address. If the Post Office notifies us that your magazine is undeliverable,we have no further obligation to you unless we receive a corrected address from youwithin two years of the Post Office notification. BACK ISSUES are available for one yearprior to the current issue. To order within U.S., send $9.00 plus $4.00 postage andhandling (Canada: $9.00 plus $5.00; International: $9.00 plus $10.00) for eachissue to Back Issue Dept., Digital Photo Pro, 12121 Wilshire Blvd., Suite 1200, LosAngeles, CA 90025-1176, or go online and visit the eStore. No orders processedwithout 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 inpart without permission is prohibited.

To Subscribe Or For Subscription Questions:www.digitalphotopro.com or (800) 814-2993or email [email protected]

Contents

Equipment

76 BATTERY-POWERED MONOLIGHTS

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

82 THE FUTURE OF C-PRINTS

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

84 THE ESSENTIALS

Top pros share the gear they can’t live without

TECH

62 DEFAULTS: A DOUBLE-EDGED SWORD

The pros and cons of using Develop defaults in Adobe

Lightroom and Camera Raw

Text And Photography By George Jardine

70 THE HERO IMAGE

The evolution of a shoot with Corey Rich

By David Willis

Photography By Corey Rich

PHOTO BUSINESS

66 MAKE USE OF INSTAGRAM

The service is frequently scoffed at by professional

photographers, but it can be a boon for your business

By Jim Goldstein

10 I Digital Photo Pro digitalphotopro.com

22

26

Page 11: Photo pro image

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.

THE FILMMAKERíS CAMERA.

©© 20© 20© 2013 C13 C13 Canonanon U.S.S.A.,A., IncIncn . Al. All rightsghts resreserveervev d. Cd. CCanonanonanon andandandn EOSEOSEOSEO areareareare regregreggisteisteisteredredrede tradtrademarks of Canon Inc. in in the th UnitUnited Sed Statetatetates ans and mad mayy yalsoalsoalso be be b regiregisterstered ted traderademarkmarks ors oror tratrademademademae rks rks rks in oin oin otherthertherhe coucoucountrintrintries. es. es.e CameCameCameem ra sra sra shownhown with compatible third prd partyarty accaccessoessosoriesriese . Al. All ol otheeer er

prodproductsucts, br, brandnd namenames, as, and lnd logosogosogos areareare tratratrademademademaarks rks s rks s of tofof tof theirheirhheir resresrerespectpectp iveive owners. Certain imagages aes and end effecects ats are sre simulimulim atedateddd..

Page 12: Photo pro image

12 I Digital Photo Pro

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

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 atLos Angeles, Calif., and at additional mailing offices. Single-copy price—$5.99. Annual subscription in U.S., Possessions, APO/FPO—$24.97. Canada—$39.97; other foreign—$39.97, including postage and taxes. Payable in U.S. funds. For orders, address changes and all other customer service, phonetoll-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.

ADVERTISING/SALES

Los Angeles

(310) 820-1500, Fax (310) 826-5008

DEBRA I. LEVINE

Associate Publisher

SCOTT LUKSH

Eastern Advertising Sales Manager

DENINE GENTILELLA

Senior Advertising Sales Manager

CLAUDIA WARREN

Senior Advertising Coordinator

MARKETING

BASAK PRINCE

Marketing Manager

MATTHEW WILKINSON

Marketing Coordinator

PRODUCTION/MANUFACTURING

JESSE GARCIA

Production Director

MAGGIE DEVCICH

Editorial Production Manager

TAMMY REYES

Production Manager

CONSUMER MARKETING

DAN REGAN

Consumer Marketing Director

LIZ ENGEL

Consumer Marketing Manager

SUE C. WILBUR

Web Audience Manager

JOANNA RUTKOWSKA

Online Advertising Operations Manager

TOM FERRUGGIA

Newsstand Sales Manager

BUSINESS/OPERATIONS

LYNNE IRVINE

General Manager

LORIE SHUMAN

Finance Director

LASHON SIMMONS

Accounting Assistant

J. ANA FLORES

Trademark & Copyright Manager

JASON ROSENWALD

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

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Vice President

To sell Digital Photo Pro at your

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(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:

[email protected]

ContentsDPP SOLUTIONS

90 JIBBING

Get a cool move in motion shots and a new perspective

in still shots with these versatile camera supports

COLUMNS

30 VISIONEER’S GALLERY

The Wave Sliding Club

By Baldev Duggal

36 (R)EVOLUTION

Photoshop Blur Filters, Part 2

By John Paul Caponigro

Departments

14 FIRST TAKES 22 DPP IN FOCUS 32 HI-TECH

STUDIO: THE SOFTBOX 94 DPP MARKETPLACE

98 MISINFORMATION: MOVING TARGETS

ON THE COVER: Emmy Rossum by Art Streiber

26

27

24

Page 13: Photo pro image

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You coax a shy flower girl out of her shell.

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Page 14: Photo pro image

14 I Digital Photo Pro digitalphotopro.com

FirstTakes

Page 15: Photo pro image

digitalphotopro.com January/February 2014 I 15

Art

Str

eib

er

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.

Page 16: Photo pro image

FirstTakes

Page 17: Photo pro image

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.

How

ard

Huang

digitalphotopro.com January/February 2014 I 17

Page 18: Photo pro image

Colin

Fin

lay

18 I Digital Photo Pro digitalphotopro.com

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.”

FirstTakes

Page 19: Photo pro image

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designed for quality. With 2 separate models, you can

choose from the world’s most amazing EF or MFT lenses from crafters such

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12 bit CinemaDNG RAW uncompressed fi les for incredible creative range in

DaVinci Resolve color correction, as well as the world’s best chroma keying!

High end cinema cameras often require thousands of

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The Blackmagic Cinema Camera includes a large 2.5K

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Super Wide Dynamic Range

The Blackmagic Cinema Camera captures an incredible 13

stops of dynamic range so you can simultaneously capture

the brightest highlights and the darkest shadows all at

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Blackmagic Cinema Camera

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Camera lens and accessories not included

Learn more today www.blackmagicdesign.com/cinemacamera

Accessories Built In

Page 20: Photo pro image

FirstTakes

20 I Digital Photo Pro digitalphotopro.com

August

Bra

dle

y

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.

Page 21: Photo pro image
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22 I Digital Photo Pro digitalphotopro.com

DPPInFocus

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LED Fresnels

Litepanels has added a 12-inch option to their Fresnel series. The Sola 12 (Daylight)

and Inca 12 (Tungsten) provide a fixed lens, directional illumination and an output

nearing traditional 2K incandescents while integrating LED technology. Drawing only

346W, the Sola 12 and Inca 12 are convenient low-energy units for location lighting, as

well as efficient studio lighting. The cool-to-the-touch LED technology makes operating

the lightweight housing possible without gloves. An integrated DMX module includes

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shift or flicker, and focusing, with a 67º-15º beam angle. List Price: $4,795. Contact:

Litepanels, www.litepanels.com.

check outwww.digitalphotopro.com/gear/in-focus for more info

New Tools Of The TradeDPPInFocus

Street Shooter

The Panasonic LUMIX DMC-GM1 is a mirrorless interchangeable-

lens camera squeezed down to a pocket-sized profile. With a

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shoots both still photos and 1080 HD video at 60i/30p. The

metal-alloy frame, with aluminum dials and brushed metal, feels

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The GM1 also has integrated creative filters, as well as

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Nikon Df ��

The highly anticipated full-frame Nikon Df utilizes current digital

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EXPEED 3 processor used in the D4, within a classic body design

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controls are used for setting adjustments and controls, returning to a

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Nikon, www.nikonusa.com.

Page 23: Photo pro image

“With the E-M1’s new Dual AF System,

I get the stopping power and agility

I need for rock solid performance. ”

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

I N T R O D U C I N G

A C A M E R A A S

F A S T

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

Move into a New World

Page 24: Photo pro image

24 I Digital Photo Pro digitalphotopro.com

DPPInFocus

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All-In-One Superzoom

The 20.2-megapixel Sony Cyber-shot DSC-RX10 with

24-200mm ƒ/2.8 Carl Zeiss Vario Sonnar T*

high-zoom lens provides incredible variability in an

all-in-one design, perfect for lightweight travel. By

combining the RX100 IIÕs Exmor R CMOS sensor and the

new BIONZ X processor, Sony continues to reduce

area-specific noise and increase detail. Three different

sizes can be selected for autofocus, allowing you to

match the size to your subject for accurate focusing.

Fast action can be captured at up to 10 fps with

continuous AF. The RX10 continues to advance in video

capabilities, with 60p and 24p frame rates, HDMI out,

an adjustable audio level meter and headphone out for

audio monitoring. Additionally, itÕs compatible with the

XLR-K1M adapter for pro audio recording. List Price:

$1,299. Contact: Sony, www.sony.com.

Personalized Tripod ��

Novoflex’s modular tripod, the TrioPod, is available in five different sets. Additionally, each

part is available individually for maximum flexibility and expandability to match your

changing needs. The system includes the 0.69-pound TrioPod tripod base, a center column,

which extends the stand base height by 3.15 inches, 3- and 4-segment aluminum legs,

3- and 4-segment carbon-fiber legs, mini-tripod legs and a 3-segment hiking stick. List

Price: $585 (TrioPod with 3-section aluminum leg set); $657 (TrioPod with 4-section

aluminum leg set); $887 (TrioPod with 3-section carbon-fiber leg set); $930 (TrioPod

with 4-section carbon-fiber leg set); $709 (TrioPod with Hikingstick II 3-section leg

set). Contact: Novoflex (HP Marketing Corp.), www.hpmarketingcorp.com.

check outwww.digitalphotopro.com/gear/in-focus for more info

New Tools Of The TradeDPPInFocus

Ultratelephoto Zoom

Tamron has announced the development of the SP 150-600mm F/5-6.3 Di VC USD ultratelephoto

zoom, compatible with both full-frame and APS-C formats. With a large focal-length-range

expansion from the current 200-500mm lens offered, this lens is of particular interest for sports

and wildlife photographers who need a little extra length without losing quality (from extenders) or

time (by changing lenses). Including Vibration Compensation, a redesigned tripod mount and an

Ultrasonic Silent Drive for accurate AF, the lens is set up to shoot sharp images at a long focal

length both mounted and handheld. List Price: TBA. Contact: Tamron, www.tamron-usa.com.

Perfect Photo Suite 8 ��

onOne Software has added new

features to their photo-editing

software with the release of Perfect

Photo Suite 8. Both the Standard

version (a stand-alone application)

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.

Page 25: Photo pro image

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

THE PROFOTO B1 WITH TTLWITHOUT CORDS The new Profoto B1 makes it easier than ever to use your fash 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

© R

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Page 26: Photo pro image

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

DPPInFocus

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

toward the center of the chest,

making the sling placement well

fitting. The shoulder pad is also

thicker and wider than the

BlackRapid Elle, which also

makes it compatible with the

Brad underarm system for extra

stabilization. Estimated Street

Price: $61. Contact: BlackRapid,

www.blackrapid.com.

Sigma 35mm F/1.4 DG HSM Art

Photographers looking for a fast prime lens will take note of the Sigma 35mm ƒ/1.4

DG HSM Art lens. Designed for a full-frame sensor and compatible with an APS-C

sensor, the lens features a Hyper Sonic Motor for quick and quiet focusing, as well as

a floating internal focusing system, allowing high performance, even at close shooting

distances. SLD and FLD glass elements correct axial and chromatic aberrations. The

lens is compatible with the Sigma USB dock for firmware updates and adjusting focus

parameters. Estimated Street Price: $899. Contact: Sigma, www.sigmaphoto.com.

New Tools Of The TradeDPPInFocus

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

Ballhead provides smooth 360º

panning with two bubble

levels and a sliding

quick-release plate. List

Price: $124. Contact:

Flashpoint (Adorama),

www.adorama.com.

Pro Filter Line

Kenko Tokina USA, Inc. has designed a new line of Hoya PROND

filters for both still photo and HDSLR video use. The nine filters

range from two to 10 stops in light reduction. ACCU-ND metallic

technology coats the front and back of optical glass, creating

the neutral-density effect for a neutral color balance that

doesn’t add any additional color cast. A one-piece, thin,

aluminum frame keeps the filter secure and parallel to the

sensor. Available in ND4X through ND1000X densities and sizes

49mm-82mm. Estimated Street Price: Varies by filter size.

Contact: Kenko Tokina USA, Inc., www.kenkotokinausa.com.

Page 27: Photo pro image

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

bag that’s part of the new Manfrotto Pro line. The

bag interior features a Camera Protection System

(CPS) with thickly layered core center dividers

that mold to cradle your equipment and provide

shock absorption for two DSLRs with lenses attached,

a strobe, a tablet, accessories and additional personal

gear. Featuring a rigid, multilayered Exo-Tough outer

construction with thermo-formed areas and reinforced

feet to protect against impact, the Shoulder 50 also

provides a back compartment for personal papers, a

top zipper for quick gear access and a removable rain

cover. Estimated Street Price: $189. Contact:

Manfrotto, www.manfrotto.us.

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 RFi

SOFTBOXES.

IT’S MORE THAN A

SOFTBOX. IT’S A

LIGHT SHAPING TOOL.

The Octa RFi is most commonly used for such

purposes as fashion, beauty and portrait

photography. One of the most important reasons

for this is that its unique shape creates a beautiful,

natural looking catch light in the subject’s eye.

RFi softboxes come in all sizes and shapes, and are

compatible with all major flash brands. To ensure

full control for the photographer, they have a deeper

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…

© A

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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us

Page 28: Photo pro image

DPPInFocus

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.

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.

New Tools Of The TradeDPPInFocus

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

Page 29: Photo pro image

Canon Sensor Upgrade ��

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

as quickly sorts and filters with customizable categories and

reimbursement rates. Created keeping IRS compliance in mind,

Mileage Log+ also compiles Excel-compatible email reports

with PDF and CSV attachments. List Price: $9.99. Contact:

Contrast, contrast.co.

In photography, between

scouting, setting up

equipment and working

with natural light, timing is incredibly important. When you’re

traveling in a new city, even more factors play into timing. The

free Embark app for iPhone helps manage city navigation with

step-by-step instructions so you can get to your location smoothly.

Using real-time information about late trains, closures and

advisories, Embark gives you the best estimate as to when your

train will arrive and what your schedule will look like. And Embark

continues to work without an Internet or cellular connection while

you’re underground in a metro system. Currently available for 10

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

UMBRELLAS

12 MODELS.

2 SHAPES.

INFINITE

POSSIBILITIES.Available in 12 unique models and made with

high-quality fabrics and surface-treated metallic

elements, Profoto Umbrellas will provide a superior

light for years to come.

Available in a deeper shape for photo-graphers

who want a broader range of possibilities, and in

shallower shape for those who value portability and

ease-to-use.

For further information go to

www.profoto.com/us/umbrellas

©K

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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us

Page 30: Photo pro image

express what is going on when the

surfers are on the land. The ocean

usually serves as the background for

surfers. I chose the unrelated subject

for the background intentionally, so

the surfers’ expressions could tell what

they feel,” says Seo. Choosing to print

his dramatic black-and-white images

on Duggal’s latest digital HD printer

for its unprecedented image and tonal

resolution, the images of surfers were

mounted on gallery plexi boxes for

installation at the Onishi Gallery.

Seo grew up in a small town by

the seaside in Japan, so going to the

beach and hanging out there with

friends was a part of his lifestyle, and

this is what made him into a surfer for

life. In this exhibition, Seo presents

images of surfers as they head toward

the ocean’s infinite horizon and as they

proudly stand on the shore embracing

their ocean riding vehicles. The mono-

chromatic images are both severe and

gentle. The crisp lines and tangible tex-

tures of the natural settings contrast

30 I Digital Photo Pro digitalphotopro.com

The WaveSliding Club

Visioneer’sGallery

Akira Seo And The Fine Art Of Surfing By Baldev Duggal

Visioneer’sGallery

populated with sharks, and their

thrilling ride on the perfect wave at

speeds as high as 60 kilometers per

hour, followed by the paddle back out,

is a sight that epitomizes human free-

dom and union with one of the most

untameable forces on our planet.

