PHOTO CONTEST WINNERS

P.58

THE KEY TOPERFECTLANDSCAPES:

TREES

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EASY PHOTOSHOP STEPS FOR ALL YOUR IMAGES

OF THE

SIMPLEPORTRAITLIGHTING P.42

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P.52

FULL TEST

P.77

6

Sony Alpha 7R Redefining Full-Frame Photography

GEAR TESTS Canon EF 24–70mm

f/2.8L II P.90

Pentax K-3

P.82

NX300. A STEP AHEAD OF DSLR.

samsung.com/us/nxseriesNX300 available in black, white and brown.

© 2014 Samsung Electronics America, Inc. All rights reserved. Samsung is a trademark or registered trademark of Samsung Electronics Co., Ltd. All products and brand

names are trademarks or registered trademarks of their respective companies. Screen images simulated. Appearance of device may vary. Features and speci cations

are subject to change without prior noti cation. Based on results from models in the same price range: Nikon D5200, Canon EOS-100D, Canon EOS-700D.

Higher Frame Rate

With 8.6fps continuous shooting,

the NX300 lets you capture the

moments within the moment with

a series of brilliantly clear stills.

Easier Sharing

Dual-band Wi-Fi® capabilities and

a dedicated Direct Link hot key let

you quickly share images with your

Samsung devices and the world.

Faster Autofocus

A Hybrid AF (autofocus) system

combines phase and contrast

detection for faster and more

accurate autofocusing.

Shoot fast. Share faster.

6-time Olympic gold medalist and world record holder

58 GAME CHANGER Its size is the only thing

diminutive about our Camera

of the Year for 2013. Everything

else about the Sony Alpha 7R

is massive, from its imaging

capabilities to its potential for

changing photography as we

know it. By Dan Richards

52 THE MAN WHO

LOVES TREESEnmeshed in a lifelong arboreal

love affair, a landscape pro

tells you how to compose,

expose, and generally flatter

solo or grouped trees of

every ilk. By Charlie Waite

74 TEN BEST

FINE-ART PAPERSOften what you print on can be

just as important as what you

shoot. Here are our favorite

inkjet papers from glossy

to matte, and everything in

between. By Andrew Darlow

FEATURES63 THE 20TH

ANNUAL READERS’

PHOTO CONTEST Landscapes, portraits,

action, wildlife, architecture,

and still lifes: Our readers

master them all!

By Mathew Ismael Ruiz

HOW TO MAKE GREAT PICTURES JANUARY 2014 VOLUME 78, NO. 1

JANUARY 2014 POPULAR PHOTOGRAPHY 3POPPHOTO.COM

NEXT13 WE WANT THIS The Nikon Df: A DSLR that’s equal parts retro and futuristic.

14 JUST OUT A super speedy normal Nikkor, another (!) Fujifilm X camera, a studio strobe with TTL control, and more.

18 ROUNDUP Five of today’s coolest photo accessories for smartphones.

SHARE21 PHOTO CHALLENGE We were suckers for our food photo winner.

22 MY PROJECT He reinterprets classic botanical prints in the studio.

26 I, PHOTOGRAPHER Stalking the red carpet: nice work, if you can get it.

28 LETTERS Your thoughts on photo gear and the rise of the camera phone.

30 TECH TALK A potpourri of helpful answers to questions from our readers.

HOW35 CREATIVE THINKING Experiment with lighting tools to produce magical effects from reflective surfaces.

36 FIX IT FAST Bring out the cloning tools when dueling subjects compete.

38 TIPS & TRICKS See how reflections can show you elements of a scene that you hadn’t seen before.

40 TRAVELING PHOTOGRAPHER Find out how there’s more than skiing to Sun Valley, ID.

42 LIGHTING Put the focus on your portrait subjects with this simple but effective form of portrait lighting.

44 SOFTWARE WORKSHOP Follow these first crucial steps on any image you start to edit.

48 YOU CAN DO IT Try these sure-fire techniques for moody still-life setups.

LAB77 ILC TEST Sony Alpha 7R No surprise here: Our Camera of the Year passed all our tests with flying colors.

82 DSLR TEST Pentax K–3 The newest Pentax flagship sails into port, weather-sealed and ready for action.

90 LENS TEST Canon EF24–70mm f/2.8L II USM Canon upgrades a pro favorite with mixed results.

92 LENS TEST Fujifilm Fujinon XF 14mm f/2.8 R The widest lens for Fujifilm’s X cameras is a winner.

DON’T MISS . . .6 EDITOR’S LETTER

10 SHOWCASE

106 TIME EXPOSURE

112 BACKSTORY

POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), January 2014, Volume 78, Issue 1, is published monthly by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage paid at New York, NY and additional mailing offices. Authorized periodicals postage by the Post Office Department, Ottawa, Canada, and for payment in cash. POSTMASTER: Send address changes to Popular Photography, P.O. Box 420235, Palm Coast, FL 32142-0235; www.PopPhoto.com/cs. If the postal service alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. Publications Mail Agreement No. 40052054. Return undeliverable Canadian addresses to: IMEX, P.O. Box 25542, London, ON N6C 6B2. SUBSCRIP-TION SERVICES: Visit www.PopPhoto.com/cs to manage your account 24/7.

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4 POPULAR PHOTOGRAPHY JANUARY 2014 POPPHOTO.COM

22

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editor’s letter

‘Pro’ is a State of MindIt happens every year. In the weeks after our Janu-

ary issue, when we showcase the winners of our

Annual Readers’ Photo Contest, I get a handful of

letters asking why we don’t have separate catego-

ries for professional photographers and amateurs.

After all, with the occasional big-name pro such

as Peter Lik and Rodney Lough Jr. entering—and

winning prizes—what ordinary camera-toting

enthusiast stands a chance?

Well, this year our winners were anything but ordinary, yet seven of the

eight, it turns out, are not professional photographers. Among them you’ll

fnd a college student and a retired music teacher, a hedge fund manager, a

police offcer, and a self-described housewife. Even the winner of the $1,000

Grand Prize is a photo enthusiast, not a pro. Their images stood out among

the more than 2,000 entries the contest received and we didn’t learn of their

varied professions until after we’d interviewed them for our story. (The

article starts on page 63; to see a gallery of both winners and runners-up, go

to PopPhoto.com/readerscontest2013winners.)

Over the years, I’ve heard a number of pro shooters say that their job is

getting harder as they face competition from amateurs armed with a good

camera and a little luck. That’s undoubtedly true. But in the case of our

contest, I attribute the winners’ success to a lot more than that.

Yes, these enthusiasts shot with terrifc and sometimes pro-level gear. But,

more to the point, they chose the appropriate equipment—cameras, lenses,

often a tripod, a few lights—to get the photo they wanted. They applied soft-

ware carefully, whether just for a subtle fne-tuning or for more dramatic

effects. And they made their own luck by taking pains either to set up the

shot or to get to the right place at the right time and then to wait for the all-

important decisive moment. In every case, the winners worked the scene,

trying different camera angles, focal lengths, exposure settings, and the like

to ensure that they captured as excellent an image as they could.

One of the roles of Popular Photography is to blur the sometimes sharp

boundary between pro and non-pro photographers. We do this by provid-

ing our vast audience of readers with tough-minded and rigorous analysis

in our camera and lens testing, mentorship from accomplished shooters

and image editors who give you their tips and ideas, and encouragement

to share your experience and your best shots. No matter who you are, how

many years you’ve been photographing, or what camera you use.

NewsstaNd Our 2013 Camera of the

Year, Sony’s Alpha 7R, shook up the world

of photography this fall. Satoshi shot the

cover and images on pages 58 and 77.

subscriber Karen Harris angled to

photograph this ram against a snowbank

for her Avedonesque portrait, winning the

Animals category in our contest, page 63.

POPPHOTO.COM6 popular photography january 2014

For customer service aNd subscriptioN questioNs,such as Renewals, Address Changes, Email Preferences, Billing and Account Status,

go to: popphoto.com/cs. You can also call 800-876-6636, email us at popularphotography@emailcustomerservice.com, or write to Popular Photography, P.O.

Box 420235, Palm Coast, FL 32142-0235

Editor-in-chiEf MiRiAM LEuChtERArt dirEctor Jason Beckstead

SEnior Editor Peter Kolonia

SEnior Editor Dan Richards

fEAturES Editor Debbie Grossman

tEchnicAl Editor Philip Ryan

tEchnology MAnAgEr Julia Silber

ASSociAtE Editor Matthew ismael Ruiz

group photo Editor thomas Payne

ASSiStAnt photo Editor Linzee Lichtman

dESignEr Wesley Fulghum

EditoriAl coordinAtor Jae Segarra

contributing EditorS Laurence Chen, tim Fitzharris,

Lori Fredrickson, ian Plant, Jeff Wignall

popphoto.coM Editor Stan horaczek

ASSiStAnt onlinE Editor Dan Bracaglia

in MEMoriAM herbert Keppler

ExEcutivE vicE prESidEnt ERiC zinCzEnKO

ASSociAtE publiShEr AnthOnY M. RuOtOLO Anthony.Ruotolo@bonniercorp.com

chiEf MArkEting officEr Elizabeth Burnham Murphy

ASSociAtE publiShEr, MArkEting Michael Gallic

finAnciAl dirEctor tara Bisciello

photo And trAvEl MAnAgEr Sara Schiano Flynn

Northeast advertisiNg oFFice

Shawn Lindeman, Frank McCaffrey, Chip Parham

Ad ASSiStAnt Amanda Smyth

midwest MAnAgErS Doug Leipprandt, Carl Benson

Ad ASSiStAnt Mojdeh zarrinnal

west coast accouNt MAnAgEr Bob Meth

Ad ASSiStAnt Sam Miller-Christiansen

detroit MAnAgErS Edward A. Bartley, Jeff Roberge

Ad ASSiStAnt Diane Pahl

AdvErtiSing coordinAtor irene Reyes Coles

dirEctor of cuStuM SolutionS noreen Myers

gEnErAl MAnAgEr digitAl buSinESS dEvElopMEnt Shannon Rudd

digitAl opErAtionS dirEctor Rochelle Rodriguez

digitAl cAMpAign MAnAgErS Yvonne hunte, Ed Liriano, Wilber Perez

digitAl SAlES MAnAgEr Elizabeth Besada

SEnior digitAl coordinAtor Maureen O’Donoghue

group SAlES dEvElopMEnt dirEctor Alex Garcia

SAlES dEvElopMEnt MAnAgErS Kate Gregory, Charlotte Grima, Kelly Martin

crEAtivE SErvicES dirEctor ingrid M. Reslmaier

MArkEting dESign dirEctorS Jonathan Berger, Gabe Ramirez

MArkEting dESign MAnAgEr Sarah hughes

digitAl dESign MAnAgEr Steve Gianaca

group EvEntS And proMotionS dirEctor Beth hetrick

EvEntS dirEctor Michelle Cast

EvEntS And proMotionS MAnAgEr Eshonda Caraway-Evans

ASSiStAnt EvEntS & proMotionS MAnAgEr Vanessa Vazquez

EvEntS coordinAtor Christine Detris

conSuMEr MArkEting dirEctor Bob Cohn

rEtAil SinglE copy SAlES: procirc rEtAil SolutionS group tony DiBisceglie

huMAn rESourcES dirEctor Kim Putman

production MAnAgEr Betty Dong

group production dirEctor Laurel Kurnides

chAirMAn Jonas Bonnier

chiEf ExEcutivE officEr Dave Freygang

ExEcutivE vicE prESidEnt Eric zinczenko

chiEf contEnt officEr David Ritchie

chiEf finAnciAl officEr nancy Coalter

chiEf opErAting officEr Lisa Earlywine

chiEf brAnd dEvElopMEnt officEr Sean holzman

vicE prESidEnt, conSuMEr MArkEting Bruce Miller

vicE prESidEnt, corporAtE coMMunicAtionS Dean turcol

gEnErAl counSEl Jeremy thompson

This producT

is from susTainably

managed foresTs

and conTrolled

sources.

CPS - Camera Protection SystemThe center of a camera bag is its most vulnerable

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Exo-Tough ConstructionThe outer face of all Manfrotto Professional bags has

a rigid and strong multi-layered construction to protect

your gear against impact. Backpacks, rollers and

shoulder bags have reinforced feet providing even

more protection for your equipment.NO PURCHASE NECESSARY TO ENTER OR WIN. VOID WHERE PROHIBITED. Sweepstakes begins 12:01 AM Eastern Time (EDT) November 1, 2013 and ends at 11:59 PM

Eastern Time (EST) on February 28, 2014 (the “Sweepstakes Period”). Sweepstakes is offered only in the fifty (50) United States (and the District of Columbia). Residents of

Puerto Rico are ineligible. Must be a legal U.S. resident and at least 21 years or older to enter. One Grand Prize: One (1) 2014 GMC Acadia (APR: $34,050) ; Two First

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Free tripods (APR: $200 per tripod. Total ARV: $112,765. The odds of winning are determined by the total number of Eligible Entries received. For complete details,

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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.

All other trademarks are trademarks of their respective owners.

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

Interchangeable lenses. 36MP. OLED viewf nder. Wi-Fi sharing—all in a compact body

that will change your perspective entirely. Power of imaging. Be moved.

See the difference for yourself at www.sony.com/a7experience

A NEW FRAME of MIND.

Sony® 7R Compact Full-Frame Interchangeable Lens Camera

10 popular photography january 2014

da

n b

ra

ca

glia

showcase * Sony alpha 7r

JUMP SHOT

Dan Bracaglia, our assistant online editor, made this photo at Clearview horse Farm

in Shelbyville, tn, during a media excursion hosted by Sony that gave journalists and

bloggers the chance to try its latest cameras and lenses. he captured this riding

demo with the new Sony alpha 7r and 28–70mm f/3.6–5.6 Sony FE oSS lens zoomed

wide to 28mm. an exposure of 1/800 sec at f/3.5, ISo 500, froze the action. For our

full lab and field test of the alpha 7r—our Camera of the year—see page 77.

POPPHOTO.COM popular photography 11

The moment a passion

becomes the love of your life.

This is the moment we work for.

Touit 2.8/12 and Touit 1.8/32

Introducing the new ZEISS Touit lenses—for photographers who are passionate about their image

making. Designed for the Sony NEX and Fujifi lm X Series cameras, these luxurious autofocus lenses

deliver the legendary precision and performance of ZEISS optics, for stunning images that go straight

to the heart.

www.zeiss.com/touitfascination

// FASCINATION MADE BY ZEISS

BANKING ON nostalgia, Nikon looked back some 40 years to its classic F line when designing its latest DSLR. Inside the new Df is the same 16.2-megapixel full-frame sensor and processor

that’s in Nikon’s top-of-the-line D4. And the Df promises similarly excellent images, including low-light capability up to ISO 204,800.

But what’s missing? The Df holds only a single SD card, and its 39-point autofocus system resembles that of Nikon’s new D610, rather than the D4’s 51-point version. Video also ends up on the cutting-room floor.

16.2MP full-frameCMOS sensor Expeed 3 Processor3.2-inch, 921,000-dot LCD$2,747, street, body onlynikonusa.com

This is truly an SLR for lovers of Nikon’s old school—a collapsible exposure-meter coupling makes it compatible with vintage Nikkor lenses, and the shutter button accepts threaded remote triggers. Get the body only (in all-black or with silver trim), or in a kit with a retro-styled, special-edition 50mm f/1.8G lens ($2,997, street).

WE WANT THIS

ALL NEW FNikon gets in on the retro game

POPPHOTO.COM JANUARY 2014 POPULAR PHOTOGRAPHY 13

14

16

FUJIFILM’S NEW X-TRANS MEETS X-MOUNT

NIKON WOWS WITH A PRICEY NEW PRIME

ACCESSORIZE YOUR SMARTPHONE CAMERA

18

Mini LuMixPanasonic’s new Lumix GM1

is one of the smallest Micro

Four Thirds models we’ve seen

to date, but its 16MP Live MOS

sensor and Venus processor are

identical to those in the larger,

higher-end Lumix GX7.

This interchangeable-lens

compact weighs just 0.6 pounds

with a battery, SD card, and

12–32mm f/3.5–5.6 Pansonic

G Vario Mega O.I.S. kit zoom

attached. The new lens was

A high-powered miniature ILC for Micro Four Thirds

Panasonic Lumix GM1

$749, street, with 12–32mm f/3.5–5.6

panasonic.net

* just out next

14 PoPuLar PhotoGraPhy january 2014 POPPHOTO.COM

Optimize ItFujifilm’s Lens Modulation optimizer uses the optical characteristics of each lens to adjust in-camera image processing and sharpening. this combats diffraction and aberrations when capturing jPEGs. usually performed in desktop software, the process happens in this camera for sharper images whether the aperture is wide open or almost closed. It works with all X-mount lenses.

InsIdE tEch

> Tamron

announced the

development

of a new

150–600mm

f/5–6.3 zoom,

now this

maker’s longest

telephoto lens.

It packs 20

elements (three

of them low

dispersion)

into 13

groups

and sports

its Ultrasonic

Silent Drive

motor, eBand

coating, and

Vibration

Compensation.

inside jobA sensor and processor update for a Fujiflm ILC

FujiFiLM’s Latest X-mount ILC,

the 16MP X-E2, looks almost

identical to its predecessor, the

X-E1. Its magnesium-alloy body,

2.36-million-dot OLED finder, and

most of the buttons remain in

the same places as the X-E1. But

the X-E2’s X-Trans II CMOS

sensor and EXR Processor

II make their X-mount

camera debut here.

We first saw the new

X-Trans in the fixed-lens

X100S, which (with the X20) was

the first model to use Fujifilm’s

Lens Modulation Optimizer (see

Inside Tech, right). The X-E2 has

built-in Wi-Fi, 1920x1080p60

video at up to 36Mbps, and a new

3-inch, 1.04-million-dot rear LCD.

designed specifically for the

GM1, whose 3.88x2.16x1.20-inch

magnesium-alloy body would

create an odd balance with

bulkier glass. It has no manual-

focus ring, so you’ll need to get

used to focusing manually with

a slider on a touchscreen, made

easier by the GM1’s picture-in-

picture magnification and focus-

peaking features. The body size

is also responsible for the limited

speed of the mechanical shutter,

which tops out at 1/500 sec.

It may be small, but the GM1 still manages to house a pop-up flash.

Fujifilm X-e2

$999, street, body only

www.fujifilmusa.com

Move into a New World

I N T R O D U C I N G

A C A M E R A A S

P R O F E S S I O N A L

A S Y O U A R E .

The exceptionally professional

Olympus OM-D E-M1 gives you

the power to accurately and sharply

capture the detail and beauty in

any image. Now you can turn the

smallest aspects of a photo into

a powerful story with the new

Dual Focus 16 Megapixel Sensor,

TruePic VII high performance image

processing engine, and Fine

Detail Processing. These ensure

that each picture you take will be

clear, precise, and exceed your

expectations. But don’t take our

word for it; you need to try the

OM-D E-M1 to believe it.

www.getolympus.com/em1

• One of the smallest and lightest bodies

in its class at 17.5 ounces*

• Built-in Wi-Fi

• Full system of premium,

interchangeable lenses

*E-M1 body only

“When the Pulitzer Center on Crisis Reporting

awarded me a grant to pursue a project on child

labor, I chose the Olympus OM-D. It’s so small and

responsive, it became an extension of my eye. It

allowed me to capture amazingly crisp, clear images

and the details I needed to tell my story. “

-Larry C. Price, Olympus VisionaryShot with an OM-D.

lens, which has nine elements (two aspherical) in six groups, will control light falloff across the entire frame and retain sharpness, even at maximum aperture. It ditched the aperture ring and added a Silent Wave autofocus motor as well a coating

to reduce ghosting and flare. Given a street

price approaching $1,700, we hope to see excellent SQF results in our test lab.

The Zeiss Otus has some company. Nikon says that its new 58mm f/1.4G, an update to the AI Noct Nikkor 58mm f/1.2 released in 1977, recreates the classic optic’s signature minimization of sagittal coma flare, common when shooting point light sources in dimly lit environments. Nikon claims that its new

Coma KillerA classic lens is reborn, with some tweaks

> The FAA has

approved

camera use

during all

phases of air

travel, so you

can now snap

some pictures

from below the

clouds.

> Everpix is

apparently not

forever. The

photography

storage cloud

service is

closing up

shop, leaving

users to find

a new place

to collect

all of their

images.

> The SD

Association

announced its

Ultra High

Speed (UHS)

Speed Class 3

(U3)

specification.

Requiring a 30

MB/s

constant

minimum write

speed, the

specification is

designed to

indicate

whether a card

can handle 4K

video.

> A study by

the University

of Texas at

Dallas

published in

Psychological

Science

determined

learning digital

photography

and editing

skills helps

improve

memory in

older people.

Wire-Free

next * just out

POPPHOTO.COM

Nikon 58mm f/1.4G

$1,697, street

nikonusa.com

ANdroid oUsTer?At this year’s Tizen developer summit

in seoul, south Korea, samsung

revealed that its forthcoming NX300M

smart camera runs a modified build of

the Linux Foundation’s Tizen software,

an open-source, Linux-based operating

system. The news could signal a shift

towards independence from Google’s

Android os, which powers samsung’s

Galaxy and Galaxy NX cameras along

with most of its mobile devices.

the lowdown

ProFoTo LiGhTs have long been the strobe of pros, and typically they stay put in a studio. But with its new B1 system, Profoto wants you to take the studio on the road, giving you the power of a monolight with the flexibility of a speedlight. Fully wireless, with an operating range of up to 1,000 feet, the B1 supports manual or TTL control of up to three groups. Attaching the optional Air Remote TTL to your camera’s hot-shoe gives you through-the-lens point-and-shoot automation

of the B1’s output. The Canon version of the remote is available now; a Nikon version is on the way.

At lower power settings, the battery-powered B1 can fire up to 20 flashes per second. At full power, the B1 will recycle in less than 2 seconds. Profoto claims that the battery will provide up to 220 full-power flashes per charge.

Profoto’s newest monolight cuts the cord

16 PoPULAr PhoToGrAPhy

Profoto B1 500 Air TTL

$1,995, street

profoto.com/us

Picture PerfectonOne Perfect Photo Suite 8

For even the most avid user of an editor such as Adobe Photoshop or Apple Aperture, some tasks are best done by a plug-in. onone’s app suite, which can enhance, enlarge, or convert your image to b&w, has an update (from $80; www.ononesoftware.com) with some cool improvements. there’s a new Perfect enhance module for basic tasks, and the new Perfect eraser that replaces unwanted elements. works as a standalone program, too.

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Dramatically Better than DSLR Video

The Blackmagic Cinema Camera includes a large 2.5K

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POPPHOTO.COM18 popular photography January 2014

> Getty Images has partnered up with The Echo Nest, the industry’s largest music intelligence company, to offer a fixed-price license to thousands of photos of musicians for its customers’ (think MTV and the BBC) websites and apps.

> Nikon’s new D610 is a 24.3MP full-frame DSLR with a 39-point autofocus system, Nikon’s Expeed 3 image processor, and a new shutter with 6-fps bursts and a new Quiet Continuous Shutter mode. It sells for $1,997, street, body only.

> Due to a decrease in demand for high-end cameras, Nikon cut its full year-end sales forecast for the second time this year.

> Adding 35 million accounts to its initial estimate, Adobe said more user accounts got hacked, urging customers to change their passwords.

In the age of the digital darkroom, the computer is one of the most important tools a photographer will use. For years, the Mac Pro (née PowerMac) has been the pro’s tool of choice. Now radically redesigned, the new tower is just under 10 inches tall and comes in 3.7-GHz quad- ($2,999 from store.apple.com) and 3.5-GHz six-core ($3,999) configurations. The blazing PCIe-based flash memory for storage runs more than twice as fast as an SSD. Dual AMD FirePro D500 graphics cards can push pixels to up to three 4K or six Thunderbolt displays via an HDMI 1.4 port or the six-port Thunderbolt bus. The tubular thermal-core design requires only a single fan, but will limit most upgrades to your external devices.

Apple fnally updates its pro line of desktops

toolbox

61%

Source: PhotoShelter/Agency Access’ What

buyers Want From Photographers 2013 survey

Photojojo Pocket Spotlight $30 This 2.5x1.5-

inch, uSB-charging LED mounts to your headphone jack. Photojojo

promises up to an hour of light on a full charge, and an optional

eight-pack of acrylic color filters can be used over the light or lens.

Manfrotto Klyp $100 a continuous, soft, daylight-

balanced LED panel for your iPhone, it’s paired with a case that

has a 1/4-inch thread adapter that mounts on most tripods. at 3

feet from a subject, the panel is rated at 20 lumens, and a free

iOS app lets you take photos by clapping.

Olloclip 4-in-1 Lens $70 Olloclip upgrades its iPhone

lens system to four configurations from three. The wide-angle

doubles the field of view; the fisheye does 180 degrees. Doff these

and the mount becomes a macro setup, with 10X and 15X sides.

Tether Tools TabStrap $90 This strap lets you sling a

tablet across your neck or shoulders for quick access to all your apps

while shooting (or assisting). It sports a locking aluminum carabiner

for quick, secure fastening, but it works only with the Wallee case for

apple iPad and Samsung Galaxy tablets (sold separately).

iPro Lens Series 2 Trio $229 The newest iPhone

lens kit from Schneider Optics consists of three lenses (macro,

super wide-angle, and 2X telephoto) that twist on and off a hard

protective phone case. a multi-layer coating reduces flare, and the

case for the lens serves as a grip or tripod mount.

For many people, a smartphone has become their most-used camera. And while smartphone camera technology is rapidly improving, there’s still room for an extra boost—lenses can go wider and longer, and you often need a light when shooting at night. These add-ons can help augment your device’s picture-taking potential:

47 %of buyers at ad agencies say it’s important to hire a photographer who can also shoot video

of photo buyers say they try to hire new photographers

KLyP-On The case included with Manfrotto’s Klyp system lets you mount your phone to most tripods.

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22

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26

classic Botanical studies

shooting stars in puBlic

Your Questions answered

RawFood

january 2014 popular photography 21POPPHOTO.COM

photo challenge

an

a L

uis

a s

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Dinner makes a pit-stop in a photographer’s home studio

a while back, Ana Luisa Szilagyi started

photographing “semi-transparent” fruits.

She liked the results so much that the

36-year-old photographer from White

Plains, NY, now shoots all kinds of things

that have a bit translucence to them this

way for her series called See Through…

Her shot of a baby octopus, bought

from a grocer, was inspired by her New

Year’s menu, which led her to add sea-

food, vegetables, and other ingredients to

the growing series. “The octopus was my

favorite,” Szilagyi says. “Its shape, texture,

and translucence made it easy, and a

beautiful one to photograph.”

To accentuate the cephalopod’s

translucent body, she shot in her kitchen

against the light source (a strobe with a

soft box, with a refector for fll) using a

Nikon D800 and Tamron 28–75mm f/2.8

lens. Her exposure (1/80 sec at f/4.5, ISO

100) set the delicate tentacles off the crisp

white background and managed to whet

our carnivorous appetites—two reasons

it won our challenge for your best food

photography. —Matthew Ismael Ruiz

In “the Man Who loves trees,” (page 52) charlie Waite shows off his gorgeous environmental tree portraits. Send us your best

photos of trees by January 31—you could win $100, and your photo here. Read the rules at popphoto.com/Rules.

Classic RootsWilliam Rugen is a commerical and fine-art photographer. See more at williamrugen.com.

William RUgen has seen nature

up closer than most—before

transitioning into a photography

career in 2005, he worked for

nearly 20 years as a fisheries

biologist. But his New Botanicals

series was the Seattle-based

pro’s first foray into plant life,

inspired partly by his interest in

the graphic quality of flowers

and leaves as well as his lifelong

interest in scientific prints. His

inclusion in a 2009 group show

prodded him to make new work

and jump-started the project.

“There’s something about

seeing a plant out of its context

that really shows its life,” says

Rugen, who works full-time for

Motofish Images. And seeing the

roots, he adds, “shows you that

there is a bit of ugliness needed to

create anything of value.”

His first subject, a daffodil—

which has a relatively clean

A photographer reinterprets botanical prints in the studio

Wil

lia

m R

ug

en

(1

2); m

ich

ae

l c

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oR

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)

22 popUlaR photogRaphy JanuaRy 2014

share * my project

bulb—gave him “an unrealistic

view of how long the process

can take,” he jokes. Most plants

are much more difficult to prep.

After hunting a subject out at a

nursery, it can take him up to an

hour to wash and prune roots

that may be fragile—such as a

heliotrope and a bleeding heart—

or tangled, in the case of a shrub.

From there, he has about an

hour to shoot before his subject

wilts, no easy feat with his setup.

To create a “floating look,” he

usually suspends these in front

of colored backdrops using a

Manfrotto Magic Arm, Super

Clamps, and a fondue fork.

He occasionally positions and

reattaches leaves and stems with

fishing wire. Rugen uses a mix of

Profoto and Comet lights, along

with foam-core for bounced fill,

which usually requires some

fussing. If the plant survives being

planted afterwards in his garden,

he adds, “it was a success.”

Masking in Adobe Photoshop

can take from 10 to 12 hours. But

after seeing his first four prints

on the gallery wall, Rugen was

hooked. He has since continued

the series and is now working

with some local specialists on a

new goal: capturing a small tree.

Suspending plants, Rugen says,

puts their above-ground elements

into better proportion—typical

garden views pay more attention

to the flowers than the leaves.

More importantly, seeing the

roots, he says, “reminds you that

its crazy tangle of material makes

the complex plant you see.”

—Lori Fredrickson

Clockwise, from top left: spurge; New Zealand flax; ranunculus; hellebore; heliotrope; dusty miller; Alberta spruce; barberry; bleeding heart; calla lilly; daffodil; dahlia.

popphoto.com popUlaR photogRaphy 23

UyUni, Bolivia16-35mm, ISO 800, f/8, 1/60 sec

JokUlsarlon, iceland16-35mm, ISO 1600, f/2.8, 15 sec

antarctica la Mer channel

28-135mm, ISO 800, f/3.5-5.6, 1/60 sec

Working With the canon eos 5d Mark iiidslr caMera

A LeAding Pro TeLLsHis AmAzing sTory

John Paul Caponigro is a world-renowned landscape photographer

who considers himself an environmental artist. “Many see my fne

art images as surreal,” observes Caponigro, “but I think it refects a

universal visionary sensibility that is resurfacing in our culture. I relate

to all of nature as a living thing, and my work is born out of a sense of

wonder for being part of it all. My goal is to present sublime landscape

experiences that remind us we’re a vital part of this miraculous planet.”

For more inFormATion, visiT Usa.canon.coM/eos

“The frst image was taken on the Uyuni salt fats

in Bolivia late in the day. After spending several

days in the high deserts of the Altiplano (up to

15,000 feet altitude) and a full day on the largest

salt fats in the world (up to 100 miles wide) we

fnally found water, which mirrors the sky above.

Up and down were so similar visually. Beneath a

glassy liquid surface was a white crystalline surface

cracked in patterns reminiscent of lightning bolts.

The Canon EOS 5D Mark III DSLR camera paired

with an EF 16-35mm f/2.8L II USM lens allowed

me to take in more of the vast spaces I found

myself in. The second image, of a magnifcent

Aurora Borealis display, was taken in Iceland.

Shooting the Aurora was a truly sublime

moment—it was as though God was playing with

a rheostat! I shot it on a tripod at ISO 1600 with

the Canon EF 16-35mm f/2.8L II USM lens at an

exposure of around 15 seconds. The fnal image,

shot with an EF 28-135mm f/3.5-5.6 IS USM lens,

of a glaciated landscape, was shot near dark while

slowly drifting through the La Mer Channel in

Antarctica,” recalls Caponigro, “I think it conveys

a sense of the extraordinary transcendent

presence of the place.”

“Capturing these images would have been

impossible without my Canon EOS 5D Mark III

DSLR, the camera I rely upon to create

exceptional images under the most challenging

conditions,” says Caponigro. “Its very clean high

ISO performance is outstanding—it’s a game

changer that gets me into a quality of light that

has only recently been explored. The quality of

the fles is magnifcent—I typically shoot up to

ISO 1600 or ISO 3200 when I need to, but I’ve

gone up to ISO 6400 with satisfying results.

The Canon EOS 5D Mark III is solidly made for

its class—durable, reliable, and its handling and

ergonomics are excellent. Another important

factor is the versatility and superb performance

of Canon lenses, such as the Canon EF

16-35mm f/2.8L II USM lens that lets me

take in these vast spaces I found myself in.

However, the most crucial element is the Canon

EOS 5D Mark III’s high ISO, low light capability

that allowed me to handhold and work fast well

past the time I would normally have to slow down

and use a tripod. Equipment like this is what lets

you get into the fow and stay in the fow. That

means an increased success rate, which is what

being a pro is all about.”

For more stor ies on how Canon is empower ing

professional photographers visit :

popphoto.com/behindthescenes

Advertisement

Many viewers fnd Caponigro’s work profoundly spiritual, and his art has been

exhibited internationally and is held in numerous collections including those

of the Smithsonian and Princeton University. An authority on fne art printing,

he authored Adobe Photoshop Master Class, leads workshops globally, has been

extensively published worldwide, and is a member of the Photoshop Hall of Fame.

Landscape images © John Paul Caponigro

Be

nn

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igs

D4), two flashes, and three lenses.

I usually use a lot of zooms for

red carpet because you have

more latitude—you can get a

full-length and then maybe go

in for a headshot. Two good

red-carpet lenses are the Nikon

28–300mm f/3.5–5.6G VR and the

24–120mm f/4G VR. I also have a

70–200mm f/2.8G VR II, which I

generally shoot with natural light

on the D4. One camera will be for

available light and one will have a

flash. I can walk in anywhere and

get something with that set-up.

Any favorite celebs who

consistently play along?

Dustin Hoffman is not a huge

seller, but he’s always friendly and

gives something funny or silly.

Tom Hanks doesn’t do anything

different, but he’s very nice and

accommodating. Mariah Carey,

Sarah Jessica Parker, and Jennifer

Lopez are all very good. The

people who are professional and

know they have to do their job are

ideal; they know that we’re here

to help whatever they’re doing.

Then there are people who pose

reluctantly—usually the younger

stars. They actually have a more

jaded attitude about it.

How did you get started?

I was working at a photo news

agency called Gamma-Liaison

back in the ’90s, editing photos,

filing slides, and learning about

the news business—what sold

and what didn’t. Eventually, I

was put in charge of the editing

department. An entertainment

photographer we had got sick, so

we needed someone to fill in, and

I did. He was a good friend, and

willed me one of his lenses when

he died—it was very emotional.

I kind of took his spot shooting

entertainment full-time. That’s

how hard it was to get a spot in

this business—someone had to

die. —Interviewed by Jillian Mapes

share * I, PHOTOGRAPHER

POPPHOTO.COM26 populAr pHotogrApHy january 2014

you often compete with other

photographers in tight spaces.

How do you get the best shot?

At Invision Agency, which serves

all of the Associated Press’

entertainment needs, I think in

terms of the wire, and what I

need to sell stock. A wire photo

may tell more of a story and use

more backdrop: a horizontal

shot, natural light. For stuff that

sells—stock—you want full-

length fashion and headshots.

Regardless, everyone wants

eye contact—that’s why all the

photographers yell. If you know a

little bit about a person, you can

say something more than “Look

left!” or “This camera, please!”

What else is challenging?

I try to catch moments where

two people are looking at or

whispering to each other. There’s

no secret to it—you just have to be

observant and quick. Often, seeing

the picture within the picture

is important, too. Maybe you’re

doing a full-length shot of a couple

and they smile at each other,

except you’re full-length. Zoom

in to the three-quarter shot, and

you can see their faces better. You

catch the moment by cropping.

What gear do you typically

bring for a red-carpet shoot?

I have a backpack, and I usually

bring two Nikons (a D3S and a

Entertain- ment photog-rapher Evan Agostini works for the Associated Press’ Invision Agency and is based in New York City. For a gallery of his celebrity photos, see PopPhoto.com/agostini.

Star Shooter Evan Agostini looks for genuine, expressive moments on the red carpet

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Bravo for your editorial “Embracing Limitations” (September 2013). We all love the latest gear and often require specialized items for specific projects. But as you so eloquently expressed, great images do not always require the latest or best gear. As a shooter for over 62 years, I learned a photographer has to make do with what is available a long time ago. Understanding composition and lighting are more important to creating good images than the latest camera, lens, light, or accessories. For the past dozen years, I always have an unassuming compact digital point-and-shoot camera with me, not my DSLR. That has allowed the capture of unexpected images which have been very lucrative. Keep up the good work in reminding readers while gear is important, it is not always the main ingredient in the creative process. Asher Pavel

West Cornwall, CT

Point & Shoot

share * LETTERS

Take a look around you at any

public event. Most people are

now taking photos with their

smartphones. Traditional point-

and-shoot camera sales are

nosediving, and DSLR sales will

follow this trend. Professional

photographers now routinely

take an iPhone with them on

assignments...even National

Geographic photographers! Start

publishing a monthly magazine

pertaining to iPhone photography

or devote a significant section in

your magazine to this aspect.

Gene Degenhardt

via PopPhoto.com

ediTor’s noTe: We’re not ready to

launch a new magazine, but check

out our smartphone gear, page 18.

afTer reading Philip Ryan’s

appraisal of the Nikon D5200

(May 2013), I talked myself into

buying one. What a whole new

game it is. Lowell Padgett

Manassas, VA

CorreCTion: In our Panasonic

Lumix GX7 test (November 2013), we

incorrectly said Panasonic does not

use sensor-shift image stabilization.

In fact, the GX7 is its first camera

with this feature. We regret the error.

WRiTE To uS! PoPPHoTo@BoNNiERCoRP.CoM

how to contact us Address your questions or comments on editorial content to Popular Photography, 2 Park Avenue, New York, NY 10016; e-mail, PopPhoto@bonniercorp.com. Published letters may be edited for length and clarity. We regret that we cannot answer all letters. Editorial contributions sent by mail must include return postage and will be handled with reasonable care; however, we assume no responsibility for return or safety of photographs, disks, or manuscripts.

subscriptions Visit PopPhoto.com/cs for all subscription inquiries, call us at 800-876-6636, or email us at popularphotography@emailcustomerservice.com.

Please allow at least 8 weeks for a change of address; include both your old and new addresses, and if possible an address label from a recent issue. Subscription prices: U.S.: 1 year, $14; 2 years, $28; 3 years, $42. Canada: 1 year, $26; 2 years, $52; 3 years, $78. All other foreign: 1 year, $38; 2 years, $76; 3 years, $114. Occasionally we share our information with other reputable companies whose products and services might interest you. If you prefer not to participate, please contact us at popularphotography@emailcustomerservice.com or popphoto.com/cs.

reprints and

eprints For Reprints email reprints@bonniercorp.com.

28 popular phoTography january 2014

Fresh Perspectives on Digital Imaging

imagingedge.com

© David McLain, Sony Artisan of Imagery

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This photo in your

October 2013 issue

(“New York, Forever

Wild” by Chris Tennant) was

very sharp, and I assume it

was taken with the camera

and lens mentioned, without

any sharpening software. Is

that the result of the camera,

a Canon EOS 5D Mark II (vs.

my EOS Rebel T2i)? In other

words, is the size of the

sensor, its better ability to

collect light, the determining

factor?  John Meyland Clarkston, MI

While the 5D Mark II certainly

has an advantage over the

Rebel T2i in tested resolution and

low-light performance, we think your

camera can capture a similarly sharp

image at the size at which we ran it.

Tennant's tips for sharper shots:

Shoot RAW. RAW files contain much

more info than a camera’s JPEGs, and

when converted to no-compression or

low-compression TIFFs, will maintain

greater detail when displayed.

Use a tripod. Tennant took no

You Ask, We Tell

chances with camera shake, given the

slowish 1/40 sec shutter speed.

Set a low ISO. He shot at ISO 100 for

the most resolution and least noise.

Adjust contrast in editing to make

the image pop. But don’t overdo it.

Sharpen. Again, don’t overdo it.

Remember, too, that some image-

editing programs let you selectively

sharpen different areas of the image

for a more subtle effect.

Right-Sizing

When you right-click

on the magnifier in Photoshop

and click “print size,” 1 inch on

the ruler actually equals 3/4

inch, and the image is likewise

small. Which part doesn’t Adobe

understand, inches or print size?

Lawrence Harrison

Whitewater, WI

Photoshop assumes a screen

resolution of 72dpi, and print

size is displayed accordingly. If you

enter your actual screen resolution in

Photoshop’s Preferences > Units &

Rulers, it will display print resolution

more accurately. To figure out your

screen’s res, visit pxcalc.com and

follow the instructions.

Fence Removal

I enjoyed the “Zoo Keeper”

I, Photographer (October 2013).

Can you explain how Julie

Larson-Maher shoots with a

wide-open aperture through a

fence to make it disappear? She

suggested it for an animal, but I

imagine it to be useful in other

photo situations. Janet Gaines

Great Neck, NY

The goal is to get the fence so

far out of the depth of field

that it’s defocused to a vague haze.

Look for subjects far behind the fence,

stand as close to it as possible, and

use the widest available aperture.

Fast lenses (e.g. f/2.8) help, as do

longer ones (at least 300mm in full

frame). The best situation is to get

close enough to a fence to shoot

through the space between the bars.

Button ShuFFle

My Nikon D5200 can

be set so that autofocusing

and autoexposure are locked

using different buttons. I would

assume you’d always want to

set the exposure simultaneously

to the subject you’re focusing

on. When would you lock them

independently? Luis Alfaro

San Salvador, El Salvador

There are many situations in

which you want to separate

AF and AE lock by relocating either to

a back button. By presetting the AF,

shutter release can become near-

instantaneous, so sports shooters

commonly lock on a player—or the

spot the player is likely to be in the

next play—then fire the shutter at the

peak of the action or when the

composition is right. Conversely, an

action shooter may want to lock in an

optimal exposure, then let the AF

track a subject moving through the

frame. For these reasons, relocating

AF or AE control is very often the first

customization that a pro or advanced

amateur will do on a camera body.

POPPHOTO.COM30 populaR photogRaphy January 2014

Chris Tennant shot from atop Mt. Van Hoevenberg near Lake Placid, NY. He advises judicious sharpening and contrast boost post-production. “I often use a mask with my sharpening layer [in Adobe Photoshop] so that light areas of the scene get more sharpening than dark shadow regions,” he tells us.

CH

ris

Te

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an

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share * TECH TALK

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Promotion

Pictured top, left to right: Andy Katz, Artisan; Jeff Berlin, Artisan; Brian Smith, Artisan; Robert Evans, Artisan; Matthew Jordan Smith, Artisan; Mike Kahn, Sony General Manager

Partnership Marketing; Bottom, left to right: Fazia Ali, Kayla Lindquist, Sony Artisans of Imagery Program Director; Me Ra Koh, Artisan; Rosie Sandoval, Sony Sr. Marketing Manager

© C

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with additional support from

Sony & American Photo: An Evening of Creativity, Recognition and Celebration

In what has become one of the most anticipated

events on the annual photo calendar, Sony, American

Photo and Popular Photography welcomed more

than 500 media analysts, professional photographers

and industry infuentials to a celebration of imaging

and innovation. With the iconic American Museum

of Natural History as a backdrop, guests were treated

to a diverse photographic exhibition featuring the

visually arresting work of the Sony Artisans of Imagery.

After a brief presentation ceremony in which Vice

President Digital Imaging Divison, Kelly Davis accepted

American Photo Editors’ Choice Awards on behalf

of the Sony Cyber-shot RX1, RX1R, QX100 and QX10,

guests admired the artwork, raised a glass to the

future of photography and celebrated into the night.

FOR MORE BEHIND-THE-SCENES PHOTOS, GO TO IMAGINGEDGE.COM/SONYPARTY

Left image, left to right: Mike Kahn, Sony General Manager Partnership Marketing; Dave Freygang, CEO, Bonnier Corp.; Rosie Sandoval, Sony Sr. Marketing Manager;

Michael Gallic, Associate Publisher, Bonnier Corp.; Kelly Davis, Sony Vice President Digital Imaging Divison; Anthony Ruotolo, Bonnier Corp.

Right image: Rosie Sandoval, Sony Sr. Marketing Manager; Eric Zinczenko, EVP, Bonnier Corp.; Bob Meth, West Coast Advertising Manager, Bonnier Corp.

Left image, left to right: Kelly Davis, Sony Vice President Digital Imaging Division; Miriam Leuchter, Editor-In-Chief, American Photo Right image: Attendees enjoy the spectacular

photography of Sony’s Artisans of Imagery.

© B

enn

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© B

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© B

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© B

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Happy Holidays

Made in the U.S.A. h Sold Exclusively at ReallyRightStuff .com

805.528.6321 | 888.777.5557

Su

e T

allo

n

Find more of

Sue Tallon’s

great studio

work at

www.suetallon

.com.

creative thinking

january 2014 popular photography 35PoPPHoTo.CoM

howexperT TipS and TechniqueS For beTTer phoToS

master avedon lighting

38

42

capture the magic of reflections; create moody still lifes

48

40

find winter’s best in idaho

at first glance, Sue Tallon’s

photograph of teapots appears

to be something from the Mad

Hatter’s tea party. Upon closer

inspection, you might think

that their crazy reflections

and textures are the result

of someone going a bit, well,

crazy with Adobe Photoshop’s

Liquify tool.

In fact, Tallon’s image is

more about creative lighting

than crazed pixel pushing.

The San Francisco-based

advertising and commercial

photographer was going for

some kind of nonsensical

look after returning from a

visit to New York in which

she’d seen the work of

artist Jeff Koons. “I loved his

hyper-large balloon animals

with their amazing surface

qualities and specular

reflections,” she says. “I

wanted to play around

similarly with lighting the

metallic surfaces of an

ornate, Victorian-era tea set.”

Commercial product

photographers often use

sophisticated lighting to

tea partyPlay with your lightingto make reflections sing

CURVATURE OF FIELD

a phrasE often encountered in promotional materials and tests of lenses, curvature

of field occurs when the image plane cast by a lens is curved instead of flat. older

lenses in particular can display this flaw, called spherical aberration, which makes

it impossible to render the image of a flat surface that lies parallel to the focal plane

in sharp focus across its entirety. When the image center is sharp, the edges won’t

be; conversely, when the edges are sharp, the center will be soft. stopping down

the lens usually lessens the aberration. Curvature of field is especially important to

photographers shooting flat objects such as paintings, prints, currency, or documents.

Macro lenses designed for shooting these types of subjects are referred to as flat-field

lenses, and are typically free of curvature of field even at their widest apertures.

PhOtO gLOSSarY

HOW * creative thinking

36 popular photography january 2014 PoPPHoTo.CoM

au

STIn

l. S

InG

er

represent materials and surfaces realistically. The kinds of bright specular highlights that you see here, however, are often considered distracting and undesirable. But for Tallon, these highlights actually became her subject. As she saw in Koons’ highly reflective balloon sculptures, she wanted to tease out as much white as possible from the shiny surfaces of her tea service.

She was pondering how to do this when inspiration hit in the aisles of an Ikea lighting department. “I’m a big fan of their cheap little lights, and they had a wand—a little 18-inch fluorescent tube—and I thought, ‘What if I handhold this instead of using a broad light source, and just drag the light around in a dark room with the shutter open?’” The lamp enabled her to imitate a broad light source while effectively painting light onto the metal surfaces. (Tallon also picked up her backgrounds at Ikea—reflective brushed-metal shelving she found in a remainders bin.)

Using her Phase One 645DF+ camera body, Phase One P40+ digital back, and Schneider 80mm f/2.8 all tethered to her computer, it was easy to shoot and see where she needed to add light or raise the ambient illumination. (She had some of her studio’s fluorescent lights on to give the set a raw look.) The screen image showed her whether she needed to move the wand in a different direction, slow it down, or speed it up. She continued playing like this until she got a shot she liked. 

“It’s basically one $5 Ikea light,” Tallon laughs, proving undeniably that Wonderland can be found wherever inex-pensive Swedis h lights are sold. —Laurence Chen

route B Tonal tweak + minor surgery

FiX it FaSt

austin L. Singer stood up through his car’s sunroof to capture the scene with a nikon coolpix aW1. exposure, 1/800 sec at f/3.9, iSo 125. b&W conversion in photoshop elements 10.

NothiNg suits the Grand Tetons quite like black-and-white, but we found Austin L. Singer’s monochrome conversion a little too “crunchy,” jargon for overly sharp. So we imported the photographer’s original color JPEG into Adobe Photoshop CC, then opened it in the Alien Skin Exposure 5 plug-in and went with the Polapan b&w profile for its overall tonality. We added a red filter effect for greater separation between clouds and sky.

Next we cropped to a 3:2 aspect ratio, lopping off a bit of the roadway in the process. And then we looked at the car. And looked. The white sedan was just too much of an eyeball magnet, so we used the “Repo Man” tool in Adobe Photoshop CC (actually, the Clone Stamp and Healing Brush) to remove it. Total fix time: 20 minutes.

So readers: Artistic license or outrage? —Dan Richards

and Debbie Grossman

Great ideas in gear

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Last august, on a white

marlstone beach in southern

Sicily, Leonardo Misuraca, a

29-year-old medical student

from Rome, noticed as

sunbathers around him began

reaching for their cameras and

taking pictures of a memorable

sunset. “There was something

magical in the light,” he recalls.

“I wanted to capture it, too, but

in a more original way than the

others were doing.”

He grabbed his Apple iPhone

4 and scanned the beach for

something—anything!—that

would make his image as

special as the moment felt.

Then he noticed the way the

scene was reflected in his

girlfriend’s sunglasses. “I love

reflections,” he says. “They

often show us something in a

scene that we otherwise miss.”

In this case, that something

was the sharp and unsharp

figures of sunbathers in his

fore- and background. While

shooting, the sunset was

Misuraca’s subject, but later,

the eyeglass reflections revealed

something he hadn’t seen:

pretty cool figure groupings,

too. —Peter Kolonia

Frame UpLeonardo Misuraca used his iPhone 4’s program mode and spotmeter to capture this shot at 1/125 sec at f/2.8, ISO 100.

Le

on

ar

do

Mis

ur

ac

a

QUICK TIP

30-SeCond SofTware

how * TIPS & TrICKS

Novoflex TrioPod

what it is: a modular tripod system, the TrioPod has interchangeable three- or four-sect ion legs of aluminum or carbon fiber, as well as shorter tabletop- and convertible mono-pod and walking-stick legs. Pricing varies by component (see hpmarketing corp.com for more info).

why use it: among its other pluses, the system lets you up-grade over time. Start with aluminum legs, then step up to carbon fiber when your finances allow.

what’s unusual about it: novoflex claims the optional three-part center column (shown) is significantly lighter and more stable than a conventional tripod center column.

Use reflections to capture more of the world

Books By iphone all too many of us shoot with our smartphones and end up with lots of

photos that never see the light of day (or disappear after their moment

in the instagram sun). For something more permanent, the new apple

iPhoto for ios, now free with all new ios devices, lets you design and

order printed books right from your phone or tablet. if you want to

include high-resolution shots from other cameras, load them onto your

phone before getting started. But downloads from, say, Facebook, will

likely be too low-res to print. —Debbie Grossman

38 popuLar photography january 2014

Costa RicaVideo Workshop

A l o o k b a c k a t o u r

v i d e o a d v e n t u r e

Sign up for our next video adventure in Minnesota, March 28-30, 2014

www.mentorseries.com

®

Special thanks to our premier sponsor:

Come on a trek and try out some of the latest equipment that Nikon offers including their high-performanceHD-SLRs, NIKKOR lenses, the Nikon 1 System, and a

variety of COOLPIX compact digital cameras.

Nikon Pro Reed Hoffmann leads group during waterfall repelling video shoot.

Trekker captures video of waterfallNikon pro Reed Hoffmann preps for video shoot

With the awe-inspiring grandeur of the Arenal Volcano ever-present, the Mentor Series

Costa Rica Video Workshop offered participants a spectacular array of once-in-a-life-

time experiences and the priceless opportunity to capture them in broadcast-quality videos

with the latest Nikon HD-DSLRs. After a brief hands-on equipment intro, we shot a team of fi ve

professional kayakers navigating with incredible skill along the scenic Arenal River, and

captured thrilling video of exotic wildlife while fl ying among the trees in a spacious gondola

on the amazing Sky Tram. Trekkers had the choice of returning on foot or putting their sense

of adventure to the test by experiencing the ultimate adrenaline rush on one of 10 Sky Trek

zip-lines for an unparalleled 360-degree perspective of the rainforest. Using the features such

as Full HD 1080p capture at 30 and cinematic 24/25 frames per sec, it was hardly a surprise the

participants came away with a true video experience.

That was only day one! On day two we got to use Nikon HD-DSLRs and lenses to capture hi-res

stills and videos from the unique Arenal Hanging Bridges, and to walk along a 3-kilometer rain-

forest trail and take in nature’s beauty with our eyes and cameras. In a video editing session we

learned how to edit video clips into a complete production that tells a compelling story. In the

afternoon, we visited a Butterfl y Conservatory dedicated to the preservation and study of the

rainforest and its tropical species and got to photograph rare butterfl ies, exotic frogs, and other

rainforest fl ora and fauna. Later that afternoon we experienced the awesome beauty of the La

Fortuna Waterfall, a 70-meter-high cataract considered a national treasure, shot amazing videos

of it, and captured videos and still images of beautiful birds, frogs, and reptiles in their natural

habitats at the famed Arenal Ecological Park.

Of course, our Costa Rica Video Workshop was a lot more than merely experiencing a unique

and awesome environment and getting to capture it using top quality Nikon equipment. Under

the able, empathetic, and always accessible guidance of seasoned mentor Reed Hoffmann, par-

ticipants learned an incredible amount about camera control, lighting, and video pacing, and

received precious tips on still and video photography, video production, and workfl ow that will

allow them to create their own unique pro-quality videos going forward. “I learned an incredible

amount in a very short time, made a lot of new friends, and created videos and images I will

treasure forever,” commented one happy trekker. Once you experience the unique camaraderie

of this seamlessly organized photographic adventure that also happens to be a total immersion

course in visual expression, you’ll defi nitely be back for more.

COOLPIX A D610D800

Trekker capturing the scene of farmers planting sugar cane.

Check out the video from this trek and more atmentorseries.com/video

POPPHOTO.COM

TOR

Y T

AG

LIO

Tory Taglio shot this night view of Ketchum, ID, Sun Valley’s hub, with a tripod-mounted Nikon D700 and 24–70mm f/2.8 Nikkor zoom at 2.5 sec, f/10 and ISO 250.

HOW * TRAVELING PHOTOGRAPHER

40 POPULAR PHOTOGRAPHY JANUARY 2014 POPPHOTO.COM

“ANY VIEW of Baldy is iconic,”

states Idaho photographer Tory

Taglio (torytagliophotography.

com) of Sun Valley’s majestic

Bald Mountain, Idaho’s ski

magnet. “A morning view from

the deck of the Sun Valley Nordic

Center offers ski trails in the

foreground with the towering

mountain behind.”

Evening and sunset, he says,

are great times for landscape

lovers: “Alpenglow gives the snow

a hue of saturated magenta or

pink just before sunset,” he says.

For panoramas, take the gondola

(non-skiers welcome) up to the

Roundhouse Restaurant’s deck.

Action shooters flock to nearby

Dollar Mountain where extreme

skiers work on their games.

“Dollar offers half pipes and a

terrain park where athletes and

locals provide nonstop photo

ops,” he says. The world-class

half pipe is only 100 yards from

the lodge, so access is

easy for photographers.

For alpine scenery, Taglio

suggests driving out to Trail Creek

Road just north of the resort. “Try

shooting the beaver ponds four

miles from town, with Trail Creek

Pass in the background,” he says.

Best time: the golden hour, with

snow-covered peaks bathed in

gorgeous light.

Also nice? Proctor Mountain

Trail, a snowshoe hike from the

Trail Creek Cabin Restaurant.

“Sunrise hikes will reward you

with stunning views of all Sun

Valley,” Taglio says.

And finally, action shooters can

hone their skills at the 2014 Sun

Valley Nordic Festival (January

25 to February 2). It celebrates

Nordic (a.k.a. cross-country)

skiing with races, snowbike races,

demonstrations, a film festival,

and a bonfire with costumed

revelers. —Jeff Wignall

Idaho’s Sun Valley shines during the winter monthsStun Valley

GETTING AROUND Skiing full throttle from the top of Old Baldy is one way to see Sun Valley’s sights (albeit briefly), but it may not be conducive to snapping photos. Here are a few alternative modes for capturing the gorgeous scenery:

● SUN VALLEY NORDIC AND SHOWSHOE CENTER At the Sun

Valley Club. Why not tour Sun Valley’s glories on snowshoes? Tours ($35, includes trail fee) are given every Saturday and Sunday from 1 to 3 p.m. This outfitter also rents snowshoe and cross-country gear daily. Info: (208) 622-2250

● SMILEY CREEK LODGE SNOWMOBILE TOURS AND RENTALS Smiley Creek Lodge, 16546 N Highway 75, Sawtooth City, ID.

Tour more than 185 miles of groomed snowmobile trails or let a guide take you off-trail. Half- and full-day guided and self-guided packages available. Info: (208) 774-3547; smileycreeklodge.com

● SUN VALLEY RECREATION CENTER SLEIGH RIDES The Sun

Valley Inn, 1 Sun Valley Rd., Sun Valley. It’s hard to imagine a better perch for shooting the snowy scenery than from under a warm blanket (supplied) as a pair of big horses do all the work. Half-hour rides ($24 per person) depart the Inn on Wednesdays and Saturdays, starting at 10:45 a.m. Info: (208) 622-2135

● SUN VALLEY TREKKING 703 1st Ave. N, Hailey, ID If you’re an advanced skier and would like to tour a remote alpine ridgeline or grab Sun Valley landscapes not available to most photographers, consider a backcountry powder day tour. This company also specializes in customizing backcountry skiing journeys, hut-to-hut skiing (including deep-heat soaks in a wood-fired hot tub), yurt rentals, and other wilderness adventures. Info: (208) 788-1966

Choose your focus and we’ll focus on you.

Online education with a professional mentor.

One to one training that makes you a better photographer.

CALL OR GO ONLINE TO GET STARTED TODAY

WWW.NYIP.EDU/POP | 1.800.445.7279

42 popular photography january 2014

* lighting how

S.L

. D

ixo

n

Dixon used a Canon EOS 5D Mark II and 50mm f/1.4 Canon EF USM lens for this shot, exposing for 1/160 sec at f/5.6, ISO 500. For more of his portraits, see sldixon.com.

s. l. dixon, an Australian school

teacher by day and part-time

portraitist most other times, is

drawn to “less-than-mainstream

subjects,” he says. Burlesque

dancers, roller derby skaters,

and, as in the portrait here,

ink aficionados are his typical

quarry. To document them, he

uses a lighting style that smacks

of the great Richard Avedon.

“I choose Avedon’s lighting

because it’s very clean and

simple, with even highlights

and shadows across the figure.

Drama isn’t evoked by the

lighting. The subject brings that

to the picture,” says Dixon.

So what’s an Avedon lighting

setup? Google the phrase, and

the Internet coughs up a dozen

different combinations of front,

back, and fill lights, often with

baffles and reflectors. Avedon

himself deployed his light

differently, depending on the

circumstances. (See the essential

book Avedon at Work: In the

American West by Laura Wilson;

Harry Ransom Humanities

Research Center, 2003.)

While lighting setups vary,

the look doesn’t: you need

a bright white background,

even illumination across the

subject, open shadows, snappy

contrast, and absolutely no

flare compromising the figure’s

edges. So strongly is this style

associated with Avedon that

among some shooters his name

has morphed into a verb, as in “I

Avedoned three subjects today.”

Dixon especially likes the

look because “the subjects are

removed from any context, and

the focus is placed entirely on

them, their attire, demeanor,

and expression,” he tells us.

One of the hallmarks of this

lighting style is the soft, often

indirect main light. “The key is

getting the indirect light as even

as possible across the subject,”

says Dixon. When the main light

is too high, the result is a bright

head and face, and lighting that

quickly falls off for the rest of the

figure. “With practice, it becomes

easy to see and fix the problem,”

he says. Often, all that’s required

is a strategically placed reflector.

Another problem? Flare from

the bright white background

can lighten subject edges. The

fix: Throw less light on the

background and/or move your

subject forward, away from it.

—Peter Kolonia

simple complex

Master avedon lighting

kr

iS h

oLL

an

D/m

afic

Stu

Dio

S (iL

Lu

Str

atio

n)

Try Avedon lighting for your next portrait

PoPPhoto.com popular photography 43

D

B

A

C

To give his portrait the Avedon look, S.L. Dixon chose one of the easiest setups for producing it based on indirect sunlight. He began by gaffer-taping bright white seamless paper (A) to a west-facing exterior brick wall (B). With the morning sun coming from the east, the wall cast a shadow (C) into which Dixon placed his subject. Because the lighting across the subject would become top-heavy as the sun rose, Dixon worked fairly quickly. He carefully positioned the subject far enough from the background so as not to see flare around the figure, but not so far forward that the subject was closer to direct sunlight and therefore too brightly lit. To prevent skintones from blowing out, he closed down 0.67 stop over the spot-meter reading recommended by his Canon EOS 5D Mark II (D). Dixon likes this setup because, “I’d become sick of lugging lights and gear from shoot to shoot, and rigging complicated setups. This more simple setup lets me focus on my subject.”

Savage Super White Seamless ($45,street)

Canon EOS5D Mark II

(now III)($3,399,

street)

WhiteOut

how * software workshop simple complex

da

n b

ra

ca

glia

Dan

Bracaglia

captured Jim

Testa, music

critic for

New Jersey

paper The

Star Ledger,

for a series

on the local

music scene

shot for

Bracaglia’s

own site,

TheLondon

Broil.com.

sometimes, when you first

bring an image into your editor,

it’s hard to know what to do—

especially when it needs lots

of work. There are many ways

to proceed, but we’ve found it

best to start with the big, quick

adjustments and progress to

the finer ones.

Fixing issues such as low

contrast and bad color casts can

go a long way, and once those

are finished, it’s easier to judge

the amount of saturation you’ll

need to add or subtract (if any)

and whether a crop is in order.

Then it’s time for any necessary

retouching and other touch-up

work. Finally, when all of that’s

accomplished, you can sharpen.

These instructions use Adobe

Photoshop CC, but tools for

these fixes are available in most

of the more serious image-

44 popular photography january 2014

First Things FirstHere’s where to begin when editing a photo editing programs, even if

their interfaces will appear

slightly different. It’s useful

to note that when doing a

RAW conversion, tools for

fixing the same issues are

also available, and it’s a good

idea to proceed in the same

general order.

No matter what kind of

image you’re working on,

these tips will help get you

started. —Debbie Grossman

afTer

1

2

3

Step 1

Whenever you open an

image in Photoshop,

duplicate your Background

layer first. This preserves the

original (for reference and

other purposes). Next make

brightness and contrast

adjustments. Create a

Levels Adjustment Layer,

then slide the white

triangle to the left to set a

white point and the black

slider to the right to set a

black point. Generally, place

the triangles where the

histogram begins or ends.

Finally, move the middle

slider left to brighten.

Step 2 Adding contrast helps, but

doing so makes it clearer

what a strong yellow (and

slight magenta) color

cast this photo has. Make

a Curves Adjustment

Layer, then use the

pulldown menu to

select the Blue Channel.

Drag the blue curve up

to add more blue to the

image, thus reducing the

overabundance of its opposite color,

yellow. Then do the same for the Green

Channel to tone down its opposite,

magenta. The result is more neutral.

Step 3 To add more excitement to this

photo, create a Vibrance Adjustment

Layer. Then crank it up. The beauty of

Vibrance for portraits is that you can

add a lot without ruining skintones or

making the picture look too unnatural.

Try moving the Saturation slider for

comparison’s sake—note that your

image can quickly verge on the garish.

Add Midtone Contrast

After adjusting color, select RGB, then add

midtone contrast by creating a subtle S-curve

toward the lower center of the graph.

POPPHOTO.cOM popular photography 45

Step 4 To see what your image would

look like with less distortion, click

on your Background Copy Layer

to select it, and go to Filter > Lens

Correction. (You won’t see the result

of your adjustment layers in this filter’s

preview.) Since the portrait subject is in

the sweet spot of this lens, the distortion

in this shot actually adds to its look, so

click cancel to leave it as is. Still, the shot

is distractingly crooked, so grab the Crop

tool and click on the Straighten tool in

the Options Bar. Draw a line parallel to

something that should be horizontal.

Then finish by cropping in and hitting

Enter on your keyboard to accept.

Step 5 Now on to retouching. Create a new,

blank layer to get rid of spots

caused by sensor dust. Hit J to grab

the Spot Healing Brush (type Shift +

J to toggle between types of Healing

Brushes). Check Sample All Layers, and

turn on Content-Aware. Make your

brush just bigger than the spot, and click

to remove. If your subject has blemishes

you wish to retouch, remove them using

the same technique on their own layer.

Now’s the time, also, to do any other

retouching your image requires.

Final Step Before you sharpen, create a new top

layer that combines the layers below.

Type these two keyboard commands, in

order: Ctrl (Command on a Mac) +Shift +

C, Ctrl (Command) + Shift + V. If you’ve

set up Photoshop to show the proper

print size (see Tech Talk on page 30 for

more), go to View > Print Size to sharpen

for print. Then go to Filter > Sharpen

> Smart Sharpen. Resize the window

if necessary. Then check Preview to

compare how your image will look at

print size versus close up. This image

has little noise, so you can get away with

a high Amount setting, a low Radius

setting, and just a bit of noise reduction.

46 popular photography january 2014

how * software workshop

5

4

6

7642 Woodwind Drive Huntington Beach, CA 92647 Call 714.849.5700

48 popular photography January 2014

am

y W

eis

s

For amy Weiss, an American

fine-art photographer living and

working in Melbourne, Australia,

the best still-life images create

a strong feeling or mood. For

this photo, the feeling is clearly

expressed in her title: “Rainy Days.”

“I love them. I love the moodi-

ness, sounds, soft light, and cozy

feelings I associate with rainy days.

I tried to put all that in this image,

which ironically, wasn’t taken

on a rainy day at all,” says

the photographer.

Instead, Weiss waited for an

overcast day when the light was

soft and free of deep shadows

or overly bright highlights. She

placed her subjects on a living

room window sill and hung a

thin sheet of transparent plastic

in front of them. To recreate the

feeling of a rainy afternoon, she

sprayed a mist of water from an

atomizer across the plastic until

“rain drops” formed.

For all her still lifes, Weiss relies

exclusively on natural window

light. “When I first started out in

photography, I couldn’t afford

lighting equipment, so I learned

how to improvise,” she says.

Here are a few of her helpful

For more of Weiss’s decorative and fine-art still lifes, go to amy-weiss.artist websites. com.

RainyDaze

how * You can do it

tips for creating a moody still life:

•Pick simple subjects. Weiss

suggests starting with a few simple,

timeless objects that viewers will

find familiar, even comforting.

•Position the objects with care. “I

placed the leafed pear and bottle

closest to the plastic, while the

other pears were set an inch back.

That gave me a sharp focal point

in the lettering on the bottle, while

POPPHOTO.COm popular photography 49

Using the aperture priority mode in her Canon EOS 40D, Weiss exposed for 1/4 sec at f/8, ISO 100.

Step 1pick your subjects.

Stick to antique or vintage

objects with interesting shapes,

colors, textures, and evocative or

nostalgic associations.

Step 2Find a location. In the days prior

to your shoot, walk through the

rooms in your home at different

times of day looking for the

best combination of soft, bright,

natural light and clear, uncluttered

backgrounds.

Step 3gather your gear. Weiss says that

almost any camera can be used,

but recommends a close-focusing

macro lens, tripod, and a reflector to

open up shadows and reveal detail.

Avoid wide-angle optics, which can

distort your subjects’ shapes. “I use

my 100mm f/2.8 macro lens for all

my still lifes,” says Weiss. “It’s very

sharp with critical detail, while

rendering a soft, beautiful bokeh

when I use a shallow depth of field.”

Step 4arrange your subjects. Using

fewer objects will make arranging

them easier. Take test shots to see

what groupings and arrangements

work best. Try to place each item

in a flattering, revealing, or visually

pleasing manner. Keep shooting

and rearranging until you’ve

exhausted the possibilities. Favor

wider apertures to throw distracting

detail out of focus.

Final Steptweak it in editing. Adjust

sharpness, color balance, contrast,

and exposure. Also consider adding

a texture layer—as Weiss did here—

to introduce a mottled or painterly

quality to the photo.

simple CompleX

rendering the rest of scene gauzy

and dreamlike,” says Weiss.

•Compose for intimacy. Weiss

wanted the objects to feel

within reach. To get the look,

she squared her camera to the

window sill, cropped tightly, and

made sure there was engaging

detail, like droplets and textures,

to grab and hold a viewer’s

attention. —Peter Kolonia

Weiss mounted a Canon EF 100mm f/2.8 macro lens on her Canon EOS 40D, since replaced by the 60D (A), and then threaded the rig onto a Manfrotto 190CXPRO3 tripod (B) for her exposure.

A

B

© S

ofi

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ntz

as

GREECE 2014April 29th-May 8th

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The birthplace of drama, democracy, and philosophy, Athens is a bustling metropolis and the center of economic, political, and cultural life in Greece. Our tour of Athens will include stops at Hadrian’s Arch and the Temple of the Olympian Zeus.

We’ll photograph the presidential guard (or evzones) in their traditional uniforms and visit the House of Parliament, Constitution Square, and the Tomb of the Unknown Soldier. No tour of Athens would be complete without a visit to the Acropolis. Seated high above the city, its shimmering, white-marble Parthenon is one of the most recognizable structures in the world.

In Meteora, we will view the picturesque peak-topmonasteries, which were constructed on these peaks as early as the fourteenth century.

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52 popular photography january 2014

“Landscape photographers have a love affair with trees,” notes Charlie Waite, the celebrated British photographer whose scenic studies over many years reveal his deep reverence for the subject. Here he tells us about his distinctive approach to picturing trees in the landscape. Photos and text by Charlie Waite

The

TreesManWho Loves

VaLenSoLe,

France

rows of lavender

lead the eye to

a lone tree in

near-silhouette.

charlie

Waite used

a Hasselblad

500cM with

50mm f/4 carl

Zeiss Distagon

lens to make

the exposure

on Fujichrome

Velvia 50.

ButterMere,

cuMBria, u.K.

a shaft of

sidelight cutting

through the mist

defines a lone

tree against the

mountain. the

photographer

used a nikon

D700 with

24–120mm f/4g

aF-S nikkor lens

to make the

exposure

of 1/60 sec at

f/16, iSo 200.

POPPHOTO.COM popular photography 53

Whether en masse or standing

nobly on their own, trees play a

huge environmental and emotion-

al role in all of our lives. The tree,

in many parts of the world, is our

seasonal barometer. If we are lucky

enough to have a tree in our gar-

den, we will know its character and

personality and enjoy a real and

meaningful relationship with it.

Because of our familiarity with

trees—their height, girth, color,

and shape—they play a crucial

role in providing the viewer of a

landscape photograph reference

points for depth, distance, and

dimension within the image. (I call

this DDD.) Trees help to delineate

the landscape and, as with cloud

shadows, can create a three-

dimensional effect in photographs.

Framing It UpA tree needs to express its char-

acter, its setting, and its sense of

nobility. Trees in random volume

don’t speak to me. But trees in

an orderly, regimented design do.

Therefore, I am always looking for

the tree that stands alone or trees

in an organized collection. There

is no telling where those might

be, so I often spend hours driving

in search of them.

There is no typical shot setup:

Each potential image brings with

it a different set of considerations

involving design, shape, pattern,

color, relationships, depth, and so

on. Symmetry plays a role, too.

I am careful to avoid verticals

bisecting horizontals, if I can. In all

situations, a tripod is mandatory.

A wide-angle lens can suggest

that the area being photographed

is more expansive than it really

is, and the eye and the brain can

detect whether the lens used was

extremely wide. The lens that I

like to use, and did for many of

these images, is the 50mm lens

on a 6x6cm camera (roughly the

eqivalent of 28mm on 35mm

format) because to me, it seems

to equate to human vision.

My other lens preference is

short telephoto, as I don’t care

to compress planes within a

landscape too extremely. I want

viewers to feel that if they were

standing by my side, their vision

would match my own. Many of

my landscape photographs are in

a square, or nearly square, format.

The square promotes the tree as

a center-stage player, given that

space above, below, and to the

sides can be of even proportions.

Light and SeasonLighting, the catalyst to all photog-

raphy, should be at the forefront

of any photographer’s mind.

Front light produces fat, unatmo-

spheric, sterile, shallow images.

But backlighting is excellent for

silhouettes, particularly if the

shape of winter branches offers

Lot, Francethe light above suggests a wine bottle. Waite used an 80mm f/2.8 carl Zeiss Planar lens on a Has sel blad 500cM with Fujichrome Velvia 50 film.

DaMMe, BeLgiuMtrees fade into mist for the shot, center, made with a nikon D3S and 24–120mm f/4g aF-S nikkor lens, at full tele for mild com -pression. exposure: ¼ sec at f/22, iSo 200.

54 popular photography january 2014

great design and rhythm.

Direct overhead light—which

photographers often reject—can

deliver pools of shadow that can

be very intriguing. I used this tech-

nique in the image of the “bobble

trees” on page 56. Mist, rain, and

overcast conditions can provide

images that convey atmosphere, as

in the photo of the tree avenue in

Damme, Belgium, above.

In northern climes, we seek the

ravishing yellows and reds of fall

color, bringing thousands to gawp

and wonder—for those scream-

ingly vivid colors, the photographer

will travel hundreds of miles.

The winter months can trans-

form the tree to create a skeletal

and often haunting look, with its

naked branches perhaps fringed

with snow. Many a landscape

photographer enjoys the near-

monochrome look of the decidu-

ous winter tree and may prefer its

boniness to an evergreen slumped

under the weight of snow. In

winter, the shape of the branches,

which at any other time play a

secondary role, now have to be

considered for their form and their

muscular nature.

Onward to the moist and shiny

leaves of spring, refecting so much

infrared radiation that infrared

photography enthusiasts can

have a feld day taking the viewer

straight back to winter. With my

color photography, I often trip

myself up by using a polarizing

flter to remove the white-light

refection from some of the refec-

tive leaves, only to fnd that green,

one of the trickiest colors to render

correctly, turns almost fuorescent.

You would think I would have

learned by now!

Then to the summer swelling

of our trees, where the muscular

limbs of the mighty oaks can

barely be seen through the many

thousands of leaves. (I have

learned that an average-sized

oak will drink 50 gallons of water

per day.) In my experience, the

fully-leafed summer tree can look

lumpy and without form, render-

ing the landscape thick, dense,

and hard to delineate. For these

reasons, summer in the northern

hemisphere is my least favorite

season for photographing trees.

Don’t Overdo It

The brain and the eye are an

amazing double act. Together,

they are able to detect falsity and

unrealistic colors, and on doing so

go into automatic reject mode.

Thus the polarizer is a danger-

ous flter. It isn’t just the sky,

the water, and the land that it

affects; it is all of them at differ-

ent times, in different lighting

scenarios. Look through the

polarizer off-camera to establish

the effect it has on everything

before deciding whether to use

ÉPernay, FranceWaite used Fujichrome Velvia 50 film (as usual) to capture the saturated fall reds in this tree avenue, above. He shot with the Hasselblad with the 50mm f/4 carl Zeiss Distagon lens.

POPPHOTO.COM popular photography 55

it or not. Remember that the

polarizer reduces white-light

refection and can increase

contrast. With a cloudless sky, it

can produce unrealistic violet or

indigo blues.

Graduated (split) neutral-den-

sity flters, on the other hand,

may be crucial in order to reveal,

in high contrast scenes, subtle

nuances in the sky that the pho-

tographer wishes to preserve.

Getting it right in the camera

is its own reward, but digital

manipulation is not a crime. Yet

its use should be as an enhance-

ment of the photographer’s

artistic intention. Contrast,

minimal sharpening, and minor

cleansing are all that I would

recommend. Like sharpening,

increased saturation should be

applied with great care.

This past fall, I found myself

in Colorado thinking that no

one would accept the natural

rendition of yellow, no doubt

accusing me of massive over-

saturation. What is a landscape

photographer to do except sub-

due the colors of nature at the

risk of being thought dishonest

and fraudulent?

On the Avenue

Whichever season it may be,

trees will more often than not

arrest the photographer, and it

is no secret that my “tree fx”

often comes with a tree avenue.

If anyone shares my love of an

avenue of trees, it seems to me

to be important to maintain the

secrecy and mystique by deny-

ing the outside world a look in.

A chink of light seen high up in

the frame, be it from the blue

sky or a white-sky highlight, may

serve to undermine the feel of a

majestic nave of a cathedral.

I remember years ago making

an image of an avenue of trees

that offered a perfect shape of a

bottle of white wine at the far end

(seen on page 54) and, without

wishing to sound too fanciful, it

seemed to me to haul the viewer

through, and outward, toward the

bright light of hope.

I shall be forever attracted to

the tree avenue and always fnd

myself evaluating its uniformity

before I commit to setting up;

it’s no good having a gap where

a tree may have been felled,

and where a stream of light

may attract the eye to a break

of continuity.

But what landscape photogra-

pher can resist the lonely tree? I

know that I am unable to do so.

Charlie Waite has just launched the

USA Landscape Photographer of the

Year competition, for which Popular

Photography serves as a media

sponsor. For details, see usaland scape

photographeroftheyear.com.

ticino

VaLLey,

itaLy

a stand of

trees (top

right)

contrasts

with the

field’s golden

tones. Same

equipment

and film as in

the amiens

image.

ronDa,

anDaLucia,

SPain

overhead

light creates

a near-

abstraction

(lower right).

Same camera

and film, this

time with

250mm f/5.6

carl Zeiss

Sonnar lens

(roughly

140mm in

35mm).

POPPHOTO.COM56 popular photography january 2014

aMienS,

France

Waite used a

polarizer on a

50mm f/4 carl

Zeiss Distagon

lens to reduce

reflections from

the water.

exposure

was on

Fujichrome

Velvia 50 in a

Hasselblad

500cM body.

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58 popular photography january 2014

This one came way out of left feld—thrown to home plate by a mighty arm. The Sony Alpha 7R represents not only the most substantial refnement of the interchangeable-lens compact (ILC) camera to date, but also a redefnition of the entire concept of the high-end system camera. The camera that best refned or redefned photography in 2013? Unquestionably, it is the diminutive (but full-frame) high-resolution Sony Alpha 7R.

SonyAlphA 7R

By Dan Richards

sato

sh

i

PH

OT O G R

APHYPO

PULAR

WE PRETTY MUCH know it’s going

to be trouble when Sony people

show up near the end of the year

with a bag or two of new stuff.

By October, our editorial team

had settled on the f nalists for

2013 Camera of the Year, and,

with no other potential competi-

tion on the horizon, we were just

about to decide the winner. In

anticipation of the shoot for this

January issue, we had booked our

studio photographer. A few days

later, out of the Sony bag came

the Alpha 7R and 7 cameras.

They looked like super-compact

DSLRs, but they turned out to be

mirrorless compacts. With full-

frame sensors. The “gulp” in the

room was audible.

But to get in under the wire for

Camera of the Year eligibility, a pro-

duction model had to be vetted in

the Popular Photography Test Lab

within that year. That’s the rule:

It’s not enough that a camera is a

groundbreaking design, or that it’s

a substantial upgrade of an existing

model. It must go through our full

battery of tests to be eligible. It has

PoPPhoto.CoM popular photography 59

to perform, and perform very well.

The results of the 7R’s test can be

seen in our report on page 77.

criteria with the Nikon D800, the

highest-resolution digital camera

available short of going to a (far

pricier) medium-format camera.

Impressive as the 7R’s imaging

power is, it’s all the more impres-

sive for the package it comes in.

This camera was clearly designed

for pros and serious amateurs, with

its tough, weather-sealed body,

logical and ergonomic controls,

superb electronic viewf nder (who

needs a pentaprism?), and built-in

connectivity. And the 7R came out

of the bag as part of a full system,

including f ve lenses and more to

arrive soon (see the test report for

details). There’s a vertical battery

grip, the HVL-F60M electronic f ash/

video light that allows for wireless

radio TTL, stereo mics for video, and

more. We’re conf dent that Sony will

thoroughly build out the system.

We should note that this time,

our Camera of the Year award is

very much an award for the system

as well as the individual camera.

Sony’s Alpha 7 variant—with lower

resolution (still, a beefy 24.3MP) but

an enhanced autofocus system and

The camera actually outper-

formed our expectations, given the

relatively small size of its body—

smaller in volume than the Leica

M, with considerably more elec-

tronics inside. Given the cramped

interior quarters, there’s not much

of a heat sink for a 36.4MP full-

frame sensor, and heat buildup is a

major cause of digital noise, which

can also rob resolution. But the 7R

proved competitive on all our test

Sony Alpha 7RWhy It WoN

Brings full-frame quality into lighter, smaller bodies

Best imaging of any ILC camera

Introduces a whole new system for advanced users

Strong, weather-sealed body with great fit and finish

Connectivity includes Wi-Fi and NFC

Almost universal adaptability to other systems’ lenses

a slightly faster burst rate than the 7R’s—might be a better choice those photographers who don’t need humongous resolution.

While we’re nitpicking, we’ll point out that the 7R’s resolution comes at the expense of more noise at higher ISOs. Canon’s EOS 5D Mark III, our 2012 Camera of the Year and still the reigning low-light champ, is way ahead of the 7R in this regard, with accept-able noise through ISO 25,600; the 7R hits this boundary at ISO 1600. We wish the Alpha 7R had some way of triggering accessory f ashes without using another f ash as a master. (Hint to Sony: how about a trigger unit for the hot-shoe?) And a camera at this level should have a second card slot rather than a single SD.

But overall, the 7R has us con-vinced that ILCs can fully cut it as pro cameras. The introduction of this camera system even has us wondering whether the days of the single-lens ref ex are num-bered. It certainly is a shot across the bow of the two DSLR biggies, Canon and Nikon, whose ILC offerings to date have seemed, to put it plainly, halfhearted.

And the Others...

Two other cameras made it to our list of 2013 f nalists: The Canon EOS 70D and Sony’s own Cyber-shot RX1. (This isn’t the f rst time that two Sony models competed for Camera of the Year.)

The 70D marks the seventh generation of Canon’s double-digit-D series of midrange APS-C-format DSLRs—quite a run. But it’s a measure of how much we at Pop Photo have been spoiled by this decade-old line of cameras

The typical

kit lens for

the 70D, the

18–135mm

f/3.5–5.6

Canon EF-S

IS STM zoom

shown on

the camera,

has a

stepping

motor for

smoother

video AF.

As for the Cyber-shot RX1, they said it couldn’t be done, and Sony said, “Oh yes, we can.” The only f xed-lens full-frame digital com-pact in cameradom, the RX1 is as much a showcase of technologi-cal know-how as it is a picture-taking device. While its 24.3MP CMOS sensor is very similar to that of the Sony Alpha 99, just about every other piece of the camera was purpose-designed for it. The lens, for instance: its 35mm f/2 Carl Zeiss Sonnar T* was formulated specif cally for the sensor, and it extends more than halfway into the camera body for compactness.

The RX1 takes pretty good pic-tures, too. It resolved 2870 lines in our test for an Excellent rating, and kept noise at acceptable lev-els through ISO 3200—impressive, given that sensor heat buildup in small cameras can result in more noise. The camera fell short of an Excellent overall image quality rating because its color accuracy

score, oddly, just missed the Excellent mark.

For most of us,

that we were a bit disappointed in the 70D’s Excellent-rated still imaging performance, which, with resolution of 2630 lines, was “only” incrementally better than its pre-decessor 60D’s.

Still, we were thoroughly impressed with the 70D’s so-far unique Dual Pixel CMOS autofocus system, in which twinned pixels can perform phase detection over most of the area of the sensor. The result is extremely smooth and sensitive video and live-view autofocus. Using a smartphone to trigger a Steadicam-mounted 70D via the camera’s built-in Wi-Fi con-nection, we were able to capture smooth, sharp video on the move.

Moreover, we’re pretty certain that Canon will be able to speed up the Dual Pixel CMOS AF for extremely fast autofocus for stills. (Hey, Canon, will that come in a f rmware upgrade?)

Beside that, the 70D gives you bursts of 7 frames per second, very fast conventional AF, an articulating 3-inch LCD, and a rugged build. For its $1,199 street price, it’s an attractive option for serious amateurs and budget-minded pros alike.

60 popular photography january 2014

RUNNER-UP:CAnon EoS 70D

PoPPhoto.CoM popular photography 45

IF THIS YEAR’S Camera of the Year award

were limited to Micro Four Thirds cameras, it

might well have been a tie. The year 2013 saw

tests of the two best Micro Four Thirds ILCs you

can buy today, the Olympus OM-D E-M1 and the

Panasonic Lumix GH3.

When we awarded the 2009 Camera of the

Year to the world’s first interchangeable-lens com-

pact, the Panasonic Lumix G1, this was more in

recognition of the exciting new path it promised

to blaze rather than sheer imaging power.

In 2013, Olympus and Panasonic showed us

just how much imaging power these cameras

can actually muster. Both the E-M1 ($1,399,

body only) and GH3 ($1,298, body only) earned

Excellent overall image quality ratings from their

lowest ISOs through ISO 400 in Pop Photo Lab

tests. Those are impressive results, given the

relatively small size of Four Thirds sensors (about

one-quarter the area of the 24x36mm full frame).

Both employ similar pixel counts (16.3MP for the

Olympus, 16MP for the Panasonic) and both have

robust, weather-sealed magnesium-alloy bodies.

The petite Olympus E-M1 maintains

cleaner images at higher ISOs—acceptable

noise levels through ISO 3200—whereas the

Panasonic GH3’s images showed unaccept-

able noise at ISO 1600. The larger (some say

too large) GH3 is a better video camera, with

recording at 1920x1080p60. With phase-

detection elements embedded in its sensor, the

Olympus’ autofocusing proved faster than the

Panasonic’s. The E-M1 is the knobbier camera

of the two, with lots of buttons, dials, and levers

for controls, while the GH3 has one of the best-

designed touchscreens around (and plenty of

external controls, too). Can’t decide? Buy them

both—they use the same lensmount.

While these models are proof that Micro Four

Thirds has matured into an enthusiast’s format,

competition this time around was just too tough.

for either to take home Camera of the Year honors.

The Year of the ILC

OLYMPUS OM-D E-M1

PANASONIC LUMIX GH3

the main drawback of the RX1 is its price—a sticker-shock-induc-ing $2,798, street.

But despite the hefty price-tag, people are buying it for the great imaging, sturdy body, well-designed controls, and generally upscale vibe.

This Year’s Model

The competition for Camera of the Year 2013 couldn’t be more different from the previous year’s. In 2012, our three f nalists were very closely matched; all three were high-end, high-mega-pixel DSLRs, and our editorial panel deliberated long and hard on the winner. In 2013, our three

two astonishing redef nitions of what a compact camera—f xed lens or interchangeable—can do. But when our f nal test results came in, we realized it was simply no contest.

And so with the Alpha 7R, Sony wins an unprec-edented fourth Camera of the Year citation.

hoNoraBlE MENtIoNS

For a properly upmarket viewfinder experience with the RX1, there’s the 2.4-million-dot EVM1K electronic viewfinder at $448, street.

f nalists were dramatically dif-ferent cameras, from distinctly different classes.

Our sole criterion for Camera of the Year: That it be the model that best ref ned or redef ned photography in the past year. Our f nalists represented one impor-tant ref nement, in Canon’s new AF system on the EOS 70D, and

RUNNER-UP:Sony CyBER-ShoT RX1

PoPPhoto.CoM popular photography 61

Taken with built-in flash

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Unretouched photos

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january 2014 popular photography 63POPPHOTO.COM

contestThe 20th Annual Readers’

thumbnails of winners and finalists—see full images at popphoto.com/readerscontest2013

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Great photos can come from anywhere, at any time. This year, our edi-tors chose from an astoundingly diverse group of entries. On sport’s largest stages, in Europe’s historic cities, and even at a studio shoot in a spare bed-room, you made beautiful images. The latest competition proves yet again that anyone can make great pictures; next year, maybe you’ll be a winner. Interviews by Matthew Ismael Ruiz

Action/SportSalan aaron, 43, hedge fund manager, Short hills, NJ

“I won a charity auction to be a photographer for a day; I received a press pass, and was shooting from the ‘dugout,’ a cutout

area at court level. The opponent is constantly running in front of you, and you have to jockey for position with the pros.

It’s a tough place to shoot from. As Maria Sharapova hit her shot across the net, her opponent, Mallory Burdette, ran right

in front of my camera. In my frst few shots, Burdette blocked nearly the entire frame, but in the last photo, her legs framed

Sharapova perfectly.” tech INfo: canon eoS 7D with 100-400mm f/4.5–5.6 IS uSM canon ef lens; 1/2000 sec at f/5.6, ISo 800.

64 popular photography january 2014

POPPHOTO.COM popular photography 65

AnimAlSKaren harris, 70, retired music teacher, lincoln, Ne

“The day after a 12-inch snowfall in Colorado’s Rocky Mountain National Park, my husband and I were walking on

a mountain road. Suddenly, a group of these Rocky Mountain bighorn sheep came out of nowhere and surprised

us. This huge male was defnitely in charge. He eyed me very cautiously as we walked a bit closer; I wanted to get

at an angle where my only background would be a big snowbank. We were probably 12 to 15 feet from the ram, or

as my husband would say, ’too close.’ In under a minute, the animals were gone.” tech INfo: Nikon D200 with tamron

28–300mm f/3.5–5.6 Di Vc; 1/500 sec at f/11, ISo 200. Minor edits in adobe photoshop cS5.

66 popular photography january 2014

POPPHOTO.COM popular photography 67

Architecture/citieSKyle gilbert, 21,

college student,

tempe, aZ

“It was late morning in

Florence, Italy, and my

mom and I decided we

wanted to see the view

everyone talks about

from the top of the

Duomo. I have to admit

that after climbing over

400 stairs to the top of

the Duomo I was a bit

out of breath, which

also made holding

my camera steady a

challenge. I remember

walking back down the

stairs with a completely

different feeling over

me. My grandmother

was the biggest sup-

porter of my photogra-

phy, and while we were

away on this vacation

she was hospitalized

and passed away. It was

hard to go through my

images from the trip

when I got back, but

this was the frst image

I edited. I know she

would have loved it

and asked for a print.”

tech INfo: Nikon D300

with 10.5mm f/2.8g eD-If

af Nikon DX fisheye lens;

1/160 sec at f/18, ISo

200. Minor edits in adobe

photoshop lightroom 2.

nAtureMatt Walker, 47,

horticulturalist, campbell, ca

“There are some great smart-

phone apps that help you decide

where you need to be when the

Milky Way rises. My friend, Mark,

and I used the Sky Safari app to

get a good perspective at Glacier

Point in Yosemite. This was made

from a total of 10 shots stitched

and blended in Photoshop. I

took fve of the stars at 10 p.m.

at ISO 2500 and combined them

together as a panorama. With the

Milky Way moving really fast out

of frame, we decided to wait until

dawn to re-shoot the foreground

at a lower ISO, and crashed on

the ground next to our cameras

for a few hours. The fve-shot

foreground panorama was shot

at 5 a.m. at ISO 100. Both pan-

oramic images were warped after

the stitching process, so I made a

large canvas and hand-straight-

ened the images using the Warp

tool. I blended the foreground

with the background using tools

such as Curves, Levels, and

dodge and burn layers set to the

Overlay blend mode and flled

with 50 percent grey.”

tech INfo: Nikon D800 with

14–24mm f/2.8g Nikkor lens on

gitzo tripod with really right Stuff

ballhead, fired with Nikon Mc-30

remote; sky, 30 sec at f/2.8, ISo

2500, foreground 1 sec at f/14, ISo

100. ten-shot composite made with

photoshop cS6.

68 popular photography january 2014

objectSNorman press, 45, police officer, Santa Monica, ca

“I took this in my home studio, which is really just a spare bedroom at my house. I shuttered the blinds to control the light-

ing: two daylight-balanced CFL bulbs in tabletop refector-stands. I set up the fower, a purple lithianthus, inside a pop-up

white nylon diffusion tent. I was going for a see-the-hairs-on-it close-up with minimum depth of feld. The fnal image is a

stack of two captures. The main shot, taken at f/2.8, was focused on the foreground leaves, so that stem would recede into

soft focus. But depth of feld was so shallow that the sprout and the leaves in the foreground couldn’t be in focus all at once,

so I made a second capture at f/22. I wanted the violet to be translucently backlit, so I placed one light outside the diffusion

tent, facing straight into the bloom. I added a second light off to the left and slightly forward of the greenery. I have no formal

education in photography—everything I’ve learned has come from experimentation and Popular Photography!”

tech INfo: Sony alpha 55 with 100mm f/2.8 Sony macro lens on giottos ballhead and Manfrotto carbon-fiber tripod; two-shot composite:

1 sec at f/2.8, ISo 100, and 1/60 sec at f/22, ISo 100. raW conversion in lightroom 4, focus-stacked manually in photoshop cS6.

POPPHOTO.COM popular photography 69

70 popular photography january 2014

reAderS’ choicetamiz u. rezvi, 28, photographer, Brooklyn, Ny

“I’ve always wanted to do a dance shoot, to capture a dancer in the

midst of her performance. The fast pace is not something I am used to,

but I wanted the challenge. This model, Silviya Taseva, is Miss Bulgaria

USA 2013. I had captured a performance she did on the catwalk during

fashion week in New York, we started to talk on Facebook, and I asked

her to do a dance shoot. It was cold that day on the beach, with fast

dancing, high jumping, and lights that were not working, but it was all

worth it.” tech INfo: canon eoS 7D with 85mm f/1.8 canon ef uSM lens;

1/400 sec at f/10, ISo 250. crop, color correction, noise reduction, and sharp-

ening in lightroom 3 and photoshop cS5.

peopleMarta everest, 40, housewife, rota, Spain“We were at a vacation house in Grayson, Georgia. It was about 4 o’clock in afternoon, and the only avail-

able light was streaming in from the large windows behind me in the living room. I asked my daughter to

pull her hair all the way up to one side; when she let the hair fall back naturally onto her face, it gave the

effect of air blowing from the right side. I used Lightroom to correct the brightness, contrast, and clarity

using the adjustment brush. To improve the skin quality without overdoing it, I used Portrait Professional

9; I picked a black leather texture from Perfect Effects to help get rid of the distracting background, and at

the same time, give the photo the dramatic painterly look I was looking for. Finally, I removed some of the

texture from the skin and hair and...voilà!” tech INfo: Nikon D7000 with 50mm f/1.8D Nikkor lens; 1/80 sec at

f/1.8, ISo 800. Brightness, contrast, and clarity adjusted in lightroom 4, background texture in onone perfect effects

3, and skin texture in anthropics portrait professional 9.

POPPHOTO.COM popular photography 71

72 popular photography january 2014

POPPHOTO.COM popular photography 73

GrAnd prizeDebbie Dicarlo, 58,

consultant, richfield, oh

“This particular area of

the Chagrin River, fowing

through the Cleveland’s

South Chagrin Reserva-

tion, is best known for the

outdoor sculpture known

as ‘Squaw Rock’ which

was carved by artist and

blacksmith Henry Church

in 1885. One October

afternoon I hiked a short

distance from a picnic area

and walked through the

river, surrounded by shin-

deep rushing water. I saw

the softness in the back-

ground caused by the fog

and mist, in direct contrast

with the jagged rocks in

the foreground. I wanted a

unique point of view that

put the viewer right in the

midst of the scene, and

took about a hundred im-

ages while standing in the

water. I was thrilled to have

had all of the perfect ele-

ments align that day—the

soft light, the fog, the roar-

ing water and the beauty

of nature in general. I felt

like I hit the jackpot!”

tech INfo: canon eoS 5D

Mark III with 24–105mm

f/4 IS canon ef uSM lens

with gitzo tripod, really right

Stuff ballhead, ND filter, and

circular polarizer; 1 sec at

f/11, ISo 100. Minor edits

in adobe camera raw and

photoshop cS6; filters added

in Nik color efex pro 4.

BEST

74 POPULAR PHOTOGRAPHY JANUARY 2014

10Canson Inf nity Platine Fibre Rag

Hahnemühle Fine Art Baryta

Canson Inf nity Rag Photographique

Harman Gloss Art Fibre Warmtone

Ilford Galerie Prestige Gold Fibre Silk

Weight: 310 gsm Characteristics: Heavyweight, f ber, semi-gloss paper with a 100% cotton rag base that carries ink so beautifully it left us breathless. Just enough gloss to hold shadow detail and keep tones rich; has an almost-wet look in certain light. Like most papers here, contains no Optical Brightening Agents (OBAs). Great for: Portfolios and albums, thanks to its heavy feel; wedding photos and portraits, since its subtle texture is great for skin at all print sizes. Price per sheet: $1.26*

Weight: 325 gsm Characteristics: Heavyweight, f ber semi-gloss with a neutral, but not too bright, base that reproduces color and b&w like a high-end luster paper, with just enough texture for character. Expect a noticeable amount of ref ectance off the printed surface, especially in darker areas. Contains OBAs. Great for: Roll printing at large sizes. It comes off almost f at, with very little curl; its weight keeps it from kinking easily and allows it to be matted without mounting. Price per sheet: $1.63*

Weight: 310 gsm; 210 gsm, one-sided, or 220 gsm, two-sided Characteristics: Heavyweight, 100% cotton rag, matte paper reproduces color and black-and-white with bright (but controlled) color and deep, dark tones. Slightly more neutral than some other OBA-free matte papers. Great for: Warm-toned b&w images, color portraits and landscapes; prints, books, portfolios, and folding cards, since it comes in multiple weights and a two-sided version. Price per sheet: $1.24 (310 gsm); $0.99 (210); $1.38 (220)*

Weight: 300 gsm Characteristics: Heavyweight, f ber, semi-gloss that renders extraordinary images: The way it carries inks reminds us of oil paint on f nely woven canvas. It produces very f ne detail, vivid colors, and extremely deep dark tones; it also feels more substantial than many other 300 gsm papers. Great for: Images with f ne detail, vivid colors, and/or extremely deep dark tones. For neutral b&w, try the bright white version. Price per sheet: $0.87*

Weight: 310 gsm Characteristics: Very substantial heavyweight f ber paper with the character of a high-end luster stock. It offers sharp reproduction and very good shadow detail, with virtually no visible paper texture. Great for: Portraits and color landscapes that will benef t from the almost romantic feel of its smooth f ber base and slightly warm tone. Price per sheet: $1.16*

What you print on can be almost as important as the image you print. But how do you choose the right surface when there are so many out there? Here are 10 of our favorite f ne-art inkjet papers from third-party manufacturers, plus some tips on how to choose for yourself. By Andrew Darlow

Fine-Art PapersEST

POPPHOTO.COM POPULAR PHOTOGRAPHY 75

Paper-Picking Tips

Get and print samples Consider weight

For more details, tips, and f ne-art inkjet paper choices, visit PopPhoto.com/paper.

Survey Sizes Look to the Future

Heavier (higher gsm) papers show less handling damage and can save you money by letting you forego mounting when framing. But before you buy, look up your printer’s maximum paper thickness.

Nearly every f ne-art paper company offers sample packs, which are useful for testing the same image on multiple surfaces. Start by printing a standard test image that shows a good range of tones.

Make sure the paper you like comes in the sizes you want. Most offer sheets of 8.5x11, 11x17, 13x19, and 17x22 inches; some come larger. If you don’t mind trimming, consider ganging up groups of images.

Papers vary in their lon-gevity, and many contain optical brightening agents (OBAs) that can make prints less archival. For fade-testing data, check aardenburg-imaging.com and wilhelm-research.com.

Innova FibaPrint Warm Cotton Gloss

Moab Entrada Rag Natural

Museo MAX

PremierArt Platinum Rag

Red River Paper San Gabriel SemiGloss Fiber

*Based on street price of a 25-sheet box of letter-sized paper or the closest equivalent.

Weight: 335 gsm Characteristics: Extra-thick f ber base for a print that feels truly special to hold. Its natural white tone and ref ective quality to the dark tones evokes a vintage-print feel right out of the printer, and its weight mitigates the need for mounting when matting and framing. Great for: Prints for which you want that made-in-the-darkroom f ber gloss feel and deep, rich, dark tones that truly shine. Price per sheet: $1.46*

Weight: 190 gsm or 300 gsm Characteristics: Double-sided with an off-white tone and a subtle-but-evident texture. It comes in two sheet weights, with a Rag White version available in both—this works well for neutral black-and-whites or when you want extra-bright colors. Great for: Landscapes and cityscapes, which look beautiful on the Natural version. For cards and promotional materials use the heavier stock; for portfolios and albums, the lighter. Price per sheet: $1.24 (190 gsm); $1.36 (300 gsm)*

Weight: 250 gsm or 365 gsm Characteristics: 100% cotton base matte paper produces deep tones on a watercolor surface. Subtly textured, this paper renders colors beautifully. The super-heavy 365 gsm version comes only in 17x22- and 35x47-inch sheets. Great for: 250 gsm version: Books, portfolios, and one-sided cards, thanks in part to its scuff-resistant surface. 365 gsm: Large prints (even box mounts without a mat). Price per sheet: 8.5x11, $1.16 (250 gsm); 17x22, $4.86, and 35x47, $18.24 (365 gsm)

Weight: 285 gsm Characteristics: Off-white, f ber, semi-gloss paper with extremely f ne crosshatch texture and slightly subdued color palette for smooth rendering of even tones. Its f nish could be called “semi-matte,” and it feels much heavier than its weight would indicate. Great for: Prints, books, and portfolios. In the latter (printed on one side), its elegant feel and the way the ink sits on the paper are magnif cent. Price per sheet: $1.50*

Weight: 300 gsm Characteristics: Truly an incredible semi-gloss f ber paper, with a slightly warm base, excellent density in the darks, and medium ref ectance off the surface. It offers the sharpness of a semi-gloss and the character of a matte watercolor paper. Great for: Both color and black-and-white subjects, which will be reproduced equally well. Price per sheet: $1.45*

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JanUarY 2014 populAr photogrAphy 77POPPHOTO.cOm

FULL TESTS: PENTAX K-3 AND CANON EF 24–70MM F/2.8L II USM

TEST: FUJIFILM FUJINON XF 24MM F/2.8 R

82

90

92

imAgine: A body that mimics the looks of DSLR, but in a size more akin to a Leica M, with resolution on par with the best full-frame cameras. And weighing about half as much as its closest competitor, the Nikon D800. What you get is the Sony Alpha 7R.

This new 36.4MP flagship interchangeable-lens compact ($2,298, street, body only), along with the concurrently announced 24.3MP Alpha 7 ($1,698, body only), sports the same E-mount as Sony’s NEX line of APS-C-format ILCs. As the E-mount has a much shorter mount-to-sensor distance than the company’s A-mount DSLR lenses, Sony also introduced a whole new line of optics for these full-frame ILCs. Carrying the FE moniker, they roll out this January with a 55mm

plenty of pixels, lots of resolution, no mirror

ILC tESt

36.4Mp full-frame Exmor CMos sensor1.5-fps bursts 1920x1080p60 video capture3-inch, tilting 921,600-dot lCD screenBuilt-in wi-fi and nfC $2,298, body only

SONYALPHA 7R

BET ON ALPHA

sA

to

sh

i

da

n b

ra

ca

glia

(lc

d im

ag

e)

Function dashboard button

f/1.8 ($998, street), 35mm f/2.8 ($798), 24–70mm f/4 ($1,198), and 28–70mm f/3.5–5.6 (only in a kit with the A7); a 70–200mm f/4 is due later in 2014. (We used the 55mm in all lab tests.)

In the Test Lab

Until now, the only way to get this much resolving power, short of going to medium format, would be with Nikon’s D800, which is about 0.7 inch wider, an inch taller, and more than an inch deeper. Given its small size, we expected the Alpha 7R to produce noisier images with less resolution than the D800. We were right, yet quite surprised to see how close this Sony came to matching the Nikon’s amazing image quality. It garnered an Excellent rating in overall image quality from its lowest sensitivity of ISO 50 through ISO 400, only one stop short of the D800’s range.

In our resolution tests, the Alpha 7R turned in 3325 lines per picture height at ISO 50—within 200 lines of the D800’s 3510. It jumps to the top of the ILC heap, well above Sony’s own NEX-7, which produced 2740 lines in our December 2011 test.

The A7R earned another Excellent rating in color accuracy—but just barely, with an average Delta E of 7.9. The D800 hit that rating with more breathing room, for a score of 6.5.

In noise testing, the A7R produced cleaner images than the D800 at their two lowest sensitivity settings. But from ISO 200 on, the D800 shows about a one-stop advantage, with Low or better noise up to ISO 800 versus ISO 400 for the Sony; following the same pattern, the A7R reaches an Unacceptable rating at ISO 3200, while the D800 gets there at ISO 6400.

what’s hot

sony alpha 7R

Excellent image quality, small size

Slow 1.5-fps burst speed

Shooters looking for the best image

what’s not

who it’s foR

quality you can get in an ILC.

AmAteur pro

78 POPPHOTO.cOm

Sony aLpha 7Rlab * ILC tESt

shown without lens

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As always, you could add more

noise reduction to bring the A7R

down to acceptable levels at ISO

6400, but this would erode some

of the resolving power, which the

camera retains nicely as sensitivity

increases. At ISO 400, it lost 300

lines of resolution versus ISO 50,

but it dropped by only 100 lines at

ISO 1600, where it captured 2925

lines. At the its top sensitivity of ISO

25,600, it maintains 2625 lines, still

Excellent by our rating standard—

and better than the 2470 lines the

D800 turned in (though the Nikon

beat it in resolution across most of

their sensitivity ranges).

The A7R has no anti-aliasing

filter over the sensor, while the

D800 does. (We haven’t yet tested

the Nikon D800E, which also omits

the AA filter.) Although we saw

some signs of minor aliasing in our

lab test images, we didn’t notice

any ill effects from the A7R’s lack of

an AA filter in our field test images.

In the Field

Sony didn’t scrimp on the Alpha

7R’s body. The weather-sealed

magnesium-alloy chassis makes it

fit for rigorous use. A 2.4-million-

dot OLED electronic viewfinder

provides a wonderfully detailed

view of the scene, and you can

overlay a leveling guide or various

grids to help you compose. The

921,600-dot, 3-inch LCD tilts up

and down to make shooting from

high or low angles easier.

For an ILC, it has a well-sculpted

grip. A cutout for your middle

finger has a nice ridge atop it to

provide leverage when tilting the

camera, while a divot on the inside

of the grip gives it a more secure

feel. Three command wheels let

you control shutter speed, aperture,

and ISO independently when

shooting in manual mode. A fourth

wheel is dedicated to exposure

compensation, with click stops for

+/–3 EV of exposure compensation,

but if you assign exposure comp to

one of the other three wheels, you

can get up to +/–5 EV.

We always like to be able to see

camera settings before turning the

camera on, but after some time

field-testing the A7R, we ended up

wishing that the exposure comp

wheel were just another assignable

command wheel. As we did most

of our shooting in aperture- or

shutter-priority, we used one wheel

for either shutter or aperture, the

second for exposure comp, and the

third, located toward the bottom of

the camera back, for ISO.

The camera balances well in the

hand with native E-mount lenses,

but it does end up front-heavy

when using A-mount lenses with

the Sony adapter for these optics.

Large zooms for DSLRs, such as a

24–70mm or 16–35mm f/2.8, feel

a little absurd on the A7R, though

they function perfectly well. In our

field tests, we found the A-mount

50mm f/1.4 and 85mm f/1.4 primes

to be more ergonomic, and we

expect that Sony’s other wide and

mid-range primes will also work

well on this smallish body.

E-mount lenses for APS-C format

work with full functionality on

the Alpha 7R, and you can set the

camera to crop automatically into

the usable imaging area of these

lenses. You can also opt to use the

full area of the sensor and allow the

vignetting that will result. In either

case, what you see in the finder will

be what you get in the image.

Metabones is developing

adapters for other full-frame lens

brands—we saw a fully operational

Canon EF adapter from this

company during our initial briefing

on the new cameras. We were also

able to mount an old 35mm f/2.5

W-Nikkor rangefinder lens on the

A7R with a Voigtländer adapter

we’ve used for years on Sony’s NEX

cameras, and it worked perfectly.

As Sony has done in the recent

past, it included both Wi-Fi and

Near Field Communication (NFC) in

For info on how we test cameras, visit our website at PopPhoto.com/reviews.

TEST RESULTSIMAGE QUALITY ISO 50–400

POOR EXCELLENT

EXCELLENT

RESOLUTION ISO 50

POOR EXCELLENT

1500 2000 2500 3000 3500 4000

EXCELLENT3325

COLOR ACCURACY

HIGH EXCELLENT

EXCELLENT 7.9

HIGHLIGHT/SHADOW DETAIL

LOW EXTREMELY HIGH

EXTREMELY HIGH

CONTRAST

LOW EXTREMELY HIGH

VERY HIGH

UNACCEPTABLE EXTREMELY LOW

3.0 2.5 2.0 1.5 1.0 0.5

NOISE AT ISO

1600MODERATE 2.9

EXTREMELY LOW 1.0 100

EXTREMELY LOW 0.8 50

200VERY LOW 1.4

6400UNACCEPTABLE 4.6

12,800UNACCEPTABLE 5.8

25,600UNACCEPTABLE 7.2

400

800MODERATE 2.4

3200UNACCEPTABLE 3.7

SONY ALPHA 7RLAB * ILC TEST

80 POPULAR PHOTOGRAPHY JANUARY 2014

the A7R. NFC initiates the connection

between an Android smartphone and

the camera once they’ve been paired

before; you just touch the phone to

the A7R’s body, and the camera will

connect via Wi-Fi and launch Sony’s

PlayMemories Mobile app. From there

you can copy images from the camera

to your phone for upload to Facebook

or other sharing sites. You can even

muck up the A7R’s wonderfully sharp

pictures with Instagram filters.

The A7R is also compatible with

Sony’s system of camera apps; our

LOW 1.7

A7R sample was preloaded with the Smart Remote embedded app that lets you trigger the shutter and adjust exposure compensation. While this is nice, we wish Sony had included more camera controls in this app. The latest version of Olympus’ remote-control app, for example, lets you change most of the camera settings from your phone. We hope that Sony will provide an update soon.

Burst shooters will not be impressed by the A7R’s frame rate of 1.5 frames per second when capturing images with continuous metering and autofocus. However, this does allow for about 21 RAW frames before the buffer fills when using a SanDisk 95MB/sec UHS-I SD card. If you’re willing to lock metering and focus on the first frame, you can boost the burst speed to 4 fps in the camera’s Speed Priority Continuous mode.

Video fans should appreciate that it shoots up to 1920x1080p60 in AVCHD format. Footage we took at the camera’s highest quality setting, which records at 28 Mbps, showed little in the way of video artifacts. Want to use an external recorder? You’re in luck: the A7R can output a clean HDMI signal. It has a built-in stereo mic, external stereo mic input, and a headphone output to monitor audio. Its Multi Interface shoe will let you add an accessory mic; if you’re feeling ambitious (and flush with cash), add Sony’s XLR-K1M XLR adapter and mic kit ($798, street).

The Bottom Line

For the highest-quality images possible from an ILC today, the Alpha 7R is your best option by far. On DxOMark, which rates the RAW output of cameras (we rate TIFFs made from RAW files using the software that comes with the camera), it scored a 95—dead even with the Nikon D800. And our testing essentially backs this up.

For pros and enthusiasts concerned about the availability of lenses for this all-new ILC format, Sony appears very committed to filling out the FE lens catalog. It promises to have 10 lenses in the system by the end of this year, with at least five more to follow in 2015.

With the A7R, Sony has provided some of the best imaging performance you can get, and done it with a camera small enough and light enough to bring with you wherever you want to go. And that, in short, is why we’ve named it our 2013 Camera of the Year. —Philip Ryan

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iMaGinG: 36.4mP effective, full-frame exmor cmOS sensor captures images at 7360x4912 pixels with 14 bits/color in raW mode

stoRaGE: Sd, SdHc, SdXc, memory Stick PrO duo, PrO-Hg duo, Xc-Hg duo.

Stores JPeg, arW raW, raW + JPeg

ViDEo: Up to 1920x1080p60 aVcHd v2/mP4; built-in stereo mic, stereo minijack mic input; continuous aF; maximum clip length approximately 29 min 59 sec

BURst RatE: Full-sized JPegs (Fine mode): 1.5 fps up to 200 shots; raW (14-bit): 1.5 fps up to 21 shots when using a UHS-i memory card

af systEM: TTl contrast detection with 25 focus points. Single-shot and continuous with predictive focus tracking, face detection, eye detection.

shUttER spEEDs: 1/8000 to 30 sec (1/3-eV increments); shutter life not rated

MEtERinG: TTl metering using 1200-zone sensor with multi-segment (evaluative), centerweighted, and spot (size of spot not specificied) metering; 0–20 eV (at iSO 100)

iso RanGE: iSO 50–25,600 (in 1/3- or 1-eV increments).

flash: no built-in flash; multi interface shoe accepts accessory flashes

EVf: Fixed eye-level Xga Oled with 3-step brightness adjustement; 100% accurate; 0.71X magnification

lCD: Tilting 3-in. lcd screen with 921,600-dot resolution; 5-step brightness adjustment

oUtpUt: Hi-Speed USb 2.0, mini-Hdmi video, stereo headphone minijack

BattERy: rechargeable nP-FW50 li-ion, ciPa rating 340 shots

siZE/wEiGht: 5.0x3.8x1.9 in., 1.0 lb with card and battery

stREEt pRiCE: $2,298, body only

foR info: store.sony.com

specIfIcaTIons

POPPHOTO.cOm populAr photogrAphy 81

82 popular photography january 2014 POPPHOTO.COM

Pentax K-3lab * DSLR teSt aMatEur pro

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PENTAX K-3

Rugged body, excellent image quality

Wi-Fi requires special SD card

Pentaxians who want the best DSLR

wHAT’S NOT

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body Pentax has made yet

aNy WorrIES that the Pentax brand might suffer after its pur-chase by Ricoh can be put to rest. After this summer’s Pentax K-50, Ricoh has followed up with the more upscale 24.3MP K-3 ($1,297, street, body only). Its magnesium-alloy body, built on a stainless-steel chassis, has 92 seals to protect it from water and dust and is rated to function in subfreezing weather. Sensitivity stretches from ISO 100 through 51,200; it captures 14-bit RAW images in both Pentax’s PEF or Adobe’s DNG format; and its pentaprism viewf nder offers a 100%-accurate view with 0.95X magnif cation. Add a well-designed control system, and you’ve got one heck of an imaging machine.

In the test Lab

The K-3’s large pixel count com-bines with an updated version of its Silkypix-based RAW converter. Along with a new 86,000-pixel metering sensor that tightened up the white balance, this powered the camera to an Excellent overall image quality rating in our tests from ISO 100 through 800. That’s one stop further than its predeces-sor, the K-5, managed when we tested it in 2011, and the K-3 did it with much more resolving power.

As many camera makers are doing these days, Pentax removed the anti-aliasing f lter; these gener-ally work by blurring the image slightly before it reaches the sen-sor. Instead, Pentax lets you get a similar effect by vibrating the sen-sor with the same mechanical sys-tem that shakes off dust. Pentax calls this most effective at shutter speeds of 1/1000 sec or slower; it’s

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84

not available in auto HDR mode

or video capture. In our f eld test-

ing, we did not see aliasing with

the system turned on. In our lab

tests, we left it off and saw some

evidence of aliasing.

In our resolution test, the K-3

delivered 2750 lines per picture

height at ISO 100, close to the

Nikon D7100’s 2820 lines. It held

onto much of this resolution as

sensitivity rose, serving up 2600

lines at ISO 1600 and 2525 at ISO

3200—still enough for an Excel-

lent rating. At ISO 12,800, it cap-

tured 2375 lines, though after this

point resolution dropped more

sharply, ending up with 2100 lines

at the top sensitivity of ISO 51,200.

We were glad that Pentax now

tailors its Silkypix noise reduc-

tion defaults to each ISO; it also

gives numerical values for color

and luminance NR, so you can

adjust these in an informed way.

But even at ISO 100, the K-3 did

not achieve top honors in our test:

It scored 1.4, at the top of our Very

Low rating, and held this rating

at ISO 200. But from there noise

dropped to Low at ISO 400 and ISO

800, then deteriorated to Unac-

ceptable at ISO 3200 and higher.

(Nikon’s D7100 doesn’t reach Unac-

ceptable until ISO 12,800.)

The K-3’s color accuracy essen-

tially matched the K-5’s and the

D7100’s, with an Excellent-level

average Delta E of 7.2.

In our autofocus speed test, the

K-3 did particularly well in brighter

light, beating the D7100 from EV 12

through EV 4, but slowing some at

in lower light—still a great show-

ing. And though our test measures

down only to EV –2, Pentax rates the

system as effective down to EV –3.

Given that it took an average of 1.41

sec to lock focus and snap an image

at EV –2 in our test, we wouldn’t

expect fast AF in less light. But in an

age when ever fewer cameras focus

while the

contrast-

detection

autofocus

can work

with

continuous

and tracking

focus in live

view, in

video

capture

you're

limited to

autofocus-

ing before

the start of

the clip.

the best shooting

experience we’ve had yet from a

pentax DsLR

test ResULtsIMAGE QUALITY ISO 100–800

POOR exCeLLent

EXCELLENT

RESOLUTION ISO 100

POOR exCeLLent

1500 2000 2500 3000 3500 4000

EXCELLENT2750

COLOR ACCURACY

HIGH exCeLLent

EXCELLENT 7.2

HIGHLIGHT/SHADOw DETAIL

LOW extReMeLY HIGH

VERY HIGH

CONTRAST

LOW extReMeLY HIGH

VERY HIGH

UnaCCePtaBLe extReMeLY LOW

3.0 2.5 2.0 1.5 1.0 0.5

NOISE at ISO

VERY LOW 1.4

VERY LOW 1.5

LOW 1.8

LOW 1.9

MODERATE 2.5 1600

3200

6400

UNACCEPTABLE 6.3

UNACCEPTABLE 5.7

UNACCEPTABLE 4.1

12,800

UNACCEPTABLE 8.1 25,600

UNACCEPTABLE 13.5 51,200

100

200

400

800

AF SPEED

BRIGHt (LIGHt LeVeL) DIM

ex

t. S

LO

W tIM

e (

Se

CO

nD

S)

e

xt. Fa

St

12

0.2

0.4

0.6

0.8

1.0

1.2

1.4

1.6

1.8

2.0

9 6 3 0 –3

0.38 0.390.42

0.440.52

0.69

0.92

1.09

1.27

1.41

IMAGE STABILIZATION at 300MM

2 STOPS

1 2 3 4 5 6

Pentax K-3lab * DSLR teSt

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below EV –1, it’s refreshing to see a

company take this tack.

Pentax’s sensor-shift image sta-

bilization proved effective, giving

our testers an average of 2 extra

stops of handholding leeway.

In the Field

As usual for its top-of-the line

DSLR, Pentax has made a very

comfortable, rugged camera

body. The grip has a deep cutout

for your middle fnger, providing

ample leverage even when using

larger lenses, such as the Pentax

60–250mm f/4 we used to capture

the New York City Marathon.

The K-3’s shooting-mode dial

can be locked. A pair of command

wheels affords easy control of

Yes, that

really is a PC

flash-sync

terminal just

below the

pop-up flash

button.

86 popular photography january 2014

IMAGING: 24.3MP effective, aPS-C-sized CMOS sensor captures images at 6016x4000 pixels with 14 bits/color in raW mode

STORAGE: 2 SD, SDHC, SDXC slots store jPEG, PEF/DnG raW, raW + jPEG files

BURST RATE: Full-sized jPEGs (Fine mode), up to 60 shots at 8.3 fps; raW (14-bit), up to 23 shots at 8.3 fps

AF SYSTEM: TTL phase detection aF with 27 selectable points (center 25 cross-type); single-shot and continuous aF with subject tracking

SHUTTER SPEEDS: 1/8000 to 30 sec, plus B (1/3-EV increments); shutter life rated to 200,000 cycles

METERING: TTL metering with 86,000-pixel rGB sensor, Multi-segment (evaluative), centerweighted, spot; EV –3–20 (ISO 100)

ISO RANGE: ISO 100–51,200 (in 1/3-EV increments)

VIDEO: records at up to 1920x1080i60 in H.264 format; built-in monaural mic; stereo minijack mic input

FLASH: Built-in pop-up with P-TTL autoflash covers field of view of 28mm lens; Gn 43 (feet, ISO 100); flash sync to 1/180 sec

VIEwFINDER: Fixed eye-level pentaprism

MONITOR: Fixed 3.2-inch LCD with 1,037,000-dot resolution; 15-step brightness, saturation, and color adjustments

OUTPUT: uSB 3.0, mini HDMI video, stereo headphone minijack

BATTERY: rechargeable D-LI90 Li-ion, CIPa rating 720 shots

SIZE/wEIGHT: 5.2x3.9x3.0 inches,

1.8 lb with a card and battery

STREET PRICE: $1,297, body only

INFO: www.us.ricoh-imaging.com

specIFIcatIons

aperture and shutter speed in man-

ual mode, and various buttons can

be assigned to tasks of your choice.

A switch lets you move between

Pentax K-3lab * DSLR teSt

VIEwFINDER TEST: accuracy, 100% (Excellent); magnification, 0.95X (Excellent)

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still and video capture, while a

dedicated button toggles between

live view and the optical fnder for

stills. The Info button brings you

to a dashboard-style control panel

on the LCD, where you can change

18 different settings. Using the K-3

proved very intuitive, and we were

never fummoxed by it in feld use.

Though the K-3 doesn’t have

built-in Wi-Fi, Pentax will offer a

special SD card, called a FLU card,

for remote image transfer and

camera control. We did not get

one in time for our feld test.

Video results were pleasing. The

K-3 captures at up to 1920x1080

pixels at up to 60i using the H.264

standard for encoding. We saw

little in the way of video artifacts.

Burst shooters should be happy

with the drive speed of 8.3 frames

per second. That’s fast enough to

handle almost any sport and, in

our trials at the marathon, the

continuous AF did well at tracking

as runners approached the camera

and then rounded a corner.

The K-3’s buffer handles up to

60 JPEGs or 23 RAW images before

flling up—enough to capture those

runners completely through the

turn. Need more? You can extend it

by slowing the burst to the setting

of 4.5 fps for up to 100 JPEGs or 32

RAW, or the low setting of 3 fps for

up to 200 JPEGs or 52 RAW images.

The auto HDR mode lets you

choose from three levels of effect,

and it can compensate for slight

camera movement in between

shots, though it’s always best to use

a tripod for shooting HDR.

the Bottom Line

Pentax has priced this fagship

DSLR close to midlevel bodies from

Canon and Nikon. Between the K-3

and Nikon’s D7100, it’s hard to pick

a winner. The K-3 is more rugged

and offers more weather-sealing;

it also has image stabilization that

will work with any lens you mount

on the camera (we even used it

with a screw-mount lens made

when the company was still Asahi

Optical Corp.). But the Nikon has

slightly better AF tracking—we did

see a few less-than-sharp images

in our marathon images—and

better noise control, especially at

lower sensitivities.

Versus Canon’s EOS 70D, this

Pentax delivers more resolving

power, but lacks the 70D’s articu-

lating LCD screen, and it can’t hold

a candle to the Canon’s video AF.

But, if your primary interest is

still photography, the K-3 offers a

fne rugged body, can accept a vast

array of lenses (and image-stabilize

all of them) and represents the

best shooting experience we’ve had

yet from a Pentax DSLR.

—Philip Ryan

Time-lapse

fans will

appreciate

the K-3’s

built-in

intervalo-

meter. with

it, you can

capture from

2 to 2,000

shots with 2

seconds to

24 hours in

between.

(You’ll need

the AC

adapter to

last through

many frames

at long

intervals.)

Pentax K-3lab * DSLR teSt

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The laTesT in a line of storied lenses going back to the 28–80mm f/2.8–4L of April 1989, this is Canon’s fourth high-speed, full-frame, standard-range, L-series autofocus zoom. The previous 24–70mm f/2.8L was introduced in November 2002, and compared with that lens, this version II ($2,299, street) has better weather-sealing, AF processing, and a more rugged build. Its major upgrade, however, is the addition of more high-end glass. The previous 24–70mm had two aspheric elements and one of ultra-low dispersion (UD) glass. This one offers three aspherics, two elements of UD glass, and one of Super UD glass.

About five ounces lighter and 0.5 inches shorter when racked out to 70mm, the new lens, while by no means compact, offers noticeably nicer handling. The turns of both zoom and manual-focus rings are smoother and more even than its predecessor’s. The MF ring is larger, and there’s a zoom lock.

Despite the noticeably smaller profile, its filter threading has ballooned to 82mm from 77mm; upgraders should factor in the

cost of new filters. In the field, the lens handled

much like its predecessor, with AF that seemed equally fast, quiet, and accurate in both normal and dim lighting. Like the earlier optic, our test lens lacks stabilization and its subject distance scale (in feet) is hard to read. The lens is, however, internally focusing, with a thankfully nonrotating barrel that’s well suited to lens-mounted accessories.

On the Popular Photography optical bench, the lens produced Excellent-range SQF numbers. Somewhat disappointing, though, was subject magnification, which dropped to 1:4.27 from 1:3.5 at 70mm. Another surprise: At 24mm, edge falloff darkened the corners until we stopped down to f/6.3. Previously, it was gone by f/4.

The lens’s real forte, it turns out, is distortion control. At 70mm, pincushioning improved to 0.20% (Slight) from the Noticeable 1.7% of its predecessor, a huge improvement. Other focal lengths followed suit.

Serious Canon shooters will flock to this lens. It’s matched to the 70–200mm f/2.8L IS, and the two make a perfect pair. You may be tempted by Tamron’s stabilized 24–70mm f/2.8 at $1,300, however. And, all things considered, you very well should be. —Julia Silber

Surprisingly,

given the

significant

increase in

upmarket

glass, our

sharpness

tests found

slight

softening

at 50mm

and 70mm

compared

with the

earlier

version of

this lens.

Top Dog

SPECIFICATIONS24–70mm (24.94–69.99mm tested),

f/2.8 (2.67–2.95 tested), 18 elements in

13 groups. Focus ring turns 150 degrees.

Zoom ring turns 80 degrees. Focal length

marked at 24-, 28-, 35-, 50-, and 70mm.

Diagonal view

angle: 84–34 degrees

weight: 1.91 lbs filter Size: 82mm

mountS: Canon AF

incluDeD: Lenshood, soft case

Street price: $2,299

webSite: usa.canon.com

TEST RESULTSDiStortion: At 24mm, 0.47% (Visible)

barrel; at 50mm, 0.15% (Slight) pincushion;

at 70mm, 0.20% (Slight) pincushion

light falloff: At 24mm, gone by f/6.3;

at 50mm, gone by f/5; at 70mm, gone by f/4

cloSe-focuSing

DiStance: 14.21 inches

maximum magnification ratio:

At 24mm, 1:9.54; at 50mm, 1:5.39; at

70mm, 1:4.27

key

70MM

50MM

24MM

Canon’s standard

flagship zoom

Comes on strong

what’S hot

canon ef 24–70mm f/2.8l ii uSm

Formidable build, low distortion

Vignetting to f/6.3, expensive

what’S not

who it’S for

Canon shooters in need of L-series build quality and imaging power

4.4

3 i

n.

5.6

5 i

n.

3.42 in.

Canon EF 24–70mm F/2.8L II USmlab * LEnS tESt

amaTeur Pro

90 PoPular PhoTograPhy jAnuAry 2014 POPPHOTO.COM

0.80 in.

0.83 in.

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FujiFilm’s Fujinon XF 14mm f/2.8 R, an APS-C-format ultrawide for the X-series of interchangeable lens compacts, is the widest of the nine XF lenses Fujifilm has introduced in the line so far. A 21mm full-frame equivalent, this $899 (street) lens has all-metal furnishings, except for its polycarbonate hood. The “R” in its moniker signifies “ring,” indicating that it’s one of today’s few ILC lenses with a working aperture ring.

About half the weight and a quarter-inch shorter than the otherwise similar Pentax 14mm f/2.8 DA lens, this optic is sized much like the comparable ultrawide tested here last month, the Zeiss 12mm f/2.8 Touit (also in a Fujifilm X-mount); though slightly shorter, it weighs exactly the same as the Zeiss. Cosmetically, Fujifilm’s 14mm projects a somewhat retro vibe—like a manual-focus Nikkor from the 1970s—with ribbed aperture and focusing rings. Especially with the lenshood in place, it looks somewhat horsey on the Fujifilm X-M1, our test

camera—it’s a little too large to be grab-and-go glass. And it is big enough to cast a shadow when used at closer focusing distances with our X-M1’s on-board flash.

The manual-focus ring doubles as an MF/AF clutch: Push the ring forward for autofocus and pull back for manual. You know when you’re in AF, because the MF ring locks up. (That’s right, no manual-focus touchups in AF mode.) Otherwise, its manual-focusing system is one the best of any recent ILC glass. It’s mechanical, not the less-exact electronic manual focus typical of most compact lenses today.

We can’t grumble about any lack of barrel markings as we did with the Zeiss Touit last month. This Fujinon provides one of the most complete depth-of-field scales in recent memory and a subject-distance scale for scale focusing in low light.

In the field, we found the lens’

key

14MM

autofocus adequately fast, quiet, and accurate with the version 3.0 firmware upgrade installed. From a handling point of view, our only wish was that the click-stopped aperture ring had a lockable auto setting.

On the optical bench of the Popular Photograhy Test Lab, the lens showed Excellent-range SQF numbers, and its control of linear distortion was mind-blowing: In our DxO Analyzer 5.0 tests, it allowed a mere 0.02% pincushion distortion, a showing that’s among the best we’ve ever seen in any lens category, much less in an ultrawide.

Great for landscapes, group portraits, interiors, and low-light photography, this Fujinon lens will ace most typical ultrawide subjects. Its handling is nearly perfect. You may be tempted by the wider 12mm Zeiss Touit—until you learn the Fujifilm 14mm is $350 less expensive. —Julia Silber

If you

purchase

this Fujinon,

make sure

it has been

upgraded

with the

current

firmware.

As we go to

press, it’s on

version 3.0.

Ultra Cool

SPECIFICATIONS14mm (14.52mm tested), f/2.8 (2.70

tested), 10 elements in 7 groups; focus

ring turns 140 degrees

DIAgonAl vIew Angle: 89 degrees

weIght: 0.50 lbs. FIlter sIze: 58mm

mounts: Fujifilm Fujinon X

IncluDeD: Lenshood, wrapping cloth

street prIce: $899

websIte: fujifilmusa.com

TEST RESULTSDIstortIon: 0.02% (Imperceptible)

pincushion

lIght FAlloFF: Gone by f/5.6

close-FocusIng

DIstAnce: 6.75 inches

mAx. mAgnIFIcAtIon rAtIo: 1:6.91

FujiFilm Fills out the wide end oF its XF catalog

whAt’s hot

FujIFIlm FujInon xF 14mm F/2.8 r

Practically distortion-free

No MF tweaking in the AF mode

whAt’s not

who It’s For

Any Fujifilm ILC shooter wanting wide, sharp, and fast glass

2.3

2 i

n.

2.56 in.FujIFILM FujINoN XF 14MM F/2.8 R lab * LeNs test

AmAteur Pro

92 PoPulAr PhotogrAPhy january 2014 POPPHOTO.COM

sa

TO

sH

I

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AC-1341 BA-111 11 lb 61.8" 24.8" 3.3 lb # OBAC1341111 $139.95

AC-1351 BA-113 13.2 lb 65.3" 27" 4.1 lb # OBAC1351113 $159.95

AC-1361 BA-117 17.6 lb 67.5" 27.3" 4.35 lb # OBAC1361117 $169.95

AC-1421 BA-106 6.6 lb 57.6" 20.6" 2.9 lb # OBAC1421106 $99.95

AC-1431 BA-108 8.8 lb 59.5" 21" 3.25 lb # OBAC1431108 $119.95

AC-1441 BA-111 11 lb 61.6" 21.3" 3.3 lb # OBAC1441111 $139.95

AC-1451 BA-113 13.2 lb 65.9" 23.1" 4.1 lb # OBAC1451113 $169.95

AC-1461 BA-117 17.6 lb 69" 23.8" 4.35 lb # OBAC1461117 $189.95

AC-13213-Section

AC-14614-Section

MEMORY CARDS

Coolpix S6500

• Built-In Wi-Fi • Full HD 1080p Video

• 3.0" HVGA LCD • 12x Optical Zoom

• 4.5-54mm f/3.1-6.5 (35mm equiv:

25-300mm) • SD/SDHC/SDXC Card Slot

• Vibration Reduction Image Stabilization

Black, Orange, Red or Silver

#NICPS6500* .........................219.95 .... Less $50 Rebate .... 169.95 16MegaPixels

$50REBATE!

Expires 11-23-13

Powershot G16

• 3.0" LCD • Full HD 1080/60p Video

• 5x Optical Zoom • 4x Digital Zoom

• 6.1-30.5mm f/1.8-2.8 (35mm equiv:

28-140mm) • SD/SDHC/SDXC Card Slot

• Enhanced Wi-Fi Capabilities

• Continuous Shooting at 9.3 fps

#CAPSG16 ..............................................549.99 12MegaPixels

Powershot Elph 530HS

• 12x Optical Zoom • 4x Digital Zoom

• 4-48mm f/3.4-5.6 (35mm equiv:

28-336mm) • 3.2" Touch Screen LCD

• microSD, microSDHC Card Slot

• Full 1080p HD Video with Stereo Sound

• Built-In Wi-Fi • 6 Different IS Modes

Black or Silver #CAPSE530* 10MegaPixels

SDHC Secure Digital High CapacityDelkin Kingston Lexar Sandisk

Pro Std Micro Std Std MicroClass

10Class

4Class 4Mobility

Class 4

Class 4

Class 4

4GB 8.96 — — 6.92 6.95 6.95

8GB 10.95 7.50 8.95 — 7.95 —

16GB 14.95 12.95 14.95 15.59 12.95 13.95

32GB 26.00 19.95 23.95 27.95 21.95 21.95

CF Compact FlashDelkin Kingston Lexar Sandisk

500x 700x 1000x 1050x StdUltimate

266xUltimate

600x800x 1000x

Ultra30MBs

Extreme 60MBs

Extreme Pro

120MBs 160MBs

8GB 19.95 — — — 12.95 — — 27.95 — — 28.95 — —

16GB 29.95 37.95 59.95 — — 22.50 36.95 47.95 79.95 52.95 47.00 54.95 74.95

32GB 48.95 66.95 114.99 134.95 — 36.50 59.95 82.95 147.95 — 79.99 89.95 130.95

64GB 89.95 132.95 249.95 294.95 — 69.95 — 148.95 357.95 — 145.95 159.95 297.99

128GB — 229.95 349.95 639.95 — — — 283.50 726.50 — — 299.95 649.95

XQD High-Speed for Nikon D4Lexar Sony1100X

155MBsH Series125MBs

S Series168MBs

16GB — 78.50 —

32GB 228.50 — 199.95

64GB 389.00 — 289.00

SDXC-UHS-1 Extended CapacityDelkin Kingston Lexar Sandisk Sony

400x 600x 633xClass 10 Class 10 Class 10 Micro

80MBsClass 10

233x Elite 200x 400x 600x 30MBs 80MBs 95MBs 40MBs 94MBs Micro

64GB 65.95 86.51 117.95 59.50 54.95 59.50 84.50 124.95 62.95 98.95 119.95 98.95 53.95 77.88 54.95

128GB 149.95 189.95 — — — — 179.95 237.95 — 199.95 — — — — —

256GB — — — — — — — 594.80 Note: Not all devices support SDXC cards

SDHC-UHS-1 Ultra High SpeedDelkin Kingston Lexar Sandisk Sony

600x 633xClass 10 Class 10 Ultra

30MBsExtreme80MBs

Extrm Pro95MBs

Micro80MBs

Class 10

233x Elite 200x 400x 600x 40MBs 94MBs Micro

8GB 18.95 22.95 — 9.95 — 13.95 — — 19.89 20.97 — 9.95 17.50 9.95

16GB 24.95 44.95 17.50 15.95 17.00 22.50 34.95 — 27.99 39.95 27.99 15.95 27.50 15.95

32GB 45.95 74.95 32.99 29.95 29.95 39.95 61.95 37.95 49.99 60.95 49.50 26.50 43.74 26.50

256GB

Extreme Pro CF Card • Optimized for 4K Video Recording• Up to 160MB/s

Read Speed• Up to 150MB/s

Write Speed

#SAEPCF256GB .............. $999.95

Page 3

The Professional’s Source™

800-947-9980

212-444-6666

Fax:

212-239-7770

Store & Mail Order Hours:

Sunday 10-5 • Mon.-Thurs. 9-7Friday 9-1 EST/9-2 DST

Saturday Closed

012014

Over 300,000 products,at your leisure

www.BandH.com

We Buy, Sell and Trade

When in New York,

Visit our SuperStore

420 Ninth Ave.Corner of 34th Street

New York, N.Y. 10001

50mm f/2 Macro ED Zuiko

Digital Lens

• Designed exclusively for Digital SLRs

• Ideal for macro photography

and also as a portrait lens

• Magnif cation 1:2

• ED glass element

• Min. focus: 9.45"

• 52mm f lter

diameter

• Weight: 10.6 oz

HVL-F58AM

Shoe-Mount Digital Flash

• Zoom Head (24-105mm)

• Bounce & Swivel Head

• Guide No. 190'

• TTL Dedication

• Vari-Power

• High-Speed Sync

• Auto WB Adjustment

• Wireless

Ratio Control

• Weight: 15.6 oz

16-80mm f/3.5-4.5

Carl Zeiss T* DT Digital Lens

• Designed exclusively for Digital SLRs

• Ideal for snapshots,

portraits, interiors,

or outdoor scenery

• 35mm equiv:

24-120mm

• Min. focus: 13.8"

• 62mm f lter

diameter

• Weight: 15.5 oz

18-135mm f/3.5-5.6 ED AL (IF)

DC WR Digital Lens

• Designed exclusively for Digital SLRs

• SP Coating Repels Dust,

Water, & Grease

• Weather resistant

• Quick-Shift

Focus System

• Min. focus: 1.3'

• 62mm f lter diameter

• Weight: 14.3 oz

Alpha SLT-A58 DSLR

• Translucent Mirror Technology

• 2.7" Tilting LCD Monitor

• Sony A-mount Lens

Mount (1.5x factor)

• MS Pro Duo, MS PRO HG-Duo,

SD, SDHC, SDXC Card Slot

• Full HD 1080i/p Video

at 60 or 24fps

• SteadyShot INSIDE

Image Stabilization

Kit with 18-55mm SAM II Lens ........... #SOSLTA58K 20MegaPixels

Flash System

FL-300R Flash ......................................................169.95

FL-600R Flash ......................................................299.95

FL-50R Flash ........................................................499.95

RF-11 Ring Flash ..................................................249.95

SRF-11 Ring Flash Set ..........................................559.95

TF-22 Twin Flash ..................................................449.95

STF-22 Twin Flash Set...........................................739.95

Zuiko 4/3 System Digital Lenses

8/3.5 Fish-eye ED .................................................799.99

35/3.5 Macro ED (52ø) .........................................229.95

50/2.0 Macro ED (77ø) .........................................499.95

150/2.0 ED (82ø) ................................................2499.95

300/2.8 ED ........................................................6999.95

7-14/4.0 ED (72ø) ..............................................1799.95

11-22/2.8-3.5 ED (72ø) ........................................799.95

12-60/2.8-4 ED SWD (72ø) ...................................999.95

14-42/3.5-5.6 ED (58ø) ........................................249.95

18-180/3.5-6.3 ED (62ø) ......................................499.95

35-100/2.0 ED (77ø) ..........................................2499.99

40-150/4-5.6 ED (58ø) .........................................279.95

50-200/2.8-3.2 ED SWD (67ø) ............................1199.95

90-250/2.8 ED (105ø) ........................................5999.95

EC-14 1.4x Teleconverter ......................................439.95

EC-20 2x Teleconverter .........................................479.95

MF-1 OM Lens Adapter ...........................................83.95

AF Flash System

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

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

SMCP-DA Digital AF Lenses

14/2.8 ED IF (77ø) ...........................................................

15/4.0 ED AL (49ø) ..........................................................

35/2.8 Mac. Limited (49ø) ...................................................

55/1.4 Limited (58ø) ........................................................

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

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

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

200/2.8 ED IF ..................................................................

300/4.0 ED IF SDM (77ø) ....................................................

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

12-24/4 ED AL IF (77ø) ......................................................

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

17-70/4.0 AL IF SDM (67ø) ..............................................

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

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

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

60-250/4.0 ED IF SDM (67ø) ............................................

AF Lenses for 35mm & Digital SLRs

31/1.8 Limited (58ø) ........................................................

50/1.4 (49ø) ....................................................................

43/1.9 Limited “Pancake” (49ø) ........................................

50/2.8 Macro (52ø) with Case ..........................................

77/1.8 Limited (49ø) ........................................................

100/2.8 D FA AW Macro (49ø) ..........................................

Compatible with Maxxum DSLRs

Flash System

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

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

HVL-F43M ............................................................398.00

HVL-F60M ............................................................548.00

Digital Lenses

16/2.8 Fish-eye ....................................................999.99

20/2.8 (72ø) .........................................................749.99

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

35/1.4 G (55ø)....................................................1499.99

50/1.4 (55ø) .........................................................449.99

50/2.8 Macro (55ø)...............................................599.99

85/1.4 Carl Zeiss (72ø) .......................................1699.99

100/2.8 Macro (55ø).............................................799.99

135/1.8 Carl Zeiss (77ø) .....................................1799.99

135/2.8 STF (72ø) ..............................................1399.99

300/2.8 G APO II ................................................7498.99

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

16-35/2.8 ZA SSM Carl Zeiss (77ø) .....................1999.99

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

16-105/3.5-5.6 DT (62ø) ......................................699.99

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

24-70/2.8 Carl Zeiss (77ø) ..................................1999.99

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

70-300/4.5-5.6 G (62ø) ........................................999.99

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

1.4x Teleconverter .................................................549.99

2x Teleconverter ....................................................549.99

Alpha NEX-6 Mirrorless System Camera

• Fast Hybrid AF with

Phase-Detection AF

• 3.0" LCD

• Uses Sony E-mount Lenses

• XGA OLED Tru-Finder EVF

• Captures 1080 HD Video

• SD/SDHC/SDXC & MS Pro Duo/

Pro HG-Duo Card Slot

• Wi-Fi Capable

• Fast 10fps Burst Shooting

• PlayMemories Camera Apps

with 16-50mm Lens .............................#SONEX6L* 16MegaPixels

Alpha SLT-A99 DSLR

• Sony Dual AF System & Translucent Mirror

• Full-Frame Exmor CMOS Sensor

• XGA OLED Electronic VF

• 3.0" TruBlack Tilting LCD

• Uses Sony Alpha Lenses

• MS Pro Duo/HG-Duo &

SD/SDHC/SDXC Card Slot

• Internal SteadyShot Image

Stabilization • Full HD

1920x1080 60p Video Recording

Body Only.........................................#SOSLTA99V* 24MegaPixels

Lumix DMC-GH3 Mirrorless System Camera

• Magnesium Alloy,

Weather-Sealed Body

• Full HD 1080p Video at 60fps

• 3.0" Free-Angle LCD

• Micro Four Thirds System

• SD/SDHC/SDXC Card Slot

• Live View Finder

• 20fps Continuous Shooting

• Full-Area Auto Focus System, Pinpoint AF

• Built-In Wi-Fi to Link to Smart Devices

Body Only........................................... #PADMCGH3B 16MegaPixels

E-P5 PEN Mirrorless System Camera

• 3.0" Tilt Touchscreen LCD

• TruePic VI Image Processor

• Micro Four Thirds

(2x Crop Factor)

• SD/SDHC/SDXC Card Slot

• Full HD 1080p Video in

MOV & AVI Formats

• Built-In Wi-Fi Connectivity

• 5 Axis Image Stabilization with IS Auto

• Available in Black, Silver or White

#OLEP5* 16MegaPixels

Alpha NEX-5T Mirrorless System Camera

• Fast Hybrid Autofocus

• 3.0" Tilting Touchscreen LCD

• Uses Sony E-mount Lenses

• MS Pro Duo, MS PRO HG-Duo,

SD/SDHC/SDXC Card Slot

• ISO 100-25600

• Continuous Shooting Rate of 10 fps

• Full HD 1080i/p Video at 60 or 24 fps

• Auto Object Framing and Auto HDR Modes

• Built-In Wi-Fi and NFC Connectivity

with 16-50mm Lens ..........................#SONEX5TLB 16MegaPixels

Page 4

When in New York,

Visit our SuperStore

420 Ninth Ave.Corner of 34th Street

New York, N.Y. 10001

Over 70,000 square feet

of the latest gear

The most knowledgeable

Sales Professionals

Hands-on demos

Convenient free parking

available

The Professional’s Source™

BandH.com/catalog

212-444-6633

www.BandH.com

Instant & Mail-in Rebates on Lenses & Flashes

Instant FinalEOS Flash System MAP Rebate Price

270EX II ...................................................169.99........$20 .......149.99320EX ............................................................................... ..................

430EX II ...................................................299.99........$40 .......259.99600EX-RT.................................................549.99........$50 .......499.99MR-14EX Ringlight ............................................................. ..................

MT-24EX Twin Flash ..................................829.99........$60 .......769.99

EF-S Digital Lenses Instant Price(Not compatible with full frame cameras) MAP Rebate Price

60/2.8 USM Macro (52ø) ...........................469.99........$50 .......419.9910-22/3.5-4.5 USM (77ø) .........................649.99........$50 .......599.9915-85/3.5-5.6 IS USM (72ø) .....................799.99......$100 .......699.9917-55/2.8 IS USM (67ø) ............................879.99........$50 .......829.9917-85/4-5.6 IS USM (67ø) ................................................. ..................

18-55/3.5-5.6 IS (58ø) .............................199.99.............. ..................

18-135/3.5-5.6 IS (67ø) ...........................499.99.............. ..................

18-200/3.5-5.6 IS (72ø) ...........................699.99.............. ..................

55-250/4-5.6 IS USM (58ø) ......................299.99.............. ..................

55-250/4-5.6 IS STM (58ø).......................349.00.............. ..................

Instant FinalEF Lenses MAP Rebate Price

20/2.8 USM (72ø) .....................................539.99........$50 .......489.9924/2.8 IS USM (58ø) .................................599.99........$50 .......549.9928/1.8 USM (58ø) .....................................509.99........$60 .......449.9928/2.8 IS USM (58ø) .................................549.99........$50 .......499.9935/2 (52ø) ......................................................................... ..................

35/2 IS USM (67ø) ....................................599.99........$50 .......549.9940/2.8 STM Pancake (52ø)........................199.99........$50 .......149.9950/1.8 II (52ø) ..........................................125.99........$15 .......110.9950/2.5 Macro (52ø)...................................299.99........$30 .......269.9950/1.4 USM (58ø) .....................................399.99........$60 .......339.99MP-E 65/2.8 1x-5x Macro (58ø) ..............1049.00......$100 .......949.0085/1.8 USM (58ø) .....................................419.99........$60 .......359.99100/2 USM (58ø) ......................................499.00........$50 .......449.99100/2.8 USM Macro (58ø) .........................599.99........$50 .......549.9928-135/3.5-5.6 IS USM (72ø) ...................479.99.............. ..................

70-300/4-5.6 IS USM (58ø) ......................649.99.............. ..................

70-300/4.5-5.6 DO IS USM (58ø) ....................................... ..................

75-300/4.0-5.6 III (58ø) ............................199.99.............. ..................

75-300/4.0-5.6 III USM (58ø) ............................................. ..................

Mail-in FinalTS-E "L" MF Lenses MAP Rebate Price

17/4.0 L .................................................2499.00......$200 .....2299.0024/3.5 L II ..............................................2199.00......$200 .....1999.0045/2.8 ...................................................1399.00......$100 .....1299.9990/2.8 ...................................................1399.00......$180 .....1219.00

Mail-in FinalEF "L" Lenses MAP Rebate Price

14/2.8 USM II .........................................2359.00......$200 .....2159.0024/1.4 II (77ø) ........................................1749.00......$200 .....1549.0035/1.4 USM (72ø) ...................................1479.00......$150 .....1329.0050/1.2 USM (72ø) ...................................1619.00......$180 .....1439.0085/1.2 USM II (72ø) ................................2199.00......$200 .....1999.00100/2.8 IS USM Macro (67ø) ...................1049.00......$150 .......899.00135/2.0 USM (72ø) .................................1089.00......$100 .......989.00180/3.5 USM Macro (72ø) .......................1579.00......$150 .....1429.00200/2.8 USM II (72ø) ................................819.99........$50 .......769.99200/2.0 IS USM (52ø) ........................................................ ..................

300/4.0 IS USM (77ø) .............................1449.00......$100 .....1349.00300/2.8 IS USM II (52ø rear) ............................................... ..................

400/5.6 USM (77ø) .................................1339.00......$120 .....1219.00400/2.8 IS II (52ø rear) ....................................................... ..................

500/4 IS USM II (52ø rear) .................................................. ..................

600/4.0 IS II (52ø rear) ....................................................... ..................

8-15/4.0 Fish-eye USM ...........................1499.00......$180 .....1319.0016-35/2.8 USM II (82ø) ...........................1699.00......$200 .....1499.0017-40/4.0 USM (77ø) ...............................839.99......$100 .......739.9924-70/4.0 IS USM (77ø) ..........................1499.00......$300 .....1199.0024-70/2.8 II USM (82ø) ...........................2299.00......$300 .....1999.0024-105/4 IS USM (77ø) ...........................1149.00.............. ..................

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

70-200/4.0 USM (67ø) .............................709.99........$80 .......629.9970-200/4.0 IS USM (77ø) ........................1349.00......$200 .....1149.0070-200/2.8 USM (77ø) ...........................1449.00......$150 .....1299.0070-200/2.8 IS II USM (77ø) .....................2499.00......$300 .....2199.0070-300/4.0-5.6 IS USM (67ø) .................1599.00......$200 .....1399.00100-400/4.5-5.6 IS USM (77ø) ...............1699.00......$200 .....1499.00

Instant FinalEF "L" Teleconverters MAP Rebate Price

1.4x III ......................................................499.99........$50 .......449.992x III .........................................................499.99........$50 .......449.99

EOS-6D DSLR

• Full-Frame CMOS Sensor • 3.0" LCD

• DIGIC 5+ Image Processor

• Uses Canon EF Lenses

• SD/SDHC/SDXC Card Slot

• Built-In Wi-Fi and GPS Connectivity

• Full HD 1080p with Manual Controls

• Extended ISO Range of 50-102400

• Up to 4.5 Full Resolution FPS

• Built-In HDR and Multiple Exposure Modes

Body Only #CAE6D ............................................................1899.00

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

EOS-5D Mark III DSLR

• 3.2" Clear View High Resolution LCD

• DIGIC 5+ Image Processor

• 61-Point High Density AF

• Uses Canon EF Lenses

• Dual CF, SD Card Slots

• Full HD 1080/30p and

720/60p Formats

• Extended ISO Range (50-102400)

• Built-In HDR & Multiple Exposure Modes

Body Only #CAE5D3* .........................................................3399.00

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

EOS-7D DSLR

• Record HD Video • 3" LCD

• Uses Canon EF Lenses

• CF Card Slot

• Dust and Weather Resistant

• Selectable Video Exposure

and Frame Rates

• ISO 100-6400 (expandable to

12800) • 8 fps Burst Mode

• 19-Point, All Cross-Type AF System

Body Only #CAE7D .............................................................1499.00Kit with 18-135mm IS #CAE7D18135 ..................................1799.00Kit with 28-135mm IS #CAE7D28135 .................................1699.00 18

MegaPixels

Digital Rebel T5i DSLR

• 3.0" Vari-Angle Touchscreen LCD

• Uses Canon EF Lenses (1.6x factor)

• SD/SDHC/SDXC Card Slot

• STM Lens Support for

Quiet AF in Movies

• Full HD 1080 Video with Continuous AF

• ISO 100-12800, Expandable to 25600

Rebates Expire 11-23-13 Price Rebate Final Cost

Body Only #CAEDRT5I ............................699.99......$50 ......... 649.99

Kit with 18-55mm IS STM #CAEDRT5IK .849.99......$50 ......... 799.99T3 Kit with 18-55mm IS #CAEDRT3K ....449.99......$20 ......... 429.99T3i Kit with 18-55mm IS #CAEDRT3IK ..599.99......$30 ......... 569.99

EOS-1Dx DSLR

• Dual DIGIC 5+ Image Processors

• Magnesium Alloy Body

• Eye-Level Pentaprism Viewfinder

• 3.2" LCD Monitor

• Uses Canon EF Lenses

• Dual CF card slots

• 1920 x 1080 HD Video Capture

• Live View Still and Video Recording

• 61-Point High Density Auto Focus

Body Only #CAE1DX* ..........................................................6799.00 18MegaPixels

SLR Lenses and Flashes

EOS-70D DSLR

• Dual Pixel CMOS AF with Live View• DIGIC 5+ Image Processor• SD/SDHC/SDXC Card Slot• Uses Canon EF & EF-S Lenses• 3.0" Vari-Angle Touchscreen• 7 fps Continuous Shooting• Built-In Wireless Connectivity• Full HD 1080p Video

Rebates Expire 11-23-13 Price Rebate Final Cost

Body Only #CAE70D ................................................ 1199.00 ........$100 .....1099.00

Kit with 18-55mm STM #CAE70D1855 ...................1349.00 ........$100 .....1249.00EOS 60D Body Only #CAE60D ..................................899.99 ........$200 .......699.99EOS 60D Kit with 18-135mm IS #CAE60D18135 .... 1199.00 ........$200 .......999.00

20MegaPixels

Instant Rebates Expire 11-30-13Mail-in Rebates Expire 1-04-14

18MegaPixels

$50REBATE!

$100REBATE!

Page 5

The Professional’s Source™

800-947-9980

212-444-6666

Fax:

212-239-7770

Store & Mail Order Hours:

Sunday 10-5 • Mon.-Thurs. 9-7Friday 9-1 EST/9-2 DST

Saturday Closed

012014

Over 300,000 products,at your leisure

www.BandH.com

We Buy, Sell and Trade

When in New York,

Visit our SuperStore

420 Ninth Ave.Corner of 34th Street

New York, N.Y. 10001

D4 DSLR

• RAW, TIFF, JPEG, RAW+JPEG Files

• FX-format (full-frame) CMOS Sensor

• 1080p HD Broadcast Quality Video

• EXPEED3 Image Processor

• 3.2" LCD Screen with Live View

• Compatible with Most Nikkor Optics

• Matrix, Center-Weighted,

Spot Metering • 100-12800 ISO

• CF Type 1 & XQD Compatible

• Nikon Inc. limited warranty included

Body Only #NID4 .......................................5996.95 16MegaPixels

1 J3 Mirrorless Digital Camera

• EXPEED 3A Image Processor • 3.0" LCD

• Interchangeable 1 NIKKOR Lens System

• Motion Snapshot and Live Image Control

• SD/SDHC/SDXC Card Slot

• Full HD 1920 x 1080/60i Video

• Simultaneous HD Movie and Still Capture

• 15fps Continuous Shooting with Autofocus

• Nikon Inc. limited warranty included

Available in Black, Beige, Red or White Price Rebate Final Cost

Kit with 10-30mm VR #NI1J31030* .............................596.95 .... $200 .......396.95

Kit with 10-30 & 30-110mm VR #NI1J32LK* ................846.95 .... $350 .......496.95

Kit with 10-100mm VR #NI1J310100* ........................1046.95 .... $450 .......596.95

14MegaPixels

Rebates Expire

11-23-13

Up to $450REBATE!

D610 DSLR

• FX-Format (Full-Frame) CMOS Sensor

• Uses Nikon AF Lenses • 3.2" LCD

• EXPEED 3 Image Processor

• SD/SDHC/SDXC Card Slot

• 6 fps Continuous Shooting

• Expandable Sensitivity to ISO 25600

• Full HD 1080p Video Recording at 30 fps

• Multi-CAM 4800 AF Sensor with 39 Points

• Nikon Inc. limited warranty included

Rebates Expire 11-23-13 Price Rebate Final Cost

Body Only #NID610 ....................................................1996.95 .......— ................ —Kit with 24-85mm VR Lens #NID6102485 .................2596.95 .... $100 .....2496.95

24MegaPixels

$100REBATE!

D800 DSLR

• 35.9x24mm CMOS FX Format Sensor

• 3.2" LCD Monitor

• Optical Low-Pass Filter

• CF & SD Dual Card Slots

• Nikon F Mount Lens Mount

• Eye-Level Pentaprism Viewfinder

• 1920 x 1080/30/25/24p HD Video

• Matrix/Center-Weighted/Spot Metering

• Nikon Inc. limited warranty included

Rebates Expire 11-23-13 Price Rebate Final Cost

Body Only #NID800 ...................................................2996.95 .... $200 .....2796.95

D800E Body Only #NID800E ...................................3296.95 .... $300 .....2996.95

36MegaPixels

$200REBATE!

D7100 DSLR

• Magnesium Alloy Body• Moisture Resistant• EXPEED 3 Image Processor• 1080p Full HD Video Capture• Accepts Nikon AF Lenses

(1.5x factor) • 3.2" LCD• Dual SD/SDHC/SDXC Card Slots• Built-In Flash with Commander Function• Nikon Inc. limited warranty included

Price Rebate Final Cost

Body Only #NID7100 ............................................... 1199.95 ..... $50 ......... 1149.95Kit with 18-105mm VR #NID710018105 ..................1599.95 .... $150 ........1449.95D7000 Kit with 18-105mm VR #NID700018105 ...1299.95 ....$300 ..........999.95

Valid Through 11-23-13

24MegaPixels

Promotion!

Up to $150REBATE!

D5200 DSLR

• EXPEED III Image Processor

• Full HD Video with Full-Time Servo AF

• 3.0" Vari-Angle LCD • Live View

• Uses Nikon AF Lenses (1.5x factor)

• SD/SDHC/SDXC Card Slot

• 39-Point AF System with 9 Cross-Type

• Nikon Inc. limited warranty included

Rebates Expire 11-23-13

D5200 is available in Black, Bronze or Red Price Rebate Final Cost

Kit with 18-55mm VR #NID52001855* ........................896.95 .... $100 .......796.95D3200 Kit Black w/18-55mm VR #NID32001855* ....599.95 .... $100 .......499.95D3100 Kit with 18-55mm VR #NID31001855 ............499.95 ..... $70 ........429.95

24MegaPixels

Promotion!

$100REBATE!

SLR Lenses and Flashes Instant Savings! Expire 11-23-13

Instant Savings on Lenses & Speedlites with purchase of any Nikon DSLR Expires 11-23-13

AF Flashes Price Rebate Final

SB-300 ....................................................146.95.............. ..................

SB-400 ............................................................................. ..................

SB-700 ....................................................326.95........$30 .......296.95SB-910 ....................................................546.95........$50 .......496.95R1 Wireless Twin Flash ....................................................... ..................

R1C1 Wireless Twin Flash System ....................................... ..................

DX ED-IF Lenses for Digital Only Price Rebate Final

10.5/2.8 Fish-Eye .............................................................. ..................

35/1.8 G AF-S (52ø) .................................196.95.............. ..................

40/2.8 G AF-S Micro (52ø) ........................276.95.............. ..................

85/3.5 G ED VR Micro ...............................526.95......$100 .......426.9510-24/3.5-4.5 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) .................196.95.................................

18-105/3.5-5.6 G AF-S VR * .....................396.95......$100 ..... 296.95*18-140/3.5-5.6 G AF-S VR ** ...................596.95......$300 ... 296.95**18-200/3.5-5.6 G AF-S VR II .....................846.95......$250 .......596.9518-300/3.5-5.6 G AF-S ED VR (77ø) ..........996.95.................................

55-200/4-5.6 G AF-S (52ø) ................................................ ..................

55-200/4-5.6 G AF-S VR ..........................246.95......$100 .......146.9555-300/4.5-5.6 G AF-S VR .......................396.95......$150 .......246.95

D-Type AF Lenses Price Rebate Final

14/2.8 D ED ...................................................................... ..................

16/2.8 D (39ø) with Hood ................................................... ..................

20/2.8 D (62ø)................................................................... ..................

24/2.8 D (52ø)................................................................... ..................

24/1.4 G AF-S ED (77ø) ..................................................... ..................

24/3.5 D ED PC-E (77ø) ..................................................... ..................

28/1.8 G AF-S (67ø) .................................696.95.................................

28/2.8 D (52ø)................................................................... ..................

35/2.0 D (52ø)................................................................... ..................

35/1.4 G AF-S ED (67ø) ..................................................... ..................

45/2.8 D ED PC-E Micro (77ø) ............................................ ..................

50/1.8 D (52ø)................................................................... ..................

50/1.8 G AF-S (58ø) .................................216.95.................................

50/1.4 D (52ø)................................................................... ..................

D-Type AF Lenses Price Rebate Final

50/1.4 G AF-S (58ø) .......................................................... ..................

58/1.4 G AF-S (72ø) ...............................1696.95.............. ..................

60/2.8 D Micro (62ø) (1:1) ................................................. ..................

60/2.8 G AF-S ED Micro (62ø) ............................................ ..................

85/1.8 D (62ø) with Hood ................................................... ..................

85/1.8 G AF-S (67ø) .................................496.95.................................

85/1.4 D IF (77ø) ............................................................... ..................

85/1.4 G AF-S (77ø) .......................................................... ..................

85/2.8 PC-E Micro (77ø) .................................................... ..................

105/2.8 G AF-S ED-IF VR Micro (62ø) ................................. ..................

105/2.0 DC D with Hood (72ø) ........................................... ..................

180/2.8 D ED-IF (72ø)........................................................ ..................

200/4 D ED-IF Micro with Case (62ø) .................................. ..................

200/2 G AF-S ED-IF VR II (52ø) ........................................... ..................

300/4.0 D AF-S ED-IF (77ø) ............................................... ..................

300/2.8 G AF-S VR (52ø-R) ................................................ ..................

400/2.8 G AF-S VR ED (52ø)............................................... ..................

500/4.0 G AF-S VR ED (52ø)............................................... ..................

14-24/2.8 G AF-S ED-IF ..........................1996.95.................................

16-35/4.0 G AF-S ED VR (77ø) ................1256.95.................................

17-35/2.8 D AF-S ED-IF (77ø) ............................................ ..................

18-35/3.5-4.5 AF-S G ED (77ø) .................746.95.................................

24-70/2.8 G AF-S ED-IF (77ø) .................1886.95.................................

24-85/2.8-4.0 D IF (72ø) ................................................... ..................

24-85/3.5-4.5 G AF-S ED VR *** ..............596.95..... $100 ..496.95***24-120/4.0 G AF-S ED VR (77ø) ..............1296.95.................................

28-300/3.5-5.6 G AF-S ED VR ................1046.95......$150 .......896.9570-200/4.0 G AF-S ED VR (67ø) ..............1396.95.................................

70-200/2.8 G AF-S ED-IF VR II (77ø) ........2396.95.................................

70-300/4.0-5.6 G (62ø) ..................................................... ..................

70-300/4.5-5.6 G-AFS VR ........................586.95......$200 .......386.9580-200/2.8 D with Collar (77ø) ........................................... ..................

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) Teleconverter ............................................. ..................

TC-20E III (2x) Teleconverter ............................................... ..................

* Instant Savings ONLY when purchased with a D7100 body.** When purchased with a D3100/3200/5200/5300/7100 body.*** Special! Receive an additional $100 in savings

when purchased with a D600 body.

Page 6

When in New York,

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New York, N.Y. 10001

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of the latest gear

The most knowledgeable

Sales Professionals

Hands-on demos

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The Professional’s Source™

BandH.com/catalog

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AF LENSESDi for both digital and f lm SLR cameras • Di-II for Digital SLRs Only • Di III for mirror-less cameras Only

C = Canon N = Nikon P = Pentax SM = Sony/Minolta SE = Sony E Mount ** Price After Rebate Expires 12-31-13

SKU # Available for Rebate PriceDi-II 60mm f/2.0 LD IF Macro (55ø) #TA602DI* C, N, SM — 524.00Di 90mm f/2.8 Macro (55ø) #TA9028M* C, N, P, SM — 499.00Di 90mm f/2.8 SP Macro VC USD (58ø) #TA9028VC* C, N, SM $100 649.00**Di 180mm f/3.5 LD IF Macro (72ø) #TA18035* C, N, SM — 739.00

Di-II 10-24mm f/3.5-4.5 (77ø) #TA102435* C, N, P, SM $50 449.00**Di-II 17-50mm f/2.8 XR LD IF Aspherical (67ø) #TA175028* C, N, P, SM — 499.00Di-II 17-50mm f/2.8 XR VC LD IF Asph. (67ø) #TA175028*Q C, N $50 599.00**Di-II 18-200mm f/3.5-6.3 (62 ø) #TA1820035* C, N, P, SM $20 179.00**Di-III 18-200mm f/3.5-6.3 VC (62 ø) Black or Silver #TA1820035S* SE — 739.00Di-II 18-270mm f/3.5-6.3 VC PZD (62 ø) #TA18270* C, N, SM $70 379.00**Di 24-70mm f/2.8 VC USD (82ø) #TA247028* C, N, SM $100 1199.00**Di 28-75mm f/2.8 XR (67ø) #TA287528* C, N, P, SM — 499.00Di 28-300mm f/3.5-6.3 XR LD (62ø) #TA2830035XD* C, P, SM — 419.00Di 28-300mm f/3.5-6.3 XR VC (62ø) #TA2830035* C, N — 629.00Di 70-200mm f/2.8 SP VC USD (77ø) #TA7020028* C, N, SM $100 1399.00**Di 70-300mm f/4.0-5.6 VC USD (62ø) #TA70300* C, N, SM $100 349.00**Di 75-300mm f/4.0-5.6 LD (62ø) #TA753004* C, N, SM — 164.00Di 200-500mm f/5-6.3 LD IF (86Cø) #TA2005005* C, N, SM — 949.00

1.4x SP AF Pro Teleconverter #TA14XP* C, N — 224.002x SP AF Pro Teleconverter #TA2XP* C, N — 254.00

AF LENSES & FLASHESDC – for Digital SLRs Only • DG – Optimized for Digital SLRsH – HSM Model with Canon, Nikon, Sigma R – Rear Slip-in Gelatin Filter Slot Canon Nikon Pentax Sigma Sony Rebate Price

DC 4.5mm f/2.8 EX Circular Fisheye HSM R #SI4528EXDCC #SI4528EXDCN #SI4528EXDCP #SI4528EXDCSI #SI4528EXDSO — 899.00DG 8mm f/3.5 EX Circular Fisheye R #SI835CA #SI835NA — #SI835SI #SI835SO $100 799.00**DC 10mm f/2.8 EX Fisheye HSM R #SI1028EXDCC #SI1028EXDCN #SI1028EXDCP #SI1028EXDCSI #SI1028EXDCSO — 649.00DG 15mm f/2.8 EX Diagonal Fisheye R #SI1528DGCAF #SI1528DGNAF #SI1528DGPAF #SI1528DGSA #SI1528DGMAF — 609.00DG 20mm f/1.8 EX DF RF Aspherical (82ø) #SI2018CAF #SI2018NAF #SI2018PAF #SI2018SA #SI2018MAF — 629.00DG 24mm f/1.8 EX DF Aspherical Macro (77ø) #SI2418MCAF #SI2418MNAF #SI2418MPAF #SI2418MSA #SI2418MMAF — 549.00DG 28mm f/1.8 EX DF Aspherical Macro (77ø) #SI2818MCAF #SI2818MNAF #SI2818MPAF #SI2818MSA #SI2818MMAF — 449.00DC 30mm f/1.4 HSM (62ø) #SI3014DCHSMC #SI3014DCHSMN — #SI3014DCHSMS — — 499.00DG 35mm f/1.4 HSM (67ø) #SI3514C #SI3514N #SI3514P #SI3514SI #SI3514S — 899.00DG 50mm f/1.4 EX (77ø) H #SI5014C #SI5014N #SI5014PE #SI5014SI #SI5014SOM $100 399.00**DG 50mm f/2.8 EX Macro (55ø) #SI5028MDGCAF #SI5028MDGNAF #SI5028MDGPAF #SI5028MDGSA #SI5028MDGMAF — 369.00DG 70mm f/2.8 EX Macro (62ø) #SI7028MDGCA #SI7028MDGNA #SI7028MDGPA #SI7028MDGSA #SI7028MDGSAQ $50 449.00**DG 85mm f/1.4 EX HSM (77ø) #SI8514C #SI8514N #SI8514P #SI8514SI #SI8514S $75 894.00**DG 105mm f/2.8 EX Macro OS HSM (62ø) #SI10528MDGCE #SI10528MDGNQ — #SI10528MDGS #SI10528MDGSM $200 769.00**DG 150mm f/2.8 EX APO Macro OS HSM (72ø) #SI15028AMOC #SI15028AMON — #SI15028AMOSI #SI15028AMOS — 1,099.00DG 180mm f/2.8 EX APO Macro OS HSM (86ø) #SI18028AMEOC #SI18028AMEON — #SI18028AMEOQ #SI18028AMEOS $150 1549.00**DG 300mm f/2.8 APO EX HSM (46ø Rear) #SI30028DGCAF #SI30028DGNAF #SI30028DGPAF #SI30028DGSA #SI30028DGMAF — 3,399.00DG 500mm f/4.5 APO EX HSM (46ø Rear) #SI50045DGCAF #SI50045DGNAF #SI50045DGPAF #SI50045DGSA — — 4,999.00DC 8-16mm f/4.5-5.6 HSM #SI8164556CA #SI8164556NI #SI8164556PE #SI8164556SI #SI8164556SO $50 649.00**DC 10-20mm f/4-5.6 EX HSM (77ø) #SI102045DCAF #SI102045DNAF #SI102045DPAF #SI102045DSA #SI102045DMAF $50 429.00**DC 10-20mm f/3.5 EX HSM (82ø) #SI102035C #SI102035SN #SI102035P #SI102035SG #SI102035S — 649.00DG 12-24mm f/4.5-5.6 EX Aspherical HSM II #SI122445C #SI122445N — #SI122445SI #SI122445S $100 849.00**DC 17-50mm f/2.8 EX OS HSM (77ø) #SI175028CA #SI175028NI #SI175028PE #SI175028SI #SI175028SO $75 594.00**DC 17-70mm f/2.8-4.0 OS Macro HSM TSC (72ø) #SI1770284DCC #SI1770284DCN #SI1770284DCP #SI1770284SI #SI1770284DCS — 499.00DC 18-35mm f/1.8 HSM (72ø) #SI183518DCC #SI183518DCN #SI183518DCP #SI183518DCS #SI183518DCSO — 799.00DC 18-200mm f/3.5-6.3 OS II HSM (72ø) #SI1820035CQ #SI1820035NQ #SI1820035P #SI1820035SAQ #SI1820035SQ $150 349.00**DC 18-250mm f/3.5-6.3 OS Macro HSM (62ø) #SI1825035MC #SI1825035MN #SI1825035MP #SI1825035MS #SI1825035MSO $200 349.00**DG 24-70mm f/2.8 EX IF HSM (82ø) #SI247028C #SI247028NF #SI247028PS #SI247028S #SI247028SM $75 824.00**DG 24-105mm f/4.0 OS HSM (82ø) #SI24105C #SI24105N — #SI24105SI #SI24105SO — 899.00DC 50-150mm f/2.8 EX APO OS HSM (77ø) #SI5015028CA #SI5015028NA — #SI5015028SAF — $150 949.00**DG 50-500mm f/4.5-6.3 APO OS HSM (95ø) #SI505004563C #SI505004563N #SI505004563P #SI505004563 #SI505004563S $150 1509.00**DG 70-200mm f/2.8 EX APO OS HSM (77ø) #SI7020028CQ #SI7020028NI #SI7020028P SI7020028SIQ #SI7020028SOQ $150 1249.00**DG 70-300mm f/4-5.6 Macro (58ø) #SI703004SCAF #SI70300456N #SI703004PAF #SI703004SA #SI703004MAF $25 144.00**DG 70-300mm f/4-5.6 APO Macro (58ø) #SI703004DGCA #SI70300456AN #SI703004DGPA #SI703004DGSA #SI703004DGMA — 199.00DG 70-300mm f/4-5.6 OS (62ø) #SI7030045C #SI7030045N #SI7030045P #SI7030045S — $50 309.00**DG 120-300mm f/2.8 OS HSM (105ø) #SI120300C #SI120300N — #SI120300SIQ — — 3599.00DG 120-400mm f/4.5-5.6 APO OS HSM (77ø Rear) #SI120400C #SI120400N #SI120400P #SI120400S #SI120400SQ $100 899.00**DG 150-500mm f/5-6.3 APO OS HSM (86ø) #SI150500C #SI150500N #SI150500P #SI150500S #SI150500M $100 969.00**DG 1.4x EX APO Tele-Converter #SI1.4XDGCAF #SI1.4XDGNAF — #SI1.4XDGSA #SI1.4XDGMAF $25 224.00**DG 2x EX APO Tele-Converter #SI2XDGCAF #SI2XDGNAF — #SI2XDGSA #SI2XDGMAF $50 249.00**DG EF-610 ST #SIEF610STC #SIEF610STN #SIEF610STP #SIEF610STSI #SIEF610STS $30 135.00**DG EF-610 Super Flash #SIEF610C #SIEF610N #SIEF610P #SIEF610SI #SIEF610S $30 225.00**DG EM-140 TTL Ringlight #SIEM140DGC #SIEM140DGN #SIEM140DGP #SIEM140DGS #SIEM140DGM $30 349.00**

28 CS-2 Digital Slave Shoe Mount Flash ................139.99

36 AF-5 Digital .....................................................129.99

44 AF-1 Digital Shoe Mount Flash ..........................199.99

52 AF-1 TTL Touchscreen ......................................300.00

58 AF-2 TTL Digital Shoe Mount Flash ...................399.99

45 CL-4 TTL Digital Handle Mount Flash ................519.99

45 CL-4 TTL Digital Handle Mount Flash Kit ............699.99

76 MZ-5 TTL Digital Handle Mount Flash ..............1039.99

Q-f ash TRIO .........................................................875.00

Q-f ash T5D-R ......................................................706.00

Q-f ash T5D-R with Turbo SC Battery & Charger ....1172.00

Q-f ash T5D-R with Turbo 3 Battery Kit .................1330.00

Batteries

Battery 1 ............... 224.00

Turbo SC ............... 466.00

Turbo Blade ........... 466.00

Turbo 3 ................. 624.00

E-Flash Flat Panel Kit #SUFP38 ...............................58.95

PF20XD Digital Slave Shoe Mount Flash ...................44.95

RD-2000 Shoe Mount Flash ....................................64.95

DF3000 Digital for Canon, Nikon, Sony .....................69.95

PZ-4000 AF TTL Shoe Mount ..................................69.95

PZ-40x II AF TTL Shoe Mount f/Nikon (Silver) ............69.95

PZ-42x AF TTL Shoe Mount for Canon, Nikon .........139.00

622 Super Pro TTL Handle Mount Flash .................179.95

285HV Professional Auto .........................................85.00

Pearstone SB-4 AC Adapter for 285HV #PESB4 ........ 14.95

FLASHES

18-200mm f/3.5-6.3 DC II OS HSM Digital Lens

• Designed exclusively

for Digital SLRs

• Focus 1.5'

to Inf nity

• Mag. ratio:

1:3.8

• 72mm f lter

diameter

• Weight: 17.3 oz

70-200mm f/2.8 EX APOOS HSM DG Lens

• Desirable for

Digital SLRs

• Minimum

focus: 4.59'

• 34-12.3°

angle of view

• 77mm f lter

diameter

• Tripod collar

• Weight: 50.4 oz

17-50mm f/2.8 XR VC LD-IF Di II Digital Lens• Designed exclusively

for Digital SLRs

• Focus 11.4"

to Inf nity

• Mag. ratio:

1:4.8

• 72mm f lter

diameter

• Weight: 1.25 lb

11-16mm f/2.8 Pro DX AT-X II Wide-Angle Digital Lens

• Designed exclusively

for Digital SLRs

• WR (Water

Repellent)

coating

• Minimum

Focus 1'

• Magnif cation

ratio 1:11.6

• Weight 1.2 lb

Expires 12-31-13

** Price After Rebate

$150REBATE!

$150REBATE!

Six-Year Warranty Manual Focus LensesIn Stock – Call for Prices

AF LENSESDX – for Digital SLRs Only FX – Designed for full frame DSLRs

Canon EOS Nikon AF PriceFX 100mm f/2.8 Pro D Macro (52ø) #TO10028PCAF #TO10028PNAF 489.00DX 10-17mm f/3.5-4.5 ATX Fisheye #TO101735CAF #TO101735NAF 669.00DX 11-16mm f/2.8 Pro II (77ø) #TO111628PCII #TO111628PNII 599.00DX 12-24mm f/4.0 Pro II (77ø) #TO12244DXC — 449.00DX 12-28mm f/4.0 Pro (77ø) #TO12284DXC #TO12284DXN 549.00FX 16-28mm f/2.8 Pro #TO1628FXC #TO1628FXN 699.00FX 17-35mm f/4 Pro (82ø) #TO1735F4FXC #TO1735F4FXN 549.00

$50REBATE!

Page 7

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012014

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When in New York,

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55mm 58mm 62mm 67mm 72mm 77mm

UV Haze SC 18.50 24.95 28.99 31.95 34.00 39.99

UV Haze MRC 010M 35.50 31.50 36.30 42.90 49.89 71.75

Circular Polarizer SC 83.95 85.95 83.50 80.00 73.95 99.00

Circular Polarizer MRC 78.00 87.53 82.50 109.99 89.99 119.99

Circular Polarizer Slim 56.95 49.99 68.00 69.99 59.99 80.00

Skylight KR1.5 (1A) 24.50 25.95 31.95 38.95 42.00 53.95

Digital Pro UV MC 41.95 41.95 44.00 — — —

Graduated (N.D. & Colors) 99.95 106.95 99.50 109.50 142.50 152.95

Neutral Density 106 56.00 60.95 97.95 105.95 121.95 137.95

Close-Up Lenses 1, 2, 3, 4, 5 25.95 25.95 31.95 38.95 45.95 53.95

52mm 58mm 67mm 72mm 77mm

UV, Skylight (1B) HMC 16.50 21.50 27.50 29.95 36.20

UV, Skylight (1B) Super HMC 27.89 26.49 33.00 52.95 44.99

Linear Polarizer 16.99 25.00 38.85 36.85 44.90

Circular Polarizer 23.95 29.95 34.95 42.95 38.90

Circular Polarizer HMC 39.95 49.00 55.90 69.00 104.90

“Moose” Warm Circular Polarizer 35.75 39.55 53.90 55.65 91.50

K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC 23.95 28.35 41.95 46.35 60.90

Close Up Set (+1, +2, +4) 39.99 47.35 53.00 63.00 68.00

Close-Up Set HMC (+1, +2, +4) 52.68 64.88 73.00 100.68 145.35

Intensif er – Blue, Green Field, Enhancement (Red) 34.68 39.95 55.08 60.00 71.50

Neutral Density 2x, 4x, 8x HMC 23.88 19.95 36.95 30.99 34.80

Star 6, Star 8 16.89 22.50 43.35 49.90 46.68

Made exclusively with glass from Schott (Zeiss)

the world’s f nest optical glass supplier.

55mm 58mm 67mm 72mm 77mm

Skylight (1B), UV 39.99 41.99 62.99 77.99 89.99

Skylight (1B), UV SH-PMC 72.99 78.99 103.99 131.99 157.99

Circular Polarizer, Slim Circular Polarizer 115.99 121.99 151.99 180.99 195.99

Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99

#5, #8, #11, #13, #15, #22, 81A, 81B, 81C 49.99 51.99 78.99 96.99 108.99

Digital Filter 176.99 180.99 222.99 261.99 301.99

FILTERS

B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.B&H SPECIAL! Buy 3 or more

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in stock

PHOTOGRAPHY ACCESSORIES

• Accepts 2 lithium-ion batteries

to eff ectively double the

camera's battery life

(Batteries not included)

• The included AA battery

holder allows you to use

6 AA batteries for added

convenience (except BG-N3)

• Alternate shutter release

button, main and sub

command dials, and an

AE-L/AF-L button are

provided to facilitate

shooting in a vertical

orientation

BATTERY

GRIPS

LiteTrek 4.0 (LT) SeriesWhether it's fashion, wedding or portrait

photography, the best way to achieve

professional-looking results in the f eld

is by adding f ash to the ambient light.

The Impact Mini LiteTrek Battery Pack

provides DC juice to your Impact

LiteTrek 4.0 portable f ash or select

Nikon & Canon f ashes with optional

power cords as well as Quantum

f ashes without adaptation.

LiteTrek 4.0 DC Monolight

Flash Head #IMLTFH ..$499.95

LiteTrek 4.0 DC Monolight Kits

with Mini LiteTrek Battery Pack

1-Light Kit #IMMLTBK ...................$799.95 Instant Rebate -$150 $649.95

2-Light Kit #IMMLTBK2 .............$1199.90 Instant Rebate -$150 $1049.90

Mini LiteTrek (LT) Battery #IMMLTB ......................................................................$199.95

Mini LiteTrek (LT) Battery Pack #IMMLTPBP .......................................................$399.95

Mini LiteTrek (LT) Pack & Charger Kit with CKE Nikon Cable #IMMLTPBPK1 ...$439.95

Mini LiteTrek (LT) Pack & Charger Kit with CZ Canon Cable #IMMLTPBPK2 .....$439.95

LiteTrek AccessoriesCharger for Mini LiteTrek #IMCBP ...$49.95

IM-CZ Canon Flash Cable #IMCZ.....$42.95

IM-CKE Nikon Flash Cable #IMCKE .$42.95

LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95

Ref ector Adapter (Bowens Adapter) #IMBAFH ...........................................................$24.95

lighting equipment and accessories

Instant Savings on LiteTrek 4.0 Monolight Kits (Expires 12-31-13)

for Canon 5D Mark III ..................BG-C9 #VEBGC9 ........ $99.95

for Canon 5D Mark II ...................BG-C2 #VEBGC22 ..... $69.95

for Canon 6D ..................................BG-C8 #VEBGC8 ........ $74.95

for Canon 7D ..................................BG-C4 #VEBGC4 ........ $64.95

for Canon 60D ...............................BG-C6 #VEBGC6 ........ $69.95

for Canon T5i, T4i, T3i, T2i .....BG-C5.2 #VEBGC52 ..... $72.00

for Canon T3 ..................................BG-C7 #VEBGC7 ........ $59.95

for Nikon D7000 ............................BG-N4 #VEBGN4 ....... $69.95

for Nikon D7100 ......................... BG-N11 #VEBGN11 ..... $89.95

for Nikon D5200, D5100 .............BG-N6 #VEBGN6 ....... $59.95

for Nikon D3100, D3200 .............BG-N9 #VEBGN9 ....... $64.95

Digital Essentials Kits

In StockDIGITAL HT FILTERS

52mm 58mm 62mm 72mm 77mm

812 Warming 48.95 74.95 99.95 109.95 129.95

Grad ND 0.6 74.95 63.95 82.90 119.95 139.95

Circular Polarizer 74.10 89.95 119.90 129.95 199.99

Ultra Clear 34.95 38.95 45.95 54.95 54.95

Haze 86 38.95 47.95 56.90 64.95 99.95

ND 1.2 41.50 56.95 74.90 109.95 129.95

ND 0.6 48.95 50.95 69.95 99.95 119.95

Soft FX3 56.95 63.95 82.90 119.95 139.95

Star 4 pt 2 64.95 56.95 74.90 109.95 129.95

Ten -Year WarrantyMade in USA

Multicoated Filter Technology

FILM – B&W AND COLOR

COLOR PRINT

Superia

CA 200 135-24 ..........1.79

CA 200 135-36 ..........3.99

CH 400 135-24 ..........1.99

CZ 800 135-24 ..........3.49

Pro

400H 135-36 .............8.00

400H 120 Roll ............7.95

Gold Max

GC 400 135-24 ..........2.09

GC 400 135-36 ..........2.49

Ektar

100 135-36 ...............5.50

100 120 Roll ..............4.70

Portra

160 135-36 ...............6.99

160 120 Roll ