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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
Photographed on the 7R. Exposure: 35mm / 1/125 sec / f/5.6 / ISO 400
©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.
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WORKS LIKE A PRO
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
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
—Christopher Robinson, Editor
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
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Assistant Art Director
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Graphic Designer
WWW.DIGITALPHOTOPRO.COM
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Online Director
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Web Art Director
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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
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
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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.
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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
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You coax a shy flower girl out of her shell.
Put the brakes on a runaway ring bearer.
Keep a beautiful bride completely at ease.
And find a way to turn a spontaneous moment
Into a memory that will last forever.
Just to get one shot.
14 I Digital Photo Pro digitalphotopro.com
FirstTakes
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.
FirstTakes
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
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
Shoot the next Hollywood blockbuster with theworld’s most amazing digital cinema camera!
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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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Accessories Built In
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.
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
Ethernet connectivity for remote dimming, from 100% to 0 without any noticeable color
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
high-quality, 16-megapixel Digital Live MOS sensor, the GM1
shoots both still photos and 1080 HD video at 60i/30p. The
metal-alloy frame, with aluminum dials and brushed metal, feels
comfortable in hand and has a stylish retro look. The 3-inch,
1036K-dot LCD screen allows you to set focus and trigger the
shutter via touch sensitivity. Silent Shutter mode reduces shutter
noise while in the field during sensitive moments. Built-in
WiFi connects to your smartphone and tablet for asset transfer,
as well as remote triggering using the Panasonic Image App.
The GM1 also has integrated creative filters, as well as
time-lapse and stop-motion features. List Price: $749. Contact:
Panasonic, www.shop.panasonic.com.
Nikon Df ��
The highly anticipated full-frame Nikon Df utilizes current digital
technology, such as the 16.2-megapixel FX-format CMOS sensor and
EXPEED 3 processor used in the D4, within a classic body design
reminiscent of the Nikon 35mm film cameras. Solid mechanical
controls are used for setting adjustments and controls, returning to a
traditional SLR feel and reducing the need for scrolling through
menus. With a 3.2-inch LCD screen and a glass optical viewfinder,
you utilize the 39-point AF system to shoot up to 5.5 fps for sharp
action shots. With an ISO range of 100-12,800, expandable to
204,800, the Df performs well in low light. Wireless connectivity is
possible with the WU-1a Wireless Mobile Adapter for instant sharing
or remote triggering. The Df is backward-compatible with classic
Ai and non-Ai Nikkor lenses, as well as current AF, AF-S, DX and
AF-D lenses. Purists may appreciate that the camera doesn’t
offer video capabilities. List Price: $2,749 (body only). Contact:
Nikon, www.nikonusa.com.
“With the E-M1’s new Dual AF System,
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-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
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The blazing fast revolutionary
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Move into a New World
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.
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
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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.
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…
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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us
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
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
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
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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co M
art
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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us
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
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.
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
digitalphotopro.com January/February 2014 I 35
Rodenstock: Vario ND Filters. Calibrated in actual F stops 1.5 to 5. 12 layer multicoated. Extremely smooth rotation. Anodized aluminum mount.
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are made for durable, wide-range use.
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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)
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)
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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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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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(Cont’d on page 93)
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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
digitalphotopro.com January/February 2014 I 43
Portfolio
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
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.
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.
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.
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.
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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,
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
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
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
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
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
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
58 I Digital Photo Pro digitalphotopro.com
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.
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.
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.
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
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
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
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Photo: Ashley DuChene
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
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
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.
twitter.com/digitalphotopro
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(Required by 39 U.S.C. 3685)
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.
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70 | Digital Photo Pro digitalphotopro.com
Illustrating the dramatic impact that even a subtle change can bring to a photograph, commercial lifestyle photographer Corey Rich spent a day working out
with cross-trainer Del Lafountain to capture a series of high-impact shots
of the towering athlete as he muscled through several hundred kettlebell
repetitions. Ultimately, despite an extended sequence of well-executed, me-
ticulously composed shots, only one 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
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
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.”
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.”
AMERICANTHE
Photo by Michael Sherman
The 2013 American Landscape Photo Contest Winner
Presented By
LANDSCAPE2014 THIRD ANNUAL PHOTO CONTEST
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Photo by Jeff Stasney
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Photo by
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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.
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.
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
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
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
� 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)
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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
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.
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
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.
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
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.
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
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
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
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>> 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
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)
PhotoProDIGITAL
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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
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
EF-S USM Digital Lens
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AF Flashes4#���� ...... 146.95
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4#���� ...... 546.953��8JSFMFTT�5XJO�'MBTI ...............................3�$��8JSFMFTT�5XJO�'MBTI�4ZTUFN ...............
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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Body Only........................................... #PADMCGH3B 16MegaPixels
EOS-1Dx D-SLR
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Body Only #CAE1DX* .......................................6799.00 18MegaPixels
EOS-5D Mark III D-SLR
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Body Only #CAE5D3* ......................................3399.00
Kit with 24-105mm L IS #CAE5D324105..........3999.00 22MegaPixels
EOS-6D DSLR
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Body Only #CAE6D ..........................................1899.00
Kit with 24-105mm f/4 L #CAE6D24105 ..........2499.00 20MegaPixels
EOS-70D DSLR
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Body Only #CAE70D ........................................ 1199.00
Kit with 18-55mm STM #CAE70D1855 ............1349.00 20MegaPixels
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#OLEM1* 16MegaPixels
012014
Page 2
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AF LENSESDC�o�GPS�%JHJUBM�4-3T�0OMZ��t��DG РOptimized for Digital SLRs
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H�o�)4.�.PEFM�XJUI�$BOPO �/JLPO �4JHNBR�o�3FBS�4MJQ�JO�(FMBUJO�'JMUFS�4MPU SKU # Available for Price
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
f/4.0 AT-X Pro II DX Digital Lens
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#TO12244DX* ........................... 449.00
285HV Professional
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for Canon, Nikon,
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#SIEM140DG* ........................... 379.00
10-20mm f/4-5.6
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Pentax, Sigma, Sony/Minolta
#SI102045D* .............................479.00
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for Canon, Leica, Nikon, Olympus,
Pentax, Sony #LEMU* .............149.95
17-50mm f/2.8
XR LD-IF Di II Digital Lens
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#TA175028* .............................. 499.00
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Olympus, Panasonic, Pentax,
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18-200mm f/3.5-6.3
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D4 DSLR
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D800 D-SLR
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Alpha NEX-6 Mirrorless System Camera
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D610 DSLR
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#PEZ�0OMZ #NID610 ............................................ 1996.95
,JU�XJUI������NN�73�-FOT #NID6102485 .......... 2596.95 24MegaPixels
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FX 100/2.8 Pro D Macro (52¿) #TO10028PCAF #TO10028PNAF 489.00
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
FX 16-28/2.8 Pro (77¿) #TO1628FXC #TO1628FXN 699.00
FX 17-35/4 Pro (82¿) #TO1735F4FXC #TO1735F4FXN 549.00
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#PEZ�0OMZ� #NID7100 ...........................................1199.95
,JU�XJUI�������NN�73� #NID710018105 ............. 1599.95 24MegaPixels
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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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Body Only ............................................#SOA7B
Kit with 28-70mm Lens ......................#SOA7KB 24MegaPixels
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
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.