Surfing is a sport that’s played, or rather

performed, by artists. It’s not simply a

technical process, it requires a state of

mind that sees different possibilities in

every wave; it requires a faith in uncer-

tainty and limitlessness, the skill and

deftness of dancing, and the confidence

of beautifully painted brushstrokes.

Photographer Akira Seo, who

moved to the U.S. from Japan 15 years

ago, recently opened his exhibition

“Fish Out of Water” in New York

with stunning portraits of surfers. As a

surfer himself, Seo’s familiarity and

intimacy with the surfing community

enabled him to create portraits that

allow people on the “outside” a

glimpse into the otherworld of surf-

ing. “At this exhibition, I wanted to

Photo

scourt

esy

of

DuggalVis

ualSolu

tions

ABOVE: Akira Seo’s “Fish Out Of Water” photos printed with Duggal’s new HD printer.

Utter weightlessness, flying through the air,

transcendental, mystical, magical, thrilling,

enlightening—these are some of the ways

those who seek their balance atop ocean

waves express the euphoria of surfing in

words. Surfing is more than a sport. It

has come to define a subculture that’s

synonymous with the spirit of soaring

freedom. Born in Polynesia, within a

century of its introduction in California,

surfing has been embraced as a way of

life by people around the world. The

surf culture is much more than wave

riding. It has had tremendous influence

in shaping global fashion, language,

lifestyle and music trends. Surfing

has its beginnings in spiritual practices

of the ancient Polynesians—a form

of prayer through which they asked

for protection from the ocean. The

Hawaiians refer to surfing as he‘e nalu,

which translates to “wave sliding.”

For non-surfers, this culture is both

mysterious and awe-inspiring. The

fearless and graceful glide of a surfer

into the ocean, no matter how cold or

Page 31: Photo pro image

starkly with the tender human forms

and curved shapes of the surfboards.

Some models pose with their boards in

loyal partnership, and others stand

united as if one being. Seo notes that

these surfers love the water, love to surf

and love the lifestyle it enables. They

feel strong in their mastery of both land

and sea, relating like fish to the water.

He presents beautiful portraits of these

surfers to communicate what the

surfers say they’d like others to see—

strong, self-possessed, determined indi-

viduals who ride, with grace, the line

between solid and fluid, restrained and

free, powerful and vulnerable. On the

relationship between art and surfing,

Seo states, “I think surfing on the wave

is like painting on the canvas. Each

surfer draws their own line by using

their surfboard. They draw all different

lines. Being a part of the wave and flow-

ing with it…surfing is not only just a

sport, but an artistic work. The models

I shot were all very good artists, so I

carefully chose the location for each

one of them.”

To exhibit portraits of surfers head-

ing out into the ocean for countless

hours of joy and bliss is a gift to the peo-

ple of New York City, a place that truly

never sleeps. “I learned how to express

myself from surfing,” Seo told me.

Surfing is truly an ideology and a phe-

nomenal art of personal expression for

those who have embraced it. Although

the East Coast has a very long tradition

of surfing, the weather makes it a more

seasonal sport here than on the West

Coast. Perhaps there’s a relationship

after all between the experimental, rad-

ical nature of West Coast-born ideas to

the culture of freedom and adventure

that year-round surfing represents. For

me, the most heartening part of Seo’s

exhibition is the love for raw nature

that’s communicated through each por-

trait. Each one of the surfers isn’t simply

a sportsman; he’s at heart the guardian

of the ocean. Kelly Slater, one of the

most famous surfers of all time, states,

“I think when a surfer becomes a surfer,

it’s almost like an obligation to be an

environmentalist at the same time.”

If the ancient Hawaiians surfed

through the waves as a prayer for pro-

tection from the ocean, it’s encourag-

ing to know that with the growing

popularity of surfing and the growth

of its culture around the world, we

may now be surfing for the protection

of the oceans instead. DPP

For more information on Duggal, visit

www.duggal.com or check out the blog at

www.duggal.com/connect and see their

newest articles on the printing, photogra-

phy and fine-art industries.

SHAPE SUNLIGHT

WITH PROFOTO’S

COLLAPSIBLE

REFLECTORSThe 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

© F

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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us

Page 32: Photo pro image

32 I Digital Photo Pro digitalphotopro.com

The essential light modifier for all

genres of professional photographyBy Ashley Myers-Turner

Hi-TechStudioHi-TechStudio

The Softbox

factors in your softbox decision.

Ultimately, it’s the size of the light

source (combined with its distance

from the subject) that determines the

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

you’re shooting video, you’ll need aTOP: LumiQuest SoftBox. ABOVE: Glow Hexapop R-series; Interfit Strip Pro Softbox.

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

backlight. Their adaptability make

them a favorite among professional

photographers, from photojournalists

who use small ones on a handheld

flash to fashion and beauty shooters

working on location to studio photog-

raphers shooting a perfume ad. A

softbox should be in every photograph-

er’s grip kit.

The basics of the design are simple.

The softbox attaches to a strobe or con-

tinuous light source. With four opaque

sides made of fabric, the light bounces

around the reflective inner lining, and

it’s shaped and released out the oppo-

site side where a translucent piece of

fabric spans the corners of the frame,

creating the soft, even, diffuse light.

Most are roughly rectangular in shape,

but several manufacturers also make

octagonal models, which will create a

more round catchlight.

The translucent fabric can be

layered or traded out for vari-

ous thicknesses, allowing the

light to be customized for the

space and subject. Accessories, such as

grids, which limit light scatter, also add

customized control, and you can use

large gel sheets to color the light.

Size is one of the most important

Page 33: Photo pro image

THE FIRST PELICAN CASE YOU CAN WEARNEW 2013 CAMERA BACKPACK LINE

Coming Soon to a Photo Retailer Near You

Learn More at www.Pelican.com/photopacks

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.

Q U160 HALF CASE CAMERA PACK

Watertight, crushproof camera case with dividers. Extra gear storage in upper section, tripod strap system.

Q S115 LAPTOP/CAMERA PRO PACK

Watertight, crushproof laptop case fits up to 17” MacBook® Pro. Pro-size camera storage with moveable dividers.

Q S130 LAPTOP/REMOVABLE CAMERA

Watertight, crushproof laptop case fits up to 17” MacBook® Pro. Divider set removes in seconds for general storage use.

Page 34: Photo pro image

34 I Digital Photo Pro digitalphotopro.com

Light Once. Shoot Twice.

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

Jokers deliver f icker-free daylight to capture both stills and video on the same set,

at the same time. They work just like a f ash head. Their light shapers are incredible,

and Jokers adapt to most of the ref ectors you’re using today.

Jokers are in rental across North America:Brooklyn –– Brooklyn Studios – CSi – Fast

Ashley – Highline Locations – Lightspace

Milk – Root – TREC

Calgary –– The Camera Store

Chicago –– Dodd Camera – ProGear

Magnanimous Media

Cincinnati –– Dodd Camera

Cleveland –– Dodd Camera

Dallas –– Bolt Productions

Los Angeles –– Castex – Jaman – Milk

PIX – Quixote – Samy’s – Siren

Miami –– OneSource – MAPS – Splashlight

Mpls –– Flashlight – Lyn-Lake – Orbit – Shelter

New York –– ARC – CSi – Drive In – Go

Headlight – Hello World – Jack – K&M

Metromotion – Milk – Pier 59 – Root

Scheimpf ug – Splashlight – TREC

Orlando –– Central Florida Strobe Rental

San Francisco –– DTC Berkeley – Samy’s

Seattle –– Voda Studios

Toronto –– Album Studios – S1 Group

Vancouver –– Beau Photo – Flashpoint

JOKERS1600 800 400 200

continuous light source opposed to a

strobe. But if you primarily shoot stills,

you have more flexibility and your

decision may be based on portability,

cost of power output or the equipment

you already have in your arsenal.

Here’s a sampling of what’s available.

The Chimera Mini Lightbank soft-

box measures 12x16 inches and can be

used with your on-camera strobe

while mounted to a light stand. With

white or silver interiors and a sewn-in

front screen, it comes with a carry sack

for complete portability. On the oppo-

site end of the spectrum, the Overhead

Modular F2X Lightbank with a silver

interior uses bare-tube strobes for

lighting large spaces and objects, such

as cars. Designed with no-tool quick

assembly in mind, the F2X comes

with 60-inch duffle cases for mobility.

For a mid-range softbox, the unique

OctaPlus 57 Lightbank provides

variable sizes as it can convert from

5 to 7 feet. With a silver interior, it’s

compatible with most strobes and

continuous lights up to 1200W.

www.chimeralighting.com

The Glow R-series provides a vari-

ety of standard softbox sizes for both

studio and location work, ranging from

the 20-inch Hexapop to the 24x36-

inch Rectangle to the 71-inch Grand

Softbox. All modifiers are heat-resistant

and designed from durable gridded

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

LumiQuest SoftBox (5x7 inches),

LumiQuest SoftBox III (8x9 inches)

and LumiQuest Mini SoftBox

(3.25x4.5 inches) fold down to fit

inside the laptop/tablet pocket of your

bag, but quickly unfold and attach

to your strobe with Velcro® or the

optional UltraStrap. An extra diffuser

section in the center reduces the flash

hot spot to produce even, soft light.

The LumiQuest SoftBox has a bottom

notch so that it doesn’t interfere with

the AF or triggering functionality of

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

softboxes are often used for product

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

Page 35: Photo pro image

digitalphotopro.com January/February 2014 I 35

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flexible aluminum rods and specially

treated heat-resistant fabrics, the boxes

are made for durable, wide-range use.

www.interfitphotographic.com

Octaboxes are most often used for

fashion photography, as they provide a

large, full-length coverage area, as

well as a circular catchlight in the eyes.

Along with rectangular softbox

options, Fotodiox provides the

Fotodiox Pro 36-, 48-, 60- and 70-inch

Octagon. The interior dome features

pro-grade omni-bounce silver fabric

and includes a white baffle for softer

lighting. The rotating speed ring can

be used with other shaped softboxes,

as well. www.fotodioxpro.com

Along with traditional softbox

shapes, Dynalite offers the unique 16-

sided Grand Softbox. Made from

Rimelite grid fabric, itÕs UV-coated

and waterproof, providing color con-

sistency, fade resistance and easy

clean-up. The parabolic shape of the

softbox sculpts the light all the way

around the subject and provides a nat-

ural round catchlight for the eye. The

Grand Softbox comes in sizes from 35

to 91 inches and can be used with

lights up to 650W. www.dynalite.com

The strip softbox has a narrow rec-

tangular shape, allowing light to carve

out edges and provide contrast to high-

light a particular area of the frame.

Bowens offers the Lumiair Strip 100

(29.5x15 inches) and Lumiair Strip 140

(55x15 inches). The reflective interior is

color-calibrated and the box design

LEFT: Fotodiox Pro Softbox, 36-inch Octagon;

TOP: Westcott Pro 18x42-inch Bruce Dorn

Asymmetrical Stripbank; ABOVE: Profoto Softbox

RFi 3-inch Octa (90cm).

(Cont’d on page 95)

Page 36: Photo pro image

36 I Digital Photo Pro digitalphotopro.com

Photoshop Blur Filters, Part 2

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

(R)evolution

(R)evolution

This is the second of a two-part column about

creative blur techniques. Inducing blur in a

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

Filters, Blur Tools and

Blur Effects.

Smart FiltersSmart Filters allow you

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

group of layers to a Smart Object by

highlighting it/them and going to

Layer > Smart Objects > Convert To

Smart Object.

1) Radial Blur 2) Surface Blur 3) Lens Blur

You can do many things with

Smart Filters—switch them on or off,

change their Opacity or Blend mode,

mask them or combine multiple filter

effects (you only get one mask for all

>> More On The WebJohn Paul Caponigro’s

in-depth instructionals

on image-processing and

printing techniques are

available as an extensive

archive online at

digitalphotopro.com/

technique/revolution.

1) 2)

3)

Page 37: Photo pro image

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Page 38: Photo pro image

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.

Blur Tools filters—

Tilt-Shift, Field Blur, Iris

Blur—offer simplified in-

terfaces, easier filter setting selectivi-

ty (though limited to hexagonal iris

shapes), stronger intensity and faster

performance than the Lens Blur fil-

ter. Not only can these filters be eas-

ily applied as Smart Filters, but

they’re best applied as Smart Filters;

apply one filter, and two new

palettes will appear, Blur

Tools and Blur Effects,

which can be further

adjusted in the future if

the effects are applied as

Smart Filters.

The Blur Tools palette

allows you to activate one,

two or all three of these

filters and adjust the slid-

ers that control each

effect. The Blur Effects

palette offers three sliders: Light

Bokeh (this slider brightens bokeh

effects), Bokeh Color (this slider

increases the saturation of affected

areas) and Light Range (this slider

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

wonder how applying a

filter selectively through

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40 I Digital Photo Pro digitalphotopro.com

its controls is different than applying

a filter to a duplicate layer uniformly

and then adding a mask. Sliders that

provide selective application of an

effect offer variable intensity, blurring

an area more or less, while a layer

mask selectively reduces the opacity

of a uniform effect revealing the

focused image below. The effect pro-

duced by these two methods can be

significantly different.

It’s the type of selectivity, not the

quality of the blur, that differentiates

the Blur Tools filters from one

another. Field Blur produces an

overall effect. Iris Blur adds selectiv-

ity through a radial gradient. Tilt-

Shift adds selectivity through a

reflected gradient.

Each filter has a blur ring. The

central point controls the position of

the effect; the outer ring dynamically

adjusts the Blur slider. Pins can be

used to place additional blur rings

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

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Page 41: Photo pro image
Page 42: Photo pro image

42 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

Page 43: Photo pro image

digitalphotopro.com January/February 2014 I 43

Portfolio

Page 44: Photo pro image

44 I Digital Photo Pro digitalphotopro.com

(Taiwan-born, Hawaiian-raised,

New York-based Howard

Huang considers himself

an urban fashion/celebrity

photographer. Comics and

Japanese anime are building blocks

for the fantasy sets he creates for mu-

sicians, models and actors, from Lil

Wayne and Jacki-O to Ice-T and

Nicki Minaj. Huang often composites

photographs to achieve his inner vision

or an art director’s storyboard idea.

Huang creates color-bursting mag-

azine features for publications ranging

from VIBE and Billboard to Maxim

and The New Yorker. His corporate

clients include Panasonic, Nintendo

and Verizon. His book Urban Girls,

published by Taschen, shows off his

work in the niche market of African-

American and Latina bikini models,

collectively known as “urban girls.”

DPP: Where do the ideas come from

for your vibrant, high-energy setups?

Howard Huang: I grew up in

Taiwan and was fascinated with

comic books and anime, so a lot of the

ideas come from that. As I got older,

sci-fi films like Star Wars, Blade

Runner and such also had an influence

on me. While most little boys wanted

to be a fireman or an astronaut when

they grew up, I wanted to be a graph-

ic novel artist or a hit man.

DPP: A hit man?

Huang: Action films and comic

books portrayed hit men in black suits

or trench coats with sunglasses and

guns. I think I was more into becom-

ing an Armani hit man with a flair for

fashion. Maybe I should say that I

wanted to look cool and feel like a

superhero. I was never a bad boy. I

grew up in a very normal middle-class

Chinese family. If anything, I was the

Page 45: Photo pro image

I

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.

bad ass among nerds. I never thought

I would be a photographer.

DPP: How did your evolution into

photography develop?

Huang: I actually wanted to be a

fine artist when I was in high school,

you know, the kind that smokes and

drinks at a café all day, has an attic stu-

dio in Paris and paints beautiful

women for a living. That was, of

course, an unrealistic fantasy to my

Chinese parents at that time. So the

middle ground of what my parents

thought was good for me—going to

school and majoring in business versus

my fantasy of being a fine artist—was

that I learn graphic design as a real job

skill to prevent me from ending up on

the streets. My design courses led me

to discover photography. Once I did, I

was hooked.

DPP: What was it about photogra-

phy that attracted you?

Huang: In my first basic photogra-

phy classes at the Academy of Art

University in San Francisco, I discov-

ered that the actual process of photog-

raphy amazed me. It’s like magic

when you first see your image coming

up in the developer in the darkroom.

Though I’ve gone over to digital, that

feeling of magic has never left me.

Page 46: Photo pro image

46 I Digital Photo Pro digitalphotopro.com

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?

Huang: I didn’t choose to be in this

niche market. It kind of just happened

for me. I wanted to do fantasy-themed

shoots with agency models for fashion,

but it turned out the urban fans love

my vibrant color and style. I started to

shoot for XXL Magazine, and one

magazine feature led to another. I was

Born in Taipei, raised in Hawaii and now based in New

York, Huang worked with commercial photography

legend Michel Tcherevkoff. His digital skills are honed

to a fine edge, but Huang cut his teeth in a film

darkroom. Regardless of the process, Huang creates

a narrative in his mind when he’s conceptualizing

a shot, and he’s always striving to make work with an

emotional impact. ABOVE: Part of a recent fashion

shoot in Shanghai, China. NEXT PAGE: Rapper Flo Rida

photographed in a meat locker.

Page 47: Photo pro image

digitalphotopro.com January/February 2014 I 47

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 more ideas 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

with a story behind them are the most

interesting kind of image.

DPP: What equipment do you

work with?

Huang: The Hasselblad H2 with

the Leaf Aptus back or a Canon EOS

5D Mark III, depending on the job.

>> More On The WebVisit the Profiles tab of our

website at www.digital

photopro.com for more

exciting imagery from

world-famous celebrity and

fashion photographers.

Page 48: Photo pro image

48 I Digital Photo Pro digitalphotopro.com

I have a bunch of cameras like any

photographer, and the camera I use

the most is my iPhone. We had a

beautiful girl last year, and I’ve been

trigger-happy with my phone’s

camera. She has her own Facebook

page, and I Instagram almost daily.

Someone said the best camera is the

one you have on you at the time. It’s

so true.

DPP: Between the medium-format

and the 35mm, when do you go with

one system over the other?

Huang: Whenever I’m in the studio,

I try to use my medium-format cam-

era with the Leaf back. But when I

need fast focus or I’m shooting in low

light on location, I use my Canon. The

thing is, I shoot fast. That’s one trick

when photographing celebrities. They

don’t have much time. The faster you

do a great job, the better. That’s why I

originally chose the Leaf over the

Phase One because of the capture rate.

But I’ve yet to test the new Phase One

IQ2 and the Leaf Credo side by side. I

usually will choose the fastest capture

rate over the largest sensor. If you

missed the moment with a 100-

megapixel back, you might own an

amazing piece of equipment, but you

still missed the shot.

DPP: What’s your typical light-

ing setup?

Huang: I try to match my back-

ground light when I do the composit-

ing work, so I usually shoot it first and

then match the lighting in-studio

with the model. I often use grids to

control the light and create contrast.

Sometimes I use a ringlight flash set to

a low power setting to catch a little

shine on the skin, especially with

darker-skinned models. I often have a

top light and backlight. I own a bunch

of Dynalites, which I’ve been using

since school. They’re small and easy to

transport. I also have some Profoto

7Bs that I use on location. I usually

rent all Profotos when I shoot on loca-

tion or in other studios, especially

when I need fast recycle times and

short flash durations. I have a

live/work loft in Williamsburg,

Brooklyn. It’s not too big, but good

enough to do the small shoots. I’m

near Fast Ashleys Studio, so I often

rent there. And there are a lot of other

studios in my neighborhood, too. If

the client wants to be in Manhattan,

then there are, of course, even more

options. I recently shot in China, and

it’s all Broncolor there. I liked using

them, too.

DPP: How are you able to get such

vibrant colors in your work?

Huang: I’m using some gels, and

I’m doing some post work to add

some colors to my liking.

DPP: Do you still retouch and com-

posite all your own photos?

Huang: Yes, mostly. But now I have

assistants to do some of the cleanup

work, and I do all the compositing and

finishing touches on them. It’s hard to

tell people how I want a certain con-

trast—darker here, a little lighter

there—as well as positioning and

blending composites just right. It’s a

long process, but it’s like painting, so I

do enjoy it. DPP

See more of Howard Huang’s photogra-

phy at www.howardhuang.com.

Page 49: Photo pro image

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50 | Digital Photo Pro digitalphotopro.com

In his photography of Hollywood’s

A-list, Art Streiber coaxes the artists

into performing for his cameraBy Mark Edward Harris LL Photography By Art Streiber F)

or the past two decades, Los

Angeles-based photographer

Art Streiber has been docu-

menting the who’s who of

Hollywood and beyond, with

his portrait and entertainment pho-

tography gracing the covers and inside

Tell Me What YouWant Me To Do

pages of magazines from Vanity Fair,

Esquire and Entertainment Weekly,

to Wired, Fortune and Rolling Stone.

He has also put his camera to work

for many of the major television net-

works and flm studios. Streiber’s clean

graphic aesthetic, technical prowess,

Page 51: Photo pro image

Portfolio

professional demeanor and mental

acuity bring a sense of calmness and

confdence to the often frenetic han-

dler-handheld world of “Hollywood.”

The son of a banker might well have

inherited the traits that have given

his career such a solid foundation.

The trust built upon years of success-

ful pressure-packed assignments helps

Streiber push through barriers that can

impede a creative shoot.

DPP: You often work with groups

of celebrities such as the stars of

Last Vegas—Robert DeNiro, Michael

Douglas, Morgan Freeman and Kevin

Kline—for AARP Magazine. How did

you approach putting these megastars

into a single frame?

Art Streiber: There are a number of

technological and aesthetic hurdles to

overcome when photographing any

digitalphotopro.com January/February 2014 | 51

Page 52: Photo pro image

52 | Digital Photo Pro digitalphotopro.com

tional sets, one with a white background

and the other with a blue background.

With the four A-list actors shooting on

three sets, our total time with them was

an hour. We got into the studio at 8 a.m.

to build and light the sets so everything

was nailed down and we could move

from one set to another when the actors

were ready at 6 p.m. If we have a limited

budget, that might mean moving power

packs between sets.

DPP: How do you make the shot dy-

namic with the group in front of you?

Streiber: It’s my job not only to coor-

dinate every one of the subjects in front

of me, but to make sure that it comes to-

gether cohesively—to make sure that it

feels like an organic group. I don’t want

my group photos to feel like I’m pho-

tographing a football or soccer team,

lining them up shoulder to shoulder.

I’m looking for the group to have a dy-

namic, for the group to rise and fall and

have depth so that your eye keeps trav-

eling through the frame. I’m charged

with following the performance of

every single person in the group and

looking at everybody individually, as

“I’m looking for the group to have a dynamic, for the group to rise and fall and have depth so that your eye keeps traveling through the frame.”

Opening spread: art

streiber’s extraordinary

ensemble photography is

on full display in this photo

of the cast of Arrested

Development. streiber

is meticulous in his

construction and

execution of these photos.

He frequently creates

groups within the group to

focus the viewer, as well

as the subjects themselves.

abOve: streiber also likes

to create photos that evoke

a particular era as in this

photo of bryan Cranston.

rigHt: streiber’s ability

to make particularly

whimsical images is on

display in this photo of

seth rogan re-creating

the famous scene in

the Hitchcock flm North

by Northwest.

group and certainly when you’re photo-

graphing a group of celebrities. The cast

of Last Vegas shoot was in New York,

and we had very limited time with our

subjects because they’re all very well

known and overscheduled. The hurdles

start with coming up with an idea and

a setting in which we’re going to place

these people. So I brainstorm with the

client and my set designer and come up

with a look, a feeling and an aesthetic.

With the cast of Last Vegas, we opted for

classic tuxedos in terms of wardrobe and

fnally landed on the idea of photograph-

ing them in a bar. We were inspired by

the Slim Aarons photo of Clark Gable,

Van Hefin, Gary Cooper and Jimmy

Stewart. The idea was to really get these

guys to hang out. My set designer had

to fnd, build and stock a bar in the Pier

59 Studio in Manhattan, and then my

crew and I had to light the bar to make

it look as legitimate as possible. I’m al-

ways interested in a lighting look that’s

appropriate and natural-looking unless

I’m going for something very aggres-

sive. In addition to the bar set, we had

to do a cover, so we created two addi-

Tell Me What YouWant Me To Do

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digitalphotopro.com January/February 2014 | 53

well as the group in its entirety. That’s

a specialty that I’ve developed over

the years by studying what works and

doesn’t work in my pictures and the

pictures of others—fguring out that in

order to make a group really work, you

have to break it up into smaller groups.

DPP: So, let’s say you had 11 people....

Streiber: I’m going to probably break

that group up into a 3-5-3, 2-4-5 or

2-4-3-2 combination, turning people’s

shoulders into each other or away from

each other so that there appears to be

smaller groups within the group.

DPP: How much are you directing

your subjects?

Streiber: I came from photojournal-

ism. The premise in photojournal-

ism is that you’re a fy on the wall.

You don’t engage with your subjects.

You’re a witness. You’re not affecting

the outcome of the event in front of

you. You’re just there to document. As

I got more and more into portraiture,

especially celebrity portraiture, I had

to grapple with the fact that I was di-

recting people. Once your subject gets

in front of you, they’re expecting your

help and your direction. In my expe-

rience, 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.

I’ve really come to appreciate that ac-

tors want direction. I hear a lot, “Tell

Page 54: Photo pro image

me what you want me to do.” When

they’re on stage or in front of the mo-

tion-picture camera, they’re being di-

rected. They’re inhabiting a role, they

have lines to project, they have block-

ing, they have an emotion to convey.

In the absence of that in front of the

still camera, oftentimes they’re lost or

insecure. So it’s my job to take them

through a role, give them motivation,

give them something to do, give them

something to think about in order to

elicit a great performance, even if it’s in

front of the still camera.

DPP: How did you create your well-

known Paramount anniversary photo?

Did you feel the pressure of having so

many major names in a single shot?

Streiber: The Paramount 100th an-

niversary photo was an incredible high

point in my career, and it was absolute-

ly daunting. In order to tackle a shoot

that big, I break it down into bite-sized

pieces. “Where are we going to shoot?

What’s the set going to look like? How

are we going to light it? How are we

going to arrange all these people?” I

rely on an incredible team of profes-

sionals—my photo assistants, my set

designer, my producer, my digital tech.

With this particular shoot, we also had

the set builders, gaffers and electricians

at Paramount at our disposal. So we

were able to come up with an outra-

geous lighting scheme.

The grip department and the light-

ing department at Paramount built

us trusses onto which we could hang

our lights. We were on Stage 18 at

Paramount, and that shot is lit with 56

Profoto heads, all with P50 Magnum

dishes with grids aimed at specifc sec-

tions of the set instead of trying to go

very, very big and soft. The idea was that

we were going to build ourselves a stage

and we were going to light it like a stage.

The stage itself was built over the course

of three weeks. We shot on a Friday, got

in on Monday and lit for 2½ days, then

we dressed-rehearsed with stand-ins, all

the while, my set designer Rick Floyd

working side by side with Paramount

executives, including the chairman of

the studio Brad Grey, trying to fgure

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digitalphotopro.com January/February 2014 | 55

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 hefin, 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 exemplifes

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.

Tell Me What YouWant Me To Do

Page 56: Photo pro image

56 | Digital Photo Pro digitalphotopro.com

out where everybody was going to go.

When it fnally came down to the big

day itself, it took about 25 minutes to

load all of these A-list actors, actresses

and directors into the set, but we only

shot for 5 minutes and 50 seconds. Once

Rick had gotten everybody into posi-

tion, we photographed the stage in three

sections. I panned my Hasselblad H3

with the IQ160 back and a 150mm lens

left, middle, right, left, middle, right.

When we had test-driven this, we real-

ized that asking someone to sit still or

stand still for much more than fve min-

utes was asking a lot. We really didn’t

need to shoot in excess of 20 frames per

each section with tiny adjustments of

body positions on a couple of people.

DPP: How did you feel behind the

camera, with 116 of the who’s who of

Hollywood in front of your lens?

Streiber: I was nervous approach-

ing the shoot, but I really wasn’t over-

whelmed. By the time we got to the

day of the shoot, everything was nailed

down. We had done our job. I realized

that it was of staggering historical im-

portance assembling this many actors,

actresses and directors in one place, but

it really wasn’t until they walked in the

door that it really hit me. They came

in without their managers, publicists,

agents and assistants, so everywhere

you looked there was a famous face.

That was kind of intimidating. But it

turns out after talking with a number

of them before and after the shoot that

they were more nervous than I was.

Individually, for the most part, these

people are fans of the other people in

the image just like we are. A number

of them were starstruck by their con-

temporaries or older actors or directors

and couldn’t believe they were there.

Charlize Theron said to me, “Oh, my

God, I got to put my hand on Harrison

Ford’s shoulder.” We assume all these

people know each other and live to-

gether in a gated community at the top

of the Hollywood Hills, but the reality

is, most of them don’t know each other.

I remember right before the shoot

started, I was making my way up to

where my tripod was and Leonardo

DiCaprio was just standing, staring at

the stage with his arms crossed. I said,

“Hey, Leo, I’m Art, I’m the photogra-

pher. We worked together a couple of

weeks ago for The Hollywood Reporter.”

He kept staring at the stage and said,

“This is monumental.” When DiCaprio

said that about the project we were

about to undertake, that really hit home.

DPP: What’s your approach to work-

ing with celebrities and entertainment

people who can be very ego-driven?

Streiber: For the most part, the way

I deal with people who the public

feels have big egos or that get fawned

over all the time is that I treat them as

equals or I act like the director. I never

say, “Oh, my God, it’s an honor to meet

you. I love your work.” Maybe at the

end of the shoot, I’ll say something

(Cont’d on page 92)

56 | Digital Photo Pro digitalphotopro.com

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Thanks to generous prizes from RED, Zeiss and

Adobe, our 7th Annual Emerging Pro Contest was a

huge success. The contest was ground-

breaking. It was the first time we’ve run

the Emerging Pro with our sister publi-

cation HDVideoPro magazine, and it was

the first time we’ve invited participants

to submit either a series of still photo-

graphs or a short film. As more DPP

readers experiment with motion capture,

we were particularly excited to see such a

strong group of motion submissions.

With an eye for creating austere projects, Maria Burns shows that

you can make a tremendous impact with the simplest of ideas

The contest was conducted in two

phases. First, we had an open call for sub-

missions. From that group, we selected

the top projects, both still and motion, to

create our group of 10 Finalists. Each of

them received a RED camera outfit with

which they were tasked with shooting a

new project. The timeline was very tight,

so the Finalists had to be efficient and

work under an inflexible deadline. From

the 10 Finalists’ projects, Maria Burns’

film, Onus, was chosen as the winner.

Burns’ submission to the contest’s first

phase was Tendance Brute, a stark short

film that explores a human transformation

as the subject evolves into a determined,

elegant woman. Onus is an examination of

the female psyche and the inner contradic-

tions the protagonist confronts. Both are

austere films, featuring dynamic move-

ment, jarring jump cuts and a well-

matched soundtrack. Burns’ distinctive

style and use of the simplest of sets let the

performances come through in both films.

Page 59: Photo pro image

digitalphotopro.com January/February 2014 I 59

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.

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60 I Digital Photo Pro digitalphotopro.com

Maria Burns PROJECT: Tendance Brute

Maria Burns PROJECT: Tendance Brute

Maria Burns PROJECT: Tendance Brute

Maria Burns PROJECT: Onus

Maria Burns PROJECT: Onus

Maria Burns PROJECT: Onus

Maria Burns’ style is easily identifiable in these side-by-side frame grabs from Tendance Brute and Onus. 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.

Page 61: Photo pro image
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62 | Digital Photo Pro digitalphotopro.com

Whenever you import new photos into Lightroom,

they always come in with the same basic set of

settings. Every control is generally set

to zero, with a few notable exceptions,

such as the controls in the Detail panel.

And these default settings seem to be

the same for every camera. But did you

ever wish that you could change that?

At their most basic level, customiz-

ing your Lightroom and Camera Raw

defaults is child’s play. For instance, if

you want your photos to come in with a

bit more Contrast or Vibrance, setting

that up as a Develop default is easy.

Here are the steps to create a simple

Develop default in Lightroom. (Note

that Lightroom and Camera Raw

share Develop defaults, so they can be

set up with either processor. We’ll use

Lightroom in these examples.)

>> Start with one photo selected

in Develop from the camera that you

want to create a new default for. Each

camera model that you use will have its

own defaults, so this is important.

>> Fig. 1. Click the Reset button

to make sure you’re starting with

the defaults. Or, better yet, shift-click

the Reset button to start with the

Adobe defaults.

>> Fig. 2. In the Develop panels,

set any new defaults you want for

that camera, for example, +10 on the

Vibrance control.

>> Fig. 3. Choose Set Default Set-

tings from the Develop menu. Notice

in the Set Default Develop Settings

dialog that it clearly shows you the

camera model you’re about to create a

default for.

>> Fig. 4. Click Update to Current

Settings, and you’re done.

The pros and cons of using Develop defaults in Adobe Lightroom and Camera Raw Text & Photography By George Jardine

Fig. 1

DEFAULTS: A Double-Edg

Page 63: Photo pro image

digitalphotopro.com January/February 2014 | 63

velop defaults a lot more powerful,

but with power comes responsibility,

right? So, in each case, there are pros

and cons to using the preferences.

The ProsFirst, Develop defaults are user- and

machine-specifi c, which means they

will apply to any Lightroom catalog

that’s opened, or any RAW photo that’s

opened using Camera Raw, under one

user account, on any given computer.

This can be useful for any facility

where several photographers share the

same computer, such as at a newspaper

or in a school computer lab. In these

cases, there are almost always photog-

raphers with more than one of each of

the popular camera models. By turn-

ing on the preference to make defaults

specifi c to the camera serial number,

each photographer with a Nikon D3,

for instance, will have his or her own

Develop defaults (Fig. 5).

Second, the option to make defaults

specifi c to the camera ISO setting is

particularly useful for photographers

who do a lot of shooting at high ISO

So the process is very straightfor-

ward, and you now have new default

Develop settings for that camera. But

when you dig into it just a little deeper,

you start to fi nd out that Lightroom

and Camera Raw defaults can be a lot

more powerful—and complicated—

than they appear on the surface. This is

because of two preferences that govern

how defaults behave. One will make

defaults specifi c to a given camera se-

rial number, and the other will make

defaults specific to the ISO setting.

These two preferences make De-

Fig. 2

Fig. 3

Fig. 4

Fig. 1

A Double-Edg ed Sword

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64 | Digital Photo Pro digitalphotopro.com

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

for one or more ISOs, and this prefer-

ence gives you that capability.

When you turn on these two prefer-

ences and start with a RAW fle, the Set

Default Develop Settings dialog adds

that very specifc information, telling

you precisely what default you’re about

to create.

Figs. 6a & 6b: Here, Lightroom

is about to create a default for RAW

fles coming from just one Canon EOS

5D Mark III serial number and only

at ISO 1600. Photos from any other

5D Mark III or shot at any other ISO

won’t be affected. (Note: JPEGs get

their own default.)

This means you can make as many

Develop defaults as you want and

clearly gives you a great degree of con-

trol over very specifc camera settings.

But as you may be starting to guess, it

also has its drawbacks.

The ConsWe’re back to that thing about

how Develop defaults are user- and

machine-specifc. This means they

don’t travel with your catalog. These

days, more and more photographers

are taking their entire catalog with

them on an external hard drive when

they go on location, especially now that

we have the new Smart Previews fea-

ture in Lightroom 5. So if you move

your catalog around from machine to

machine, you’re either going to have to

manage without your defaults or fgure

out a way to take them with you.

With the ISO-specifc default prefer-

ence, it’s either all or none. So once you

turn on this preference, each ISO can

have its own specifc preference, which

is great, if you want to do something like

set different amounts of noise reduction

for a few specifc ISOs. But what hap-

pens when you want to have your cake

and eat it, too? Once you turn on this

preference, if you then want to make

every photo you shoot with your 5D

Mark III have slightly more Vibrance

or any other setting for that matter, you

have to build that into a new default for

every single ISO that you use!

There’s no user interface for the

defaults mechanism! This essentially

means that you have no visibility into

what defaults might currently exist

on your system, or what settings they

might be applying to any given import!

Any default that you create is simply

stored as an XMP fle in the Defaults

folder for the current user (Fig. 7).

The path to the Defaults folder on

the Macintosh is: Users/<user name>/

Library/Application Support/Adobe/

Camera Raw/Defaults/.

The Windows path is: C:\Users\<user

name>\AppData\Roaming\Adobe\

Camera Raw\Defaults\ .

It’s for this reason that I always rec-

ommend using the shift-click Reset

routine before you create any new De-

velop default. Doing so will ensure that

you’re always starting from the true

Adobe defaults and not a default that

may have been set up previously by you

or anyone else using your computer. DPP

Go to mulita.com to fnd George Jardine’s

tutorials on Lightroom and his blog.

Fig. 5

Fig. 6a

Fig. 7

Fig. 6b

Page 65: Photo pro image

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Page 66: Photo pro image

66 | Digital Photo Pro digitalphotopro.com

Among professional photographers, Instagram

may be one of the most reviled photography

websites today, but its success is a reminder

that we need to remain open-minded to succeed

in our quickly evolving market. Looking past

the novelty of photo flters and a square

format, Instagram has flled a large

hole—easy publishing and distribu-

tion of images via the mobile web. Five

years ago, it would have been tough to

imagine that mobile photography pub-

lishing would be as hot as it is today, but

Kevin Systrom and Mike Krieger, who

The service is frequently scoffed at

by professional photographers, but

it can be a boon for your businessBy Jim Goldstein

founded the company in 2010, saw the

opportunity. Its launch was perfectly

timed to ride the wave of interest in

mobile digital photography and mobile

applications. Now sharing mobile and

DSLR images via smartphones and

tablets has become the norm, raising the

question, “How can pro photographers

get the most out of this new medium?”

Expanded OpportunityInstagram’s meteoric rise has helped

expand and rejuvenate interest in pho-

tography with new and experienced

photographers alike. Now with a cam-

era in most mobile devices, the oppor-

tunity exists for everyone to take and

share imagery. This population of new

photographers is hungry to learn and

follow the inspiring work of others.

Even amongst existing photographers,

mobile photography has created a

new space for experimentation and

discussion. The core of Instagram,

which has helped it become one of

the most successful apps of all time,

Make Use Of

Insta gram

Page 67: Photo pro image

digitalphotopro.com January/February 2014 | 67

is that it makes communication be-

tween fans and followers incredibly

easy and accessible.

Mobile Trends

To get a feel for how drastically the

winds are changing when it comes to

web-browsing behavior online, let’s

take a step back to expand our view.

As of November 5, 2013, Walker

Sands, a public-relations frm, released

a report showing that 28% of all their

clients’ traffc now comes from smart-

phones and tablets. In a parallel fash-

ion, my photography website and blog,

JMG-Galleries.com, also received 28%

of its traffc from mobile users in 2013.

Each year for the past fve years, the

percentage of my website visitors com-

ing from mobile devices has doubled.

Mobile activity is trending higher at

an incredibly fast rate, and you can bet

that where trends go with social media/

photo-sharing sites like Instagram,

your site will be sure to follow. As it

stands, every day Instagram is adding

Without debating the ways one can apply

flters or HDR effects with Instagram, the

service provides professional photographers

with an excellent tool for self-promotion. Pros

like Jimmy Chin, David Sanger, Clark Little

and Jim Goldstein, who wrote this article,

have attracted thousands of followers.

Their names and images are constantly in

circulation. With so many photographers

clamoring for attention, using Instagram

effectively can lead directly to your

bottom line.

Use Of

Insta gram

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68 �| Digital Photo Pro digitalphotopro.com

55 million new photos with 1.2 billion

Likes being received, a clear indicator

of how fast photographers and photog-

raphy viewers are relying on mobile

publishing and sharing.

Varied ApproachesPro photographers use Instagram in

myriad ways, including highlighting

work that’s part of long-term projects,

providing location and behind-the-

scenes footage, displaying portfolios,

sharing experimental work to gauge in-

terest, and sharing news and accolades,

etc. These varied approaches provide

ample room for photographers to ex-

periment and succeed. Unsurprisingly,

one common goal that runs across all

these approaches is to increase one’s fol-

lowing. Surprisingly, though, there isn’t

always a clear path to commoditize that

following. Take, for example, the fol-

lowing professional photographers:

@DavidSanger (72K followers), travel

stock photographer

@Jimmy_Chin (113K followers), ac-

tion photographer and filmmaker

@ClarkLittle (588K followers), surf

and fine-art photographer

@thephotosociety (165K followers),

collective of National Geographic maga-

zine photographers

We can surmise how these photog-

raphers are benefiting from increased

exposure, but there’s no guarantee large

followings translate to sales in any con-

sistent fashion. In fact, the larger benefits

may include general brand awareness,

fan engagement, feedback and creative

inspiration. Says David Sanger, regard-

ing his large following, “It certainly

helps and doesn’t hurt. Instagram acts as

a portfolio for me, opening doors to con-

tacts I might not have otherwise had.”

Pro photographers vary in their ap-

proach when it comes to sharing their

work, and looking closely at how they

use Instagram, there are a lot of les-

sons to be learned. Instagram itself

is seldom used as the capture device,

with most photos being taken by native

camera applications. The pressure to

post often is managed by infusing new

work with past work that’s sourced

from either mobile devices or DSLRs.

Not all images shared are intended for

publication and include conceptual/

draft images to create variation and so-

licit feedback. Increasingly common is

the tactic of sharing behind-the-scenes

footage to energize fans and followers.

Behind-the-scenes footage also acts as a

great way to create a travel log or even

a workflow lesson.

No matter what your photographic

focus or which strategies you adopt,

one universal best practice should al-

ways rule the day, and that’s to always

post your best and have fun. DPP

Jim Goldstein is a professional outdoor

and travel photographer, as well as the

VP of Marketing at BorrowLenses.

com. Follow him on his blog, www.

jmg-galleries.com/blog, Twitter (@jim

goldstein), Facebook (www.facebook.com/

jmggalleries), Google+ (www.gplus.to/jim

goldstein) and Instagram (www.instagram.

com/jimgoldstein).

6 Instagram Pro Tips

1Consistent User Name. Make

sure your user name is consistent

with that of your other social-media

accounts. This will make it easier

for people to recognize you as they

join Instagram.

2Use Hashtags. Employ both generic

hashtags as you might with

keywords, but also take advantage of

unique self-branded terms that make

it easy for people to see a set of

images, especially if theyÕre added over

extended lengths of time.

3Utilize Geolocation. This is a

fast way to introduce your work

to others who enjoy similar subjects

or events.

4Engage With Fans. Don’t just reply

to comments on your photos, but

engage with your fans and followers to

build rapport.

5Web And Press Mentions. Always

link to or mention your Instagram

account on your website and in press

announcements to facilitate faster

growth in followers.

6Profile Information. Always include

your website URL in your

Instagram profile to point people to

the rest of your work and your

business information.

Follow us on Twitter

and stay updated

on the latest trends in

digital photography

and technology.

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1. Title of Publication: DIGITAL PHOTO PRO; 2. Publication No. 1545-85203. Filing Date: September 17, 2013; 4. Issue Frequency: Bi-Monthly ExceptMonthly in Nov & Dec; 5. No. of issues published annually: 7; 6. AnnualSubscription Price: $24.97; 7. Complete Mailing Address of Known Office ofPublication: 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176 Contact: Liz Engel, Telephone: (310) 820-1500; 8. Complete MailingAddress of Headquarters or General Business Office of Publisher: 12121Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 9. Full Namesand 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-vard, 12th Floor, Los Angeles, CA 90025-1176; Managing Editor:Wesley Pitts,12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 10.Owner: Werner Publishing Corporation, 12121 Wilshire Boulevard, 12thFloor, Los Angeles, CA 90025-1176; Steven D. Werner, 12121Wilshire Boule-vard, 12th Floor, Los Angeles, CA 90025-1176; Lynne D. Irvine, 12121WilshireBoulevard, 12th Floor, Los Angeles, CA 90025-1176; 11. Known Bondhold-ers, Mortgagees and Other Security Holders Owning or Holding 1 Percent orMore of Total Amount of Bonds, Mortgages or Other Securities: None; 12.Does not apply; 13. Publication Name: DIGITAL PHOTO PRO; 14. IssueDate For Circulation Data Below: Sept/Oct 2013; 15. Extent and Nature ofCirculation:; A. Total no. copies (net press run): Average no. copies each issueduring preceding 12months: 75,368; Actual No. Copies Single Issue publishednearest to filing date: 77,737; B. Paid and/or Requested Circulation: 1. Paid/re-quested outside-county mail subscriptions stated on form 3541: Average no.copies each issue during preceding 12 months: 26,058; Actual no. copies sin-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 dealersand carriers, street vendors and counter sales: Average no. copies each issueduring preceding 12 months: 10,506; Actual no. copies single issue publishednearest to filing date: 11,950 4. Other classes mailed through the USPS: Aver-age no. copies each issue during preceding 12months: 0; Actual no. copies sin-gle issue published nearest to filing date: 0; C. Total Paid and/or RequestedCirculation: Average no. copies each issue during preceding 12months: 36,564;Actual no. copies single issue published nearest to filing date: 37,579; D. Freedistribution by mail: 1. Outside-county as stated on form 3541: Average no.copies each issue during preceding 12 months: 1,389; Actual no. copies singleissue published nearest to filing date: 752 2. In-county as stated on form 3541:Average no. copies each issue during preceding 12months: 0; Actual no. copiessingle issue published nearest to filing date: 0 3. Other classes mailed throughthe USPS: Average no. copies each issue during preceding 12months: 0; Actualno. copies single issue published nearest to filing date: 0; E. Free DistributionOutside the Mail: Average no. copies each issue during preceding 12 months:75; Actual no. copies single issue published nearest to filing date: 75; F. TotalFree Distribution: Average no. copies each issue during preceding 12 months:1,464; Actual no. copies single issue published nearest to filing date: 827; G.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 12months: 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: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 publishednearest to filing date: 97.85%.; 16. This Statement of Ownership will be printedin the Jan/Feb 2014 issue of this publication.; 17. I certify that all informationfurnished on this form is true and complete. I understand that anyone whofurnishes false or misleading information on this form or who omits materialor information requested on the formmay be subject to criminal sanctions (in-cluding fines and imprisonment) and/or civil sanctions (including multipledamages and civil penalties). (signed) Dan Regan, Consumer Marketing Di-rector, September 17, 2013.

Page 69: Photo pro image

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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 fnal 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 fnal most successful shot is composed

of natural lighting with a bit of fll 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 frst experimental shots that the Profotos look pretty fat 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 fat-

ten the light, and fnally 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 Hero Image

The evolution of a shoot with Corey Rich By David Willis LL Photography By Corey Rich

Page 71: Photo pro image

digitalphotopro.com January/February 2014 | 71

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 fag 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 fne shape to the light. We

have a variety of light modifers for Profotos, and we have an-

other set of modifers for our Litepanels kit. I fnd 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 fnal image (left)

is almost all natural light with a bit of fll 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 fll. 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 foor to actually fll his body.”

Final Image

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72 | Digital Photo Pro digitalphotopro.com

in a gymnasium and it’s just a lot of

hanging halogen lights or fuorescent

tubes, and it just doesn’t look very

good. So the reason they were on set

was to make my Litepanels the ‘house

lights.’ But, then, having them there

gave me the ability to switch gears and

start working with them as my main

light source, as well.”

For the composition, the idea was

to showcase the build and strength of

the CrossFit athlete. Generally, shoot-

ing from below is a good way to give

your subject a towering presence for an

overall feeling of power and strength

in a composition. Rich tried this ap-

proach, as you can see in a couple of

the frst outtakes where Lafountain oc-

cupies the majority of the foreground

of the frame. While still successful,

the framing of the American fag as

Lafountain’s backdrop ended up ac-

complishing the same concept in a

much less hackneyed fashion. Rich says

that he tried several focal lengths and

a number of compositions before de-

ciding on the versatility of a 24-70mm

zoom lens. The fnal shot was captured

close to the 70mm focal distance.

“I really like the capability of a zoom,”

he says. “Zooms today, both telephoto

zooms and wide-angle zooms, they’re

just so razor-sharp. And to have that

fexibility, to shoot at 83mm or 76mm

versus locked into those prime lenses,

will do the job. I mean they’re actually

perfect—there’s less output, they’re

very mobile, and it’s very easy to work

with Speedlights. I can put them in my

rolling bag and take them on the plane.

“We have a variety of Litepanels

in our kit, from little Cromas to big

1x1s and video lights,” Rich continues.

“But the instant we start bringing

Litepanels, we’re committing to trav-

eling with a lot of luggage. When

you step up to Profotos, you have a

lot of cases going on the plane with

you. Case in point is this series of im-

ages. I shot these in South Lake Tahoe,

California. There’s no rental house for

Profotos within a 150-mile radius of

this town. Most of my shoots are even

more remote than Lake Tahoe, so I’ll

bring them if I need more power and

more control. The continuous lights,

of course, they come out when shoot-

ing video or I know I need to bring the

ambient room light up.”

Rich says that after he had honed in

on the available light pouring in through

the gymnasium window as his base

for exposure, he decided he wanted to

supplement the beams of light through

use of a commonly available smoke ma-

chine, which he had picked up on a lark

during Halloween. An assistant fanned

the smoke as he shot, and for several

similar-looking exposures, the position

of the smoke in the frame became the

deciding factor between a good shot

and an excellent shot. He also added fll

since he abandoned the strobes in favor

of the natural light in the gym.

“I realized, okay, let’s supplement the

fll light with a continuous light source,

the Litepanels 1x1 LED light,” explains

Rich. “While I do a lot of work with

strobes, the beauty of continuous light-

ing for still photographers is that you can

see it in real time. You’re not guessing

how much power you want to output

through your strobe, then you fre the

strobe, then you look at the back of the

camera.... The feedback is immediate

because you can see it with your eye in

real time when using continuous lights.

“And in a big space like a CrossFit

gym,” he continues, “sometimes con-

tinuous lighting works really well for

flling in background illumination by

actually bringing up the entire room’s

exposure. I really brought the 1x1s,

and actually a whole kit of Litepanels,

so that I could shape the light in the

background. For example, I was light-

ing the subject most commonly with

Profotos, and oftentimes, I was work-

ing with relatively low exposures and

slower shutter speeds so that I could

bring in the ambient light of the win-

dow. Lighting the background with

continuous allowed me to bring the

entire environment up into a matching

daylight exposure versus when you’re

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 fnal 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.”

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digitalphotopro.com January/February 2014 | 73

it’s quite nice in a situation like this,

where I’m making subtle adjustments,

really paying attention to the edges and

trying to make sure that I’m cleaning

up the background relative to where

I’m positioning the subject. The bottom

line is that a zoom gives you an incred-

ible amount of fexibility, and you’re not

compromising sharpness or speed. Cer-

tainly, there’s a difference between an

ƒ/1.4 lens and an ƒ/2.8 lens, but that ƒ/2.8

lens is still pretty darn fast, and it’s re-

markable that they’re sharp wide open.”

Rich almost always shoots manu-

ally, and the subtle variations in expo-

sure that you can see between similar

frames are the result of small changes

he’d make to camera settings while

he shot—and he shot plenty. In order

to capture the decisive moment, Rich

would “machine-gun” sequences using

the rapid-fre capabilities of his Nikon

D800 and D4 full-frame DSLRs while

Lafountain powered through rep-

etitions. “I’m doing bursts of images,”

Rich says, “and I’m doing that for the

simple reason that I’m handholding.

turing a number of very usable expo-

sures. “Never be satisfed with taking a

few images and feeling like you got it,”

he emphasizes. “You have to slow down

and methodically look at your situa-

tion and try to block out all of the other

pressure. All you’re really focused on is

what’s happening in that rectangle: How

am I going to make the most compelling

image from the light, from the composi-

tion and from a moment in perspective?

“Most sports photography is about

capturing action,” he continues,

“whether that’s freezing action or

whether that’s motion or creating a

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

fts 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

‘action,’ from trying to freeze the mo-

ment with the kettlebell over his head,

or midway up, and then I switched

him into a more contemplative ‘think-

ing about the workout’ pose. And that

was more effective to me.

“That’s open-mindedness,” Rich con-

cludes. “It’s being open-minded about

going in with a preconceived idea, but

then you need to be adaptable in terms

of what’s actually going to generate the

best, most compelling, most engaging

and interesting photograph.” DPP

See more of Corey Rich’s photography at

www.coreyrich.com.

I’m not much of a tripod guy, in fact,

I almost never use a tripod unless I’m

shooting something that absolutely

mandates or necessitates keeping the

camera still for more than 1⁄8th of a sec-

ond. I feel like right up to about 1⁄8th of

a second I can handhold if I do a burst

of images, even on a relatively long lens.

“In this situation, my subject isn’t

moving; he’s relatively stationary, at least

in my fnal composition. He’s standing

there relaxed, waiting for his next kettle-

bell swing, so I’m doing bursts of images

so that I can make certain in a burst of

12 frames, for example, that one of those

frames is going to be razor-sharp even

though I’m handholding at relatively

low shutter speeds. The low-light ca-

pabilities in the D4 combined with the

burst capabilities are pretty remarkable.

That camera has changed the world in

the way we see low light. We never be-

fore could shoot at such high ISOs and

have it look so great.”

But perhaps Rich’s most signifcant

talent is that he continues to push him-

self even after he has succeeded in cap-

“In a controlled environment, it’s all about shooting enough,” explains Rich. “In this situation,

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

out to be not as good as the evolutionary set of images you’ve been capturing.”

In order to capture the decisive moment, Rich would “machine-gun” sequences using the rapid-fre 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.”

Page 74: Photo pro image

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Photo by Michael Sherman

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Page 75: Photo pro image

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Page 76: Photo pro image

76 | Digital Photo Pro digitalphotopro.com

Battery-Powered

Monolights

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 photographersBy The Editors

Monolights are self-contained pro fash units that

plug into standard AC wall sockets, no separate

power pack needed. All the controls are on

the fash head—no need to move to a

power pack to adjust power and other

settings (although many newer mono-

lights feature standard or optional re-

mote controls). Some monolights can

also operate from battery packs, mak-

ing them suitable for use in the feld

just about anywhere. There’s even one

monolight that incorporates the bat-

tery so you don’t need a separate bat-

tery pack.

The main features to look for in a

battery-powered monolight are output,

recycling time, output range, number

of pops per charge, modeling light

power, types and sizes of modifers,

size and weight, and price. Monolights

tend to be less powerful than studio

strobe power packs and heads, but the

improved ISO capabilities of modern

DSLRs are mitigating that power dif-

ferential. At the same time, monolights

give you access to all of the sophisti-

cated modifers of a studio strobe outft.

Output. More powerful units give you

more options for depth of feld (you

can shoot at smaller apertures), light

placement (you can place lights far-

ther away if you have to, as for outdoor

sports action) and use of light modifers

like umbrellas, which reduce intensity.

Some units are rated in watt-seconds

(W-s), others in joules; one joule equals

one watt-second. Note that joules and

watt-seconds are measures of generator

power, not necessarily light output; out-

put also depends on the fash head and

any light modifers used.

Page 77: Photo pro image

the light will fall on your subject. A

lot of photographers have come to

rely on modeling lights because they

make the process of lighting close to

WYSIWYG. With AC-powered fash

units, modeling lights aren’t a big

problem. But with battery-powered

units, they add signifcantly to the

power drain. Therefore, one needs to

be more judicious with the modeling

light and be aware that, in some cases,

battery-powered monolights don’t call

for modeling light usage at all.

Light Modifers. One of the big ad-

vantages of studio-type fash is the

range of excellent light modifers avail-

able—parabolic refectors, umbrellas,

light boxes, snoots, grids, beauty dish-

es, barn doors and more. Many units

accept standard “S” modifers. This is

one of the most important advantages

monolights have over smaller, hot-

shoe-type fashes. Although the over-

all power output is less than a studio

strobe pack and head out-

ft, you can use most, if

Guide numbers aren’t really useful

for pro fash because they’re based on

point-like light sources that follow the

inverse-square law (double the fash-to-

subject distance and quarter the light,

triple the distance and get one-ninth the

light, etc.), like shoe-mount fash units.

Pro units are generally used at close

range and/or with umbrellas or other

light modifers that increase the size of

the light source relative to the size of

the subject, where the inverse-square

law isn’t a useful measuring stick. Some

pro-gear manufacturers include the

tested ƒ-stop for a fash head (or head

with specifc light modifer) at a specifc

distance, which can be a useful compar-

ison measure if another manufacturer

provides the same data for its units.

Output Range. Monolights can also be

operated at a range of power settings.

This is helpful not only when you want

to control light output, but to control

fash duration (lower power generally

means shorter duration), battery life

(full-power bursts take more out of

the battery than lower-powered fash)

and recycle times (the fash will recycle

more quickly at lower power settings).

Because they’re self-contained, you can

adjust the power of each unit sepa-

rately in a multiple-light setup for easy

control of lighting ratios. Color tem-

perature can change with power set-

ting, although with today’s units, this

generally isn’t a big problem.

Pops Per Charge. Battery power is a

critical limiting factor. When compar-

ing potential purchases, note how many

full-power fashes the unit can produce

on a full battery charge. Also check into

the cost of extra batteries and how long

it takes to charge them fully.

Recycling Time. Recycling time de-

pends mainly on the power output

used, and the size and state of the bat-

tery. You want to look for recycling

time to full power after a full-power

burst. Note that recycle times will in-

crease as the battery charge runs down,

and that recycling times on battery

power are generally slower than on

AC power for units that can use both

power sources.

Modeling Light Power. Modeling

lights give you a good idea of how

2 3 4

Location Lighting Masters

Crafting the light for a photo is

an art, and it’s also an exercise in

puzzle-solving. Two photographers

you should follow to learn both the

art and the puzzle-solving sides

are David Hobby and Joe McNally.

Hobby is the founder of the popular

Strobist blog, and McNally is

widely known as one of the most

innovative location lighting masters

in the world. As much as we focus

on the light head in this article,

it’s knowing how to manipulate the

light that really creates the style,

look, mood and emotion in the

photo. David Hobby’s Strobist blog

is at www.strobist.blogspot.com,

and Joe McNally’s website is at

www.joemcnally.com.

Page 78: Photo pro image

78 | Digital Photo Pro digitalphotopro.com

studio strobe packs and heads, and

they’re more bulky than shoe-mount

fash units. Everything in life is a

trade-off, and when it comes to porta-

blility, monolights aren’t perfect, but

the trade-off is attractive for many

location photographers, in particular.

Price. Higher-end monolights gen-

erally cost more than shoe-mount fash

units, low-end monolights less than

high-end shoe-mount units. You have

to weigh the benefts versus the cost,

as with everything in photography.

Monolights can do things shoe-mount

fash can’t; if you need those features,

you need a monolight.

not all, of the same modifers. Check to

see what’s offered for each unit you’re

considering to make sure what you

need is available.

Size. Portable means you’re going

to be carrying it so consider dimen-

sions and weight. Battery-powered

monolights are more portable than

5 6 7 8

Max. Recycle Shortest

Adj. Model. Pops per to Full Duration Street

Unit Output Range Light Charge Power (sec.) ## Modifers Weight Price

BOWENS

Gemini 400Rx 400 W-s 5 stops 250W 370# 4 sec.# 1/1000 Bowens 5.9 lbs. $399Gemini 500R 500 W-s 5 stops 250W 300# 5 sec.# 1/900 Bowens 7.5 lbs. $649Gemini 500Pro 500 W-s 5 stops 250W 300# 5 sec.# 1/2900 S-type 7.7 lbs. $899Gemini 750Pro 750 W-s 5 stops 250W 220# 7.5 sec.# 1/2300 S-type 8.8 lbs. $1,049Gemini 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. $1,338Minicom 80 600 W-s 5 stops 300W 120 3.0 sec. 1/1500 Bron 7.2 lbs. $1,630Minicom 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.** $199Flashpoint 320M 150 W-s 5 stops 100W 180 1.5 sec. 1/1000 Flashpoint 3.0 lbs. $99Flashpoint 620M 300 W-s 5 stops 150W 100 1.5 sec. 1/1000 Flashpoint 4.5 lbs. $189Flashpoint 1220M 600 W-s 4 stops 250W 100 4.5 sec. 1/1000 Flashpoint 5.3 lbs. $299Flashpoint DG400 200 W-s 5 stops 7W LED N/S 3 sec. 1/800 Flashpoint 4.0 lbs. $179Flashpoint 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. $1,020Expert D 1000 1000 W-s 8 stops 300W 220 2 sec. 1/3250 EH 10cm 8.6 lbs. $1,435Integra 250 Plus 250 W-s 6 stops 300W 880 2.6 sec. 1/2380 EH 10cm 6.1 lbs. $710Integra 500 Plus 500 W-s 6 stops 300W 440 2.5 sec. 1/1390 EH 10cm 6.3 lbs. $615Integra 1000 Plus 1000 W-s 6 stops 300W 220 4.2 sec. 1/1680 EH 10cm 8.6 lbs. $1,107Integra Mini 300 300 W-s 6 stops 300W 440+ 2.4 sec. 1/1900 EH 10cm 5.0 lbs. $485Integra Mini 600 600 W-s 6 stops 300W 350 3.4 sec. 1/1000 EH 10cm 5.1 lbs. $625Speed Max 400 W-s 8 stops 300W 600 1.6 sec. 1/2000 EH 10cm 13.7 lbs. $4,980*Power Max L 10.1 lbs. $1,995

* Battery pack for the monolights

** Weight for head with battery

# With Large Travelpak

Battery-Powered Monolight Sampler

## Shortest duration at full power; shorter durations are possible at

reduced power (as short as 1/66,600 sec. with the Hensel Speed Max)

^ ^ Price for kit, including battery pack

Page 79: Photo pro image

digitalphotopro.com January/February 2014 | 79

Profoto

Profoto’s battery-powered monolight

is the B1 500 AirTTL, a self-contained

cordless model with an onboard, ex-

changeable, integrated, lithium-ion

battery, so you don’t have two pieces

to deal with. The unit also offers TTL

exposure control with Canon DSLRs

(Nikon compatibility is expected in

2014). Just plug the Air Remote TTL

unit to your camera’s hot-shoe, and the

off-camera B1 unit will automatically

adjust its output for correct exposure.

Power can be adjusted from 2 to 500

W-s in 1/10-stop increments (a nine-

stop range), recycling times range from

0.1 to 1.9 seconds (the unit can fre up

to 20 bursts per second at lower power

settings), and durations can be as brief

as 1/19,000 in Freeze mode.

Paul C. Buff

Paul C. Buff offers a number of

monolights that can be plugged

9 10 11

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

Battery-Powered Monolight Sampler

Max. Recycle Shortest

Adj. Model. Pops per to Full Duration Street

Unit Output Range Light Charge Power (sec.) ## Modi�ers Weight Price

INTERFIT

Stellar Xtreme 150 150 W-s 5 stops 150W 200 10 sec. N/S S-type N/S $229Stellar 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. $419Mobilight 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. $499AlienBees B400 160 W-s 6 stops 150W 500+ 0.75 sec. 1/6000 Buff 2.5 lbs. $224AlienBees B800 320 W-s 6 stops 150W 500+ 1.5 sec. 1/3300 Buff 2.9 lbs. $279AlienBees B1600 640 W-s 6 stops 150W 500 3 sec. 1/1800 Buff 3.7 lbs. $359AlienBees ABR Ring�ash 320 W-s 6 stops 8 10W 500+ 1.5 sec. 1/2000 Buff 2.5 lbs. $399White Lightning X800 330 W-s 6 stops 250W 500+ 1.5 sec. 1/3300 Buff 4.1 lbs. $389White Lightning X1600 660 W-s 6 stops 250W 500 3 sec. 1/1800 Buff 4.9 lbs. $439White 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. $992Logos 1600 600 W-s 4 stops 150W 120 3.0 sec. 1/600 Visatec 3.1 lbs. $1,249Solo 400 B 130 W-s 3 stops 150W 500 1.3 sec. 1/1200 Visatec 5.0 lbs. $484Solo 800 B 300 W-s 3 stops 150W 240 1.4 sec. 1/800 Visatec 5.4 lbs. $644Solo 1600 B 600 W-s 3 stops 150W 120 1.9 sec. 1/600 Visatec 6.8 lbs. $807*Bron Power Box 900/W 14.3 lbs. $518

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80 | Digital Photo Pro digitalphotopro.com

into AC or used with the Vagabond

Mini Lithium, a third-generation,

true sine wave current-limited por-

table power system. The all-digital

Einstein E640 has a built-in fan and

microSD slot for frmware upgrades.

Four AlienBees units (160, 320 and

640 W-s, and a 320 W-s ringfash) offer

power settings from full to 1/32. Three

White Lightning units (330, 660 and

1,320 W-s) offer dual power, high ad-

justable from full to 1/32 and low from

1/4 to 1/128. All offer quick recycl-

ing and built-in slave triggers. The

Vagabond pack weighs just 3.5 pounds,

but can operate up to four Paul C. Buff

monolights (there are two outlets, but

you can use a power strip to connect

up to four heads). The quick-connect,

rechargeable lithium battery provides

200 to 250 full-power fashes with

1,280 W-s of heads connected, 800 to

900 fashes per charge with 320 W-s.

The Vagabond Mini can power all the

above-mentioned monolights.

Interft

Interft’s Stellar Xtreme AC/DC

Monolights are 300 W-s units. They

have built-in slave sensors for fash and

IR, modeling lamps and user-change-

able fash tubes. Recycling time on AC

is 2 seconds to full power, on battery

power, 3 to 10 seconds. Power is ad-

justable from full to 1/16 in 1/10-stop

increments. The units include cool-

ing fans. A full battery charge with

the Mark II battery provides about 200

full-power fashes.

Broncolor

Broncolor makes AC-powered

monolights. We’ve included them

here in an article about bat-

tery-powered monolights because

the company also offers a battery-

powered inverter that works with

the mobile Broncolor monolights.

Broncolor offers six AC-powered

Minicom monolights (300, 600 and

1200 J, with or without RFS radio

control from a computer with eight-

channel RFS interface). All can also

be powered (up to 900 W-s worth) by

the Power Box 900/W Battery Power

Supply, which is a stand-alone in-

verter power supply. The Power Box

can also handle modeling lamps

up to 450 watts. With a single

300 W-s monolight, it can

provide 240 full-power

fashes. The Minicom

monolights are available from 300 to

1,200 joules, with built-in photocell,

IR receiver, and in RFS 2 units, radio

remote control. The monolights can

also be powered (up to 900 W-s worth)

by the Power Box 900/W Charger, a

stand-alone inverter power supply.

Visatec

Visatec makes several AC-powered

monolights that can be plugged into

the Broncolor Power Box 900/W. The

Power Box 900/W is an inverter

with a lead battery that converts

its DC battery power to AC. Three of

Visatec’s four Solo monolights (400 B,

800 B and 1600 B) and all fve Visatec

Logos monolights (800, 800 BC, 800

RFS, 1600 and 1600 RFS) are compat-

ible with the Power Box 900/W. The

RFS units feature RFS radio control.

Priolite

Featuring exchangeable lithium-

ion batteries built into the back of the

lights, Priolite’s MBX500

and MBX1000 pro-

vide studio control

and power with-

out cords or exter-

nal battery packs.

With the power of 10 to 20 speedlights

packed into one unit, the MBX have

suffcient output for use on location on

sunny days. Both units feature a quick

duration of 1/4500 at full power, mod-

eling lights, optical slaves and bidirec-

tional radio controls.

Hensel

Hensel offers monolights that can

be operated with AC or battery power.

The Expert D (500 and 1,000 W-s) fea-

tures built-in radio receivers (Hensel

Freemask Wizard or Hensel Strobe

Wizard, both 3-channel, or Profoto Air

receiver, 16-channel). The Integra Plus

FM units (250, 500 and 1,000 W-s) in-

corporate a Freemask Strobe Wizard

radio transmitter and Freemask (part

of the Hensel hardware), which allows

the photographer to take two shots on

a white seamless and drop in any back-

ground. The frst shot is a normally lit

Powerpack & Lighthead Options

While this article has focused on the benefts of monolights that can use a

battery pack or plug into the wall, there are also battery-powered studio strobe-

type units available. These tend to be very powerful and give you maximum

fexibility/control and all of the advantages of a large studio system. On the

downside, these systems are heavy, bulky and costly. If you need maximum

power and you need it without being connected to an AC outlet or a portable

generator, a battery-powered studio strobe pack and heads is the answer. In this

category are such systems as the Broncolor Move 1200, Elinchrom Ranger RX,

RX Speed AS and Quadra RX, Hensel Porty L and Premium Plus, Paul C. Buff

Zeus, and Profoto Acute B2, Pro-B3 AirS and Pro-B4.

Continuous LightsThe dramatic rise in the number of photographers who are also engaged in motion

capture has created a lot of interest in continuous lights for still and motion.

Continuous units let you see the actual lighting (electronic fash units’ modeling

lamps just give an approximation), but they don’t have the action-stopping

ability of a fash or strobe. Most reasonable portable continuous lights are less

powerful than strobe monolights, and incandescent continuous lights are hot

(LED and fuorescent lights are much cooler and more energy-effcient). Some

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

characterized as creating a sterile look, and as continuous lights have become

more portable, powerful and cost-effective, they’re certainly worth a look.

12

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� digitalphotopro.com January/February 2014 | 81

foreground image and the other is a sil-

houetted background image that allows

for easy masking in Photoshop. This

eliminates the need for bluescreens 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.

BowensBowens 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

Large, 100 to 370. Each can power up

to two Gemini heads.

DynaliteDynalite’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

(Cont’d on page 95)

13

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Page 82: Photo pro image

82 | Digital Photo Pro digitalphotopro.com

Since the beginning of the medium, photographers

have sought to make the largest possible sharp

prints of their images. The image fi le size is

often a limiting factor for print size. You

can up-res a fi le with excellent results,

but at a certain point the apparent reso-

lution does break down. Today’s high-

res cameras and, in particular, very

high-resolution medium-format DSLR

backs, are shifting that limiting factor to

late ’50s and then launched his photo-

processing business in the 1960s.

The massive 30,000-square-foot facil-

ity on 23rd Street in New York City is

a sprawling and frenetic hub of activ-

ity. My father, a commercial photogra-

pher in Manhattan in the 1970s, used

Duggal for large output prints; I used

Duggal in the 1990s when I attended

the School of Visual Arts and needed a

Using a massive, new Polielettronica

HD C-printer, Duggal Visual Solutions is

producing jumbo-sized photographs

with an apparent resolution of 6100 dpiBy David Schloss

the output technology. If your fi les are

big enough and your photos are sharp

enough, a new Polielettronica printer at

Duggal Visual Solutions in New York

gives you an attractive option.

Duggal Visual Solutions is a corner-

stone of the photographic business that

has defi ned photographic processing

since founder Baldev Duggal arrived

in the United States from India in the

Page 83: Photo pro image

digitalphotopro.com January/February 2014 | 83

shop to process my rolls of Velvia and

make Photo CDs.

Entering the front door of the com-

plex feels the same as it did decades ago

(albeit, at a different location), when

I was a regular. Technicians in white

lab coats calmly take orders, answer

phones and dispatch packages across

the boroughs. Only now the front desk

is the proverbial tip of the iceberg,

masking the enormous processing and

corporate headquarters behind it. It’s

also the gateway to services at the com-

pany’s seven buildings at the Brooklyn

Navy Yard, each between 30,000 and

40,000 square feet.

With such a powerful command of

the photographic output business in

New York City and beyond, it’s no

wonder that Duggal gets some exclu-

sive toys to play with. One such toy is

the reason I’m at the company’s head-

quarters: a massive digital HD C-print

machine by Italian frm Polielettronica.

C-prints hearken back to the days

of Kodacolor and refer to the use of

chemicals and photo-sensitive papers

to create output versus technologies

like lithography or inkjet printing.

Digital C-prints keep the color satu-

ration, vibrancy and feeling of flm

output without needing to reproduce

an image via a camera. Feed a digital

image to a digital C-printer and out

comes an image with the look of flm,

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 flm in traditional chemicals.

While there’s a variety of digital C-

printers on the market, the Lambda is

the most popular (and is also available

at Duggal), with an output resolution

maxing out at 400 dpi—an apparent

resolution of 4000 dpi.

The Polielettronica printer has a 610

dpi maximum resolution and 48-bit col-

or, and provides an apparent resolution

of 6100 dpi. Duggal isn’t the only com-

pany to use the HD C-printer, but it’s

the only one to have the newest, largest

model, which produces output up to

100x50 inches.

With 48-bit color depth, the machine

creates images with excellent continu-

ous tone and both highlight and shad-

ow detail.

Installed in March 2013, the

Polielettronica has been used by ev-

eryone from fashion photographers to

cartographers, thanks to the incredibly

high resolution of the output. One of

the prints that Duggal shows off is a

map with type so small, a loupe is need-

ed to see the text—yet under the loupe,

the letters are clear and crisp.

Cartographers aren’t the only fans of

the new printers: Canon, Nikon and

Sony all ordered massively large out-

put from the device for the PhotoPlus

Expo trade show in New York City in

October 2013.

The process of taking a digital fle

and creating an oversized digital

print is pretty complex, so the Duggal

tech pulled the side off of the printer

and showed me how a photograph is

turned into a gigantic print.

First, a fle is run through a RIP, or

Raster Image Processor, the device that

separates the images into the RGB data

needed to fow from the lasers, and

then gets queued for print. Despite the

huge amount of technology inside the

box, the printer needs to be fed paper

in gigantic lighttight cassettes.

The cassettes are flled the old-school

way, in a large darkroom near the

printer. It’s a bit like loading shells into

a deck-mounted gun on a Navy ship,

with a loading card used to align the

cartridges. Some of the papers need to

sit in the canister at least three weeks

after rolling before use, so job estima-

tion is important.

The HD C-prints can be output on

transparency, metallic, matte or glossy

photo paper, which is fed into a wash-

ing-machine-sized lighttight cham-

ber around four feet wide. A circular

drum holds the paper via suction, and

the device slowly moves a laser to ex-

pose the paper.

The HD C-printer needs to perform

calibration when the paper is changed,

but when it has been completed, the

device will stay in register, unlike ink-

jet or other printers that tend to come

out of alignment over time.

Evaluating the images, I found them

to be excellent, although not necessar-

ily the best choice for all photogra-

phers. For casual output and even for

some gallery work, we’ve seen inkjet

devices produce highly detailed work

with good longevity.

But the HD C-printer has two things

going for it, most importantly, the

C-print look. There’s a different

look—albeit, sometimes subtle—be-

tween something produced on an

inkjet and work that’s produced on

photographic paper using photograph-

ic chemical processing, and it’s a look

that photographers and designers often

seek out.

The other great thing about this

printer is the super-large output size.

At 100 inches, it bests the widest inkjets

by a considerable margin and produces

best-in-class images.

For the next year, Duggal will be the

exclusive user of the 100-inch version of

the Polielettronica HD C-printer, ex-

plaining the popularity of the unit dur-

ing the leadup to PhotoPlus Expo. DPP

Visit duggal.com/hdc.aspx or call Duggal

Visual Solutions at (646) 638-7316.

The new Polielettronica

HD C-printer that Duggal Visual

Solutions installed in mid-2013

is capable of rendering fne

details with stunning sharpness

and clarity. Examining the

resolution in a printout of a

map reveals the precision.

Page 84: Photo pro image

The Essentials

84 | Digital Photo Pro digitalphotopro.com

Top pros share the gear they can’t live withoutWe reached out to several professional photographers with a simple question: What’s the 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 Bradleywww.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 workfl ow. Essential for getting jobs done

on time, and for achieving the looks I’m after.

EE

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digitalphotopro.com January/February 2014 | 85

Peter Read Millerwww.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

fi gures 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 Stablefordwww.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 fi eld 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 fi gure 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.

Page 86: Photo pro image

86 | Digital Photo Pro digitalphotopro.com

Ketch Rossiwww.ketchrossitreeofl ife.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 fi nal goal—

fi lmmaking—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 fi lm, but surpass it, and be compa-

rable to 65mm fi lm.

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 fi lm 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 infi nite, 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 fi ltering, 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 fi elds of motion and still image capture.

This camera has an incredible array of accessories to change confi gurations 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, fi lm 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

brings in both worlds of motion and still image capture together with a freedom of confi gurations

like none that has existed before. It’s a camera that could go from Hollywood’s big-budget block-

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.

EE

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digitalphotopro.com January/February 2014 | 87

Sarah Silverwww.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 fl ashy 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 fi ts 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.

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 fi eld, 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 specifi c 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.

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88 | Digital Photo Pro digitalphotopro.com

Alison Wrightwww.alisonwright.comBecause 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

Martin Wonnacott wonnacott.comFresh 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, fi rst 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 fi rst impressions. I truly want clients to be as comfortable as possible when working with me. I think fresh fl owers 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.

EE

Page 89: Photo pro image
Page 90: Photo pro image

90 I Digital Photo Pro digitalphotopro.com

THIS SPREAD, CLOCKWISE FROM TOP: Libec Swift Jib50, DitoGear MiniJib, Carbon XL 10, Kessler Pocket Jib Traveler. NEXT PAGE: Cinevate Axis Jib.

with parts from the local Home Depot.

The camera has to pivot to keep the

framing consistent as you move the jib

up and down. For example, let’s say

you’re a wedding shooter and you’re

doing a little video segment for the

client. You want to start the shot framed

up from eye level as the couple kisses,

and with the camera mounted on the

jib, you’ll raise the camera to get more

of an overhead perspective. As the cam-

era moves up, it also moves back a little,

so you’ll also be backing off slightly,

which shows more of the surroundings.

It’s not a big move. The camera will

move up about three feet. If the camera

doesn’t pivot, instead of keeping the

bride and groom in the frame, you’ll

end up with the camera pointed sky-

ward. That pivot mechanism is critical,

and it’s best left to the manufacturers.

We mentioned that the bigger the

camera, the bigger the jib system has

to be. For the smaller jibs we address

in this article, a DSLR with a moder-

ately sized lens is the sweet spot. If

you’re using a big telephoto (like a

300mm ƒ/4 or larger), that large, heavy

lens, even on the relatively small

DSLR, may require a bigger, more

heavy-duty jib system.

As with most equipment, there’s a

lot of variety in available jib sizes.

We’re focusing on jibs that are suitable

for DSLR users and are relatively

lightweight and portable. By portable,

we mean a range from airline travel-

ready up to fitting in the trunk of a car

or small SUV.

Jibs are pretty simple tools, and with

a little practice, a novice can quickly

become good at using one smoothly.

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.

We’ve written a fair amount about sliders in DPP.

A slider is a simple rail with a camera

mount that allows you to get a smooth

dolly effect in your motion shots. This

small device creates a sophisticated

effect and immediately gives your

project an added level of visual inter-

est. Even a relatively short rail of three

or four feet can create a fantastic shot.

You can change the angle of the rail for

diagonal moves and even close to verti-

cal, but they’re best suited for more

horizontal motion. To properly work

in the vertical axis, what you need is a

jib or a crane. The only problem with

jibs has been that they’re usually large,

heavy, difficult to transport and

require an assistant—until now.

Seeing the opportunity presented

by the DSLR filmmaking revolution,

manufacturers have started to make

smaller and lighter jibs that are

designed specifically for these light-

weight cameras. If you’ve seen any

kind of behind-the-scenes footage

from a film production, you’ve proba-

bly seen a jib or a crane of some kind.

Looking like a long boom mounted

asymmetrically on a big tripod, the

unit has a camera on one end and a

counterbalance system on the other.

Essentially, it’s a simple lever with the

tripod acting as the fulcrum. The

longer the lever and the heavier the

camera, the more counterbalance

DPPSolutions

Jibbing

Get a cool move in motion

shots and a new perspective

in still shots with these

versatile camera supports

weight you need. For Hollywood

movies that are shot with big, tradi-

tional movie cameras, the whole sys-

tem has to be huge and extremely

heavy. For us as DSLR filmmakers,

things can come way down in scale.

For all of its apparent simplicity,

there’s one especially critical aspect to a

jib that makes it less suitable for DIYers

who might want to try building one

Page 91: Photo pro image

Kessler Pocket Jib Traveler

Kessler is well known as an innova-

tor in gear for DSLR filmmakers. The

company makes several jibs in different

sizes. The Pocket Jib Traveler is the

company’s newest and most portable jib.

It collapses down to 27 inches in length

and weighs 5.5 pounds. Kessler

designed the jib to be ultralight and

packable for any shooting endeavor. It

has drag control and locks, and because

of its unique folding mechanism, the

Pocket Jib Traveler doesn’t need to be

taken apart for travel. You can attach a

camera rig that weighs up to 10 pounds

to the jib. For a DSLR shooter, that’s

sufficient for most situations. As with

any jib, the Pocket Jib Traveler needs a

weight for counterbalance. The unit has

a sliding, extending rail for the counter-

balance, which helps minimize the actu-

al amount of weight you need to use.

The jib has 3∕8-16 and 1∕4-20 mounting

options, allowing attachment to any

tripod. www.kesslercrane.com

DitoGear MiniJib

DitoGear’s MiniJib is great for work-

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-

ers, dollies and other supports. The

MiniJib can be used with any of

DitoGear’s Motion controllers, from the

battlefield-tested OmniController to

the state-of-the-art multiaxis wireless

Evolution. www.ditogear.com

Libec Swift Jib50

Libec’s Swift Jib50 features a tele-

scopic arm that can extend 35.5 inches

or slide back 12 inches toward the rear.

This allows higher angles than other

Libec jib arms. Maximum payloads

are 22 pounds at full extension (75

inches), 33 pounds at 57-inch exten-

sion and 44 pounds at minimum

extension (39.5 inches). The unit itself

weighs 36.1 pounds. It’s available

alone or in a kit with a tripod and

dolly. Ideal for budget-limited, small-

crew projects, the Swift Jib50 is easy

to operate from the rear or for del-

icate camera work from the front.

www.libecsales.com

(Cont’d on page 92) Your headquarters forfree creative education

• Daily original videos

• Workshops

• Online tutorials

• Product reviews

• Gear guides

Scan here

to visit

Adorama.com

Page 92: Photo pro image

>> More On The WebFor more classic imagery

from iconic photographers,

see the Profiles section of

DPP on the web at

www.digitalphotopro.com.

TELL ME WHAT YOU WANT ME TO DO

(Cont’d from page 56)

acknowledging their latest project. I establish that I’m in charge and I want to make them look great. At the same time, I want to be very collaborative with my subjects. “This is what we’re planning to do today. What do you think of this?” I acknowledge their time limits and respect that they have shown up to do a job. I’ve been really fortunate that I’ve never had an actor walk off the set and I’ve never had a shoot completely break down, though there was one time in Las Vegas when Jerry Lewis kicked me out of his office after I asked him to sit on the couch.

DPP: Why was he so uptight about the couch? Did it belong to Dean Martin?

Streiber: I’m really not sure why he got bent out of shape. We had already photographed him at his desk. I think he was just over being photographed.

DPP: What initially sparked your in-terest in photography?

Streiber: It started in fifth or sixth grade. My grandfather was a very ad-vanced amateur. He had his own dark-room and processed black-and-white film and C-41 color negatives and made prints. When I was in eighth grade, he sold my brother and me his Canon AE-1 for $5 and threw in a lens for $2. I started taking black-and-white candids at school, and developing and proofing the negatives in his darkroom and making prints with him. Eventually, I became the photography editor of the newspa-per and yearbook in high school. When I went to college, I joined the staff of the school paper. After college, I did an in-ternship at the Riverside Press-Enterprise, then a traineeship at the L.A. Times. I thought I was going to be a photojour-nalist traveling the world looking for photo stories and places of conflict.

DPP: How did your career evolve into focusing on celebrity portraiture?

Streiber: I fell into first lifestyle pho-tography, fashion photography and portraiture, and eventually celebrity portraiture. I started freelancing for Women’s Wear Daily and W in Los Angeles. In about 1987, they needed a

staff photographer. At the time, they

also had a men’s magazine called M. As

the staff photographer, I had to shoot

everything, from fashion and portraits

to still lifes, interiors, travel stories and

special events. After a couple of years in

L.A., where I met my now wife, they

transferred us to Milan where we were

from 1989 to 1993. My love of all genres

of photography comes from perhaps my

being at the very beginning of my ca-

reer a photographic jack-of-all-trades.

We ended up back in L.A. in 1993.

I’ve always loved magazine photog-

raphy. My great-grandfather started

the first wholesale magazine distribu-

tion company in Los Angeles, and my

grandfather worked there, my uncle

and father worked there a little bit.

On Saturdays, I would go down to the

Sunset News Company warehouse. It

was wall-to-wall magazines, every-

thing from TIME and LIFE to Sports

Illustrated to Richie Rich, Archie and

Playboy. I still get that same kind of

visceral response to the glossy maga-

zine covers I had when I was a kid. I

love contributing to magazines.

DPP: What changes do you make

when you shoot in more of a report-

age mode backstage at the Academy

Awards® for magazine assignments?

Streiber: I’m shooting with

the Canon EOS 5D Mark III

and I have an assistant holding

an off-camera Quantum Qflash

so I can give the light a little bit

of shape. To get into that mode,

it’s quite natural for me to put on black

jeans and a black fleece, and try and hide

in the shadows and capture these mo-

ments that occur right in front of you at

the Academy Awards®. I love this kind

of documentary work, and I’ve always

loved the Oscars®, ever since I was a kid.

It’s a real honor and privilege to be back-

stage in the days leading up to and the

night of the Oscars®. I used to be the only

guy back there. There are now five or six

of us, so it’s a little more crowded and the

elbows are sharper, but there are amaz-

ing moments that you just don’t have the

opportunity to capture anywhere else. DPP

You can see more of Art Streiber’s work

at artstreiber.com.

92 I Digital Photo Pro digitalphotopro.com

DPP SOLUTIONS

(ContÕd from page 91)

Carbon XL 10

The light and versatile Carbon XL

10 can become a camera crane, cam-

era jib, dolly with track, motorized

time-lapse track, car mount, zero-

gravity head, remote-control camera

and motorized rotating platform, all

from a single kit of components. All

Angle Balance requires less counter-

weight, while Aim and Shoot

Controls make it easy to adjust the

pan and tilt of the camera when it’s

located remotely at the end of the

crane arm. Designed specifically for

airline travel and difficult-to-access

locations requiring hand-carrying,

the carbon-fiber system weighs just 50

pounds (100 pounds including cases).

www.Carbon-XL.com

Cinevate Axis Jib

Featuring a single-tube design,

Cinevate’s Axis Jib sets up quickly and

provides strong, solid support for up

to 50 pounds—anything from a

Canon EOS 5D Mark III to a fully

loaded ARRI ALEXA. The four-foot

arm produces a seven-foot vertical arc.

Dry-erase marker rings and a remov-

able magnetic marker provide good

repeatability of movements. The Jib’s

100mm bowl indexes at 90°, has

pan and tilt locks, and supports

underslung vertical- and horizontal-

mounted heads. The fully enclosed

structure provides maintenance-free

operation. www.cinevate.com DPP

Page 93: Photo pro image

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 even more

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.

(R)EVOLUTION(Cont’d from page 40)

Page 94: Photo pro image

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Page 95: Photo pro image

digitalphotopro.com January/February 2014 I 95

keeps light efficiency in mind. Eachsoftbox includes a main canopy, rearcowell, front diffuser, internal diffuser,support rods and zip-up carrying case.www.bowensusa.com

Broncolor’s new line of nine soft-boxes shows a range of shapes andsizes, from the 2x2-foot The Universalsquare box to various rectangles,1x3.9-foot The Strip softbox and 4.9-foot The Ultimate octabox. With col-ored markings on the tension rods andsupport rings, assembly is quick andeasy. Three different diffusers andgrid accessories provide added lightcontrol. Using adapters, Broncolorsoftboxes can be used with flashunits from many different companies.hasselbladbron.com

Photoflex’s line of softboxesincludes rectangular and octagonalshapes for both strobes and continuouslights. The MultiDome is specificallydesigned to work with strobes andprovides some of the most diverselighting options from a single diffuserdue to the softbox interior. With awhite interior lining, the softbox fea-tures removable gold/silver panels forswitching between warm or contrast-ing light between frames with onlyone light. The MultiDome also comeswith a CircleMask for creating acircular shape on the rectangularform, perfect for portrait catchlights.www.photoflex.com

Profoto has two distinct lines ofsoftboxes. With a variety of sizes andshapes, the RFi line for strobe shoot-ing lets you choose an optionalspeed-ring adapter to make the boxcompatible with over 20 differentflash manufacturers. Each adapterhas full rotation and tilt function.The HR (Heat Resistant) line can beused with either flash or continuouslight sources. Also available in anarray of shapes and sizes, the high-quality fabric endures up to 1000W.Both lines feature soft grids, flatfront diffuser and stripmask acces-sories. profoto.com

With a double layer of heat-shieldfabric and tent-style heat releasevents, Westcott softboxes areequipped for use with lights up to1000 watts. These softboxes are avail-able with white or silver interiors inrectangular, octagonal, Stripbankand Asymmetrical Stripbank. Eachcomes standard with a 5- or 7-yearwarranty. www. fjwestcott.com

An economical full-kit optionthat’s easy to set up, the CL-SPSBS-FT1 Cool Lights 24x24-inch SpeedSoftbox & Grid is designed specifi-cally for the Cool Lights CL-SFT1fluorescent continuous light fixture.The softbox reduces setup time byquickly popping open and attach-ing to the speed ring with ten-sion. Carrying cases, diffusion silkand egg crate are all included.www.coollights.biz DPP

HI-TECH STUDIO(Cont’d from page 35)

ABOVE: Chimera F2X Lightbank and Mini Lightbank

BATTERY-POWERED MONOLIGHTS(Cont’d from page 81)

time. It can also be plugged directly into AC power, with 1.4-second recycling and 400 W-s output. You can adjust power from full to 1/8 in 1/3-stop incre-ments. Dynalite also offers the XP800 pure sine wave inverter with three AC power outlets for flash heads and three USB ports for electronic devices.

PhotogenicPhotogenic’s compact Studiomax III

AKC-160B (160 W-s), AKC-320B (320 W-s) and AKC-320BR (320 W-s, with built-in radio remote receiver) can op-erate on AC or battery with the option-al AKB-1 battery pack, which provides up to 150 full-power flashes per charge.

FlashpointThe Flashpoint 180 Battery Powered

Monolight uses two NP-F960 batter-ies to provide up to 700 full-power (180 W-s) flashes per charge. The un-der-$200 kit includes the monolight, reflector, small umbrella, two batteries and charger, cords and carrying bag. The Flashpoint M-series monolights can be powered by AC or DC (battery), and the Flashpoint 320M, 620M and 1220M (150, 300 and 600 W-s, respec-tively) feature low-cost, proportional modeling lights, built-in slaves and fan cooling. The DG400 (200 W-s) and DG600 (300 W-s) have cool LED mod-eling lights and digital readouts.

JTLJTL’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

Page 96: Photo pro image

Prices, specif cations, 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.

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Flash SystemFL-300R Flash .........169.95 FL-600R Flash ...... 299.00FL-50R Flash ...........499.95 RF-11 Ring Flash .. 249.95

Zuiko 4/3 System Digital Lenses35/3.5 Macro ED (52ø) .........................................229.9550/2.0 Macro ED (77ø) .........................................499.957-14/4.0 ED (72ø) ..............................................1799.9511-22/2.8-3.5 ED (72ø) ........................................799.9512-60/2.8-4 ED SWD (72ø) ...................................999.9514-42/3.5-5.6 ED (58ø) ........................................249.9518-180/3.5-6.3 ED (62ø) ......................................499.95EC-14 1.4x Teleconverter ......................................439.95

AF Flash System

AF-360FGZ ........................ AF-540FGZ .....................

SMCP-DA Digital AF Lenses

21/3.2 AL Limited “Pancake” (49ø) ...................................

40/2.8 Limited “Pancake” (49ø) ........................................

70/2.4 Limited “Pancake” (49ø) ........................................

10-17/3.5-4.5 ED IF (77ø) ...............................................

16-50/2.8 ED AL IF SDM (77ø) .........................................

50-135/2.8 ED IF SDM (67ø) ............................................

50-200/4-5.6 ED WR (52ø) ..............................................

55-300/4-5.8 ED (58º).....................................................

Flash System

HVL-F20M ...............149.99 HVL-F20S ............. 149.99

HVL-F43M ...............398.99 HVL-F60M ............ 548.00

Digital Lenses

24/2 Carl Zeiss (72ø) ..........................................1399.99

50/1.4 (55ø) ............449.99 100/2.8 Mac (55ø) .. 799.99

16-80/3.5-4.5 DT Carl Zeiss (62ø) ........................999.99

11-18/4.5-5.6 DT (77ø) ........................................799.99

18-250/3.5-6.3 DT (62ø) ......................................649.99

70-200/2.8 G APO (77ø) .....................................1999.99

75-300/4.5-5.6 (55ø) ...........................................249.99

10-22/3.5-4.5

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DX ED-IF Lenses for Digital Only���������'JTI�&ZF ......................................35/1.8 G AF-S (52ø) .......................196.9540/2.8 G AF-S Micro (52ø) ..............276.9585/3.5 G ED VR Micro (52ø) ............526.9510-24/3.5-4.5 G AF-S (77ø) .......................12-24/4 G AF-S (77ø) ................................16-85/3.5-5.6 G AF-S VR (67ø) ..................17-55/2.8 G AF-S (77ø) .............................18-55/3.5-5.6 G AF-S II (52ø) ....................18-55/3.5-5.6 G AF-S VR (52ø) .......196.9518-105/3.5-5.6 G AF-S VR (67ø) .....396.9518-200/3.5-5.6 G AF-S VR II (72ø) .........846.9518-300/3.5-5.6 G AF-S ED VR (77ø) .......996.9555-200/4-5.6 G AF-S (52ø) ........................55-200/4-5.6 G AF-S VR (52ø) ........246.9555-300/4.5-5.6 G AF-S VR (58ø) .....396.95

D-Type AF Lenses14/2.8 D ED .......... 24/2.8 D (52ø).......�������%�����XJUI�)PPE ...........................24/3.5 D ED PC-E (77ø) .............................

28/1.8 G AF-S (67ø) .......................696.9528/2.8 D (52ø)....... 35/2.0 D (52ø).......45/2.8 D ED PC-E Micro (77ø) ....................

D-Type AF Lenses50/1.8 D (52ø)....... 50/1.4 D (52ø).......50/1.8 G AF-S (58ø) .......................216.9550/1.4 G AF-S (58ø) ..................................�������%�.JDSP�������� .........................60/2.8 G AF-S ED Micro (62ø) ....................�������%�����XJUI�)PPE ...........................85/1.8 G AF-S (67ø) .......................496.9585/1.4 D IF (77ø) ........ 85/1.4 G AF-S (77ø) .....105/2.8 G AF-S ED-IF VR Micro (62ø) .........��������%$�%�XJUI�)PPE���� ...................180/2.8 D ED-IF (72ø)................................������%�&%�*'�.JDSP�X�$BTF���� .............200/2 G AF-S ED-IF VR II (52ø) ...................300/4.0 D AF-S ED-IF (77ø) .......................14-24/2.8 G AF-S ED-IF ................1996.9516-35/4.0 G AF-S ED VR (77ø) ......1256.9517-35/2.8 D AF-S ED-IF (77ø) ....................18-35/3.5-4.5 G ED (77ø) ...............746.9524-70/2.8 G AF-S ED-IF (77ø) .......1886.9524-85/2.8-4.0 D IF (72ø) ...........................24-120/4.0 G AF-S ED VR (77ø) ..........1296.9528-300/3.5-5.6 G AF-S ED VR (77ø) .....1046.9570-200/2.8 G AF-S ED-IF VR II (77ø).......2396.9570-300/4.5-5.6 G-AFS VR (67ø) ......586.95�����������%�XJUI�$PMMBS���� ...................80-400/4.5-5.6 D VR (77ø) ........................200-400/4 G AF-S ED VR II (52ø) ................

TC-14E II (1.4x) Teleconverter .....................TC-17E II (1.7x) ..... TC-20E III (2x) ........

EOS Flash System (USA)270EX II .....169.99320EX ...................

430EX II .....299.99600 EX-RT..549.99

MR-14EX Ringlight .....................................5���&9�5XJO�'MBTI ....................... 829.99

EF-S Lenses for Digital Only (USA)/PU�DPNQBUJCMF�XJUI�GVMM�GSBNF�DBNFSBT

60/2.8 USM Macro (52ø) ................ 469.9910-22/3.5-4.5 USM (77ø) .............. 649.9915-85/3.5-5.6 IS USM (72ø) .......... 799.9917-55/2.8 IS USM (67ø) ................. 879.9917-85/4-5.6 IS USM (67ø) ........................18-135/3.5-5.6 IS (67ø) ................ 499.9918-200/3.5-5.6 IS (72ø) ................ 699.9955-250/4.0-5.6 IS USM (58ø) ........ 299.99

EF Lenses (USA)20/2.8 USM (72ø) .......................... 539.9924/2.8 IS USM (58ø) ...................... 599.9928/2.8 IS USM (58ø) ...................... 549.9935/2 (52ø) ................................................35/2 IS USM (67ø) ......................... 599.9950/1.8 II (52ø) ............................... 125.9950/1.4 USM (58ø) .......................... 399.9950/2.5 Macro (52ø)........................ 299.9985/1.8 USM (58ø) ............................ 419.99100/2 USM (58ø) ........................... 499.99100/2.8 USM Macro (58ø) .............. 599.9928-135/3.5-5.6 IS USM (72ø) ........ 479.9970-300/4-5.6 IS USM (58ø) ........... 649.9970-300/4.5-5.6 DO IS USM (58ø) ....................75-300/4.0-5.6 III (58ø) ................. 199.9975-300/4.0-5.6 III USM (58ø) ....................

TS-E MF Lenses (USA)

17/4.0 L ...2499.00

45/2.8 .....1399.00

24/3.5 L II ..2199.00

90/2.8 .....1399.00

EF “L” Lenses (USA)

14/2.8 USM II .............................. 2359.00

24/1.4 II (77ø) ............................. 1749.00

35/1.4 USM (72ø) ........................ 1479.00

50/1.2 USM (72ø) ........................ 1619.00

85/1.2 USM II (72ø) ..................... 2199.00

100/2.8 IS USM Macro (67ø) ........ 1049.00

135/2.0 USM (72ø) ...................... 1089.00

180/3.5 USM Macro (72ø) ............ 1579.00

200/2.0 IS USM (52ø) ...............................

300/4.0 IS USM (77ø) .................. 1449.00

300/2.8 IS USM II (52ø rear) ......................

400/5.6 USM (77ø) ...................... 1339.00

���������'JTI�FZF�64. ................ 1499.00

16-35/2.8 USM II (82ø) ................ 1699.00

17-40/4.0 USM (77ø) .................... 839.99

24-70/4.0 IS USM (77ø) ............... 1499.00

24-70/2.8 USM II (82ø) ................ 2299.00

24-105/4 IS USM (77ø) ................ 1149.00

28-300/3.5-5.6 IS USM (77ø) ...................

70-200/4.0 IS USM (77ø) ............. 1349.00

70-200/2.8 USM (77ø) ................ 1449.00

70-200/2.8 IS II USM (77ø) .......... 2499.00

70-300/4.0-5.6 IS USM (67ø) ...... 1599.00

100-400/4.5-5.6 IS USM (77ø) .... 1699.00

1.4x III Tele ..499.99 2x III Tele ....499.99

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Lumix DMC-GH3� .JSSPSMFTT�4ZTUFN�$BNFSB

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EOS-1Dx D-SLR

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EOS-5D Mark III D-SLR

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Kit with 24-105mm L IS #CAE5D324105..........3999.00 22MegaPixels

EOS-6D DSLR

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Kit with 24-105mm f/4 L #CAE6D24105 ..........2499.00 20MegaPixels

EOS-70D DSLR

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Page 97: Photo pro image

012014

Page 2

The Professional’s Source™

800-336-7520

212-502-6324

Fax:

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Store & Mail Order Hours:

4VOEBZ������t�.PO��5IVST�����'SJEBZ�����&45�����%454BUVSEBZ�$MPTFE

We Buy, Sell, and Trade

UsUseded E Eququq ipippmementnt

Over 300,000 products,at your leisure

XXX�BandH�DPN

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

When in New York,

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420 Ninth Ave.Corner of 34th Street

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When in New York,

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420 Ninth Ave.Corner of 34th Street

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AF LENSESDC�o�GPS�%JHJUBM�4-3T�0OMZ��t��DG РOptimized for Digital SLRs

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DG 15/2.8 EX Diagonal Fish-Eye R #SI1528DG* C, N, P, S, SM 609.00

DG 20/1.8 EX DF RF Aspherical (82¿) #SI2018* C, N, P, S, SM 629.00

DG 28/1.8 EX DF Asph. Macro (77¿) #SI2818M* C, N, P, S, SM 449.00

DC 30/1.4 HSM (62¿) #SI3014DCHSM* C, N, S 499.00

DG 35/1.4 HSM (67¿) #SI3514* C, N, P, S, SM 899.00

DG 50/1.4 EX (77¿) #SI5014* C, N, P, S, SM 499.00

DG 50/2.8 EX Macro (55¿) #SI5028MDG* C, N, P, S, SM 369.00

DG 70/2.8 EX Macro (62¿) #SI7028MDG* C, N, P, S, SM 499.00

DG 85/1.4 EX HSM (77¿) #SI8514* C, N, P, S, SM 969.00

DG 105/2.8 EX OS Macro (62¿) #SI10528MDG* C, N, S, SM 969.00

DG 150/2.8 EX APO Macro OS HSM (72¿) #SI15028AMO* C, N, P, S, SM 1099.00

DG 300/2.8 APO EX HSM #SI30028DG* C, N, P, S, SM 3399.00

DC 8-16/4.5-5.6 HSM #SI8164556* C, N, P, S, SM 699.00

DC 10-20/4-5.6 EX HSM (77¿) #SI102045D* C, N, P, S, SM 479.00

DG 12-24/4.5-5.6 EX Asph. HSM R #SI122445* C, N, S, SM 949.00

DC 17-50/2.8 EX OS HSM (77¿) #SI175028* C, N, P, S, SM 669.00

DC 17-70/2.8-4.0 OS Macro HSM (72¿) #SI1770284DC* C, N, P, S, SM 499.00

DC 18-200/3.5-6.3 OS II HSM (72¿) #SI1820035* C, N, P, S, SM 499.00

DC 18-250/3.5-6.3 OS Macro HSM (62¼) #SI1825035M* C, N, P, S, SM 549.00

DG 24-70/2.8 EX IF HSM (82¿) #SI247028* C, N, P, S, SM 899.00

DC 50-150/2.8 EX APO OS HSM (77¿) #SI5015028* C, N, S 1099.00

DG 50-500/4.5-6.3 APO OS HSM (95¿) #SI50500* C, N, P, S, SM 1659.00

DG 70-200/2.8 EX OS HSM (77¿) #SI7020028* C, N, P, S, SM 1399.00

DG 70-300/4-5.6 Macro (58¿) #SI703004S* C, N, P, S, SM 169.00

DG 70-300/4-5.6 OS (62¿) #SI7030045* C, N, P, S, SM 359.00

12-24mm

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#SIEM140DG* ........................... 379.00

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DX 10-17/3.5-4.5 ATX Fisheye #TO101735CAF #TO101735NAF 669.00

DX 11-16/2.8 Pro II (77¿) #TO111628PCII #TO111628PNII 599.00

DX 12-24/4.0 Pro II (77¿) #TO12244DXC #TO12244DXN 449.00

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Di-II 10-24/3.5-4.5 (77¿) #TA102435* C, N, P, SM $50 449.00**Di-II 17-50/2.8 XR LD IF Asph. (67¿) #TA175028* C, N, P, SM — 499.00

Di-II 17-50/2.8 XR VC LD IF Asph. (67¿) �5"�������2 C, N $50 599.00**

Di-II 18-200/3.5-6.3 (62 ¿) #TA1820035* C, N, P, SM $20 179.00**Di-III 18-200���������7$�������#MBDL�PS�4JMWFS #TA1820035S* SE — 739.00Di-II ���������������7$�1;%������ #TA18270* C, N, SM $70 379.00**Di 24-70/2.8 VC USD (82¿) #TA247028* C, N, SM $100 1199.00**Di 28-75/2.8 XR (67¿) #TA287528* C, N, P, SM — 499.00Di 28-300/3.5-6.3 XR LD (62¿) #TA2830035XD* C, P, SM — 419.00Di 70-300/4.0-5.6 VC USD (62¿) #TA70300* C, N, SM $100 349.00**Di 75-300/4.0-5.6 LD (62¿) #TA753004* C, N, SM — 164.00Di 200-500/5-6.3 LD IF (86C¿) #TA2005005* C, N, SM — 949.00���Y�41�"'�1SP�5FMFDPOWFSUFS #TA14XP* C, N — 224.00�Y�41�"'�1SP�5FMFDPOWFSUFS #TA2XP* C, N — 254.00

Six-Year Warranty

Manual Focus LensesIn Stock – Call for Prices

Alpha A7 DSLR

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Page 98: Photo pro image

98 I Digital Photo Pro digitalphotopro.com

camera or maybe one of the

prosumer models that were bet-

ter, but also large and complex.

The new class of HD-video-

capable DSLRs put incredibly high

image quality into the hands of still

photographers in the form of a camera

that was familiar combined with an

arsenal of lenses they already owned.

Going from still shooting to motion

was a matter of flipping a switch,

rather than changing to a camera with

diminished low-light capacity and

lesser overall image quality. And, of

course, there was the glori-

ous “cinematic look” that

was now accessible. Laforet

and Reverie didn’t destroy

depth of field, but it pointed

the way to a motion look

that hadn’t been achievable to most of

us up to that point.

So amidst all of the chaos of the

past decade, motion capture has

emerged as an area where still photog-

raphers again have a chance to differ-

entiate themselves and their skills

from the throngs of amateurs who

have unwittingly flooded the

market with cheap images. And this

opportunity is golden. Motion is in

demand, and it’s highly valued. To any

still photographer who says that he or

she has no experience with motion, we

say hogwash. What’s a still photogra-

pher if not a director? In this issue of

DPP, Art Streiber describes how he

works as a director constantly, and

Streiber has a lot of company.

If you’ve lamented the erosion of

rates and the diminished demand for

day jobs, flip the switch on your DSLR

to motion and start immersing your-

self in it. It’s not a matter of becoming

a narrative filmmaker. Sure, you could

do that, but clients want all sorts of

other motion. From the condensation

dripping down the side of a cold glass

to the hair flip of a model on the run-

way, motion is a way for you to boost

your worth and your rates. The glory

days of the photo business probably

never will come back, but don’t curse

the darkness; instead, light a candle.

The future is brighter than you may

have thought. DPP

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

occurred in image capture. In the fall

of 2008, Nikon introduced the D90,

and almost simultaneously, Canon

introduced the EOS 5D Mark II.

These DSLRs had one critical similar-

ity. They both could shoot video. In

one of the greatest occurrences of syn-

ergy to hit the photography industry, a

Pulitzer Prize-winning photojournal-

ist got an early 5D Mark II and pro-

duced a short, captivating movie.

Vincent Laforet’s short film Reverie

was an Internet smash. It went viral to

the point where servers were crashing

because of the traffic. At that moment,

everything changed.

DSLRs that can shoot such high-

quality video were a revelation. Many

filmmakers might have paused to ask

what the big deal was—

after all, they were used to

using high-res movie cam-

eras, but for still shooters,

a whole new door was

opening. Up to 2008, the

video camera a still photographer was

likely to use was a dedicated motion

camera with its own interface and

controls. Also, it was likely to produce

mediocre image quality. Still shooters

who carried a video camera in their

bag for occasional motion shooting

probably had a high-end consumer

Misinformation

Moving Targets

>> More On The WebGo to www.digitalphotopro.com

to learn more about cutting-

edge technology and how it’s

changing photography.

The many facets of photography today

Myth:

You Don’t

NeedTo Sho

ot

Motion

Page 99: Photo pro image

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

// FREEDOM MADE BY ZEISS

The moment when you no longer

take pictures, you make them.

This is the moment we work for.

Page 100: Photo pro image

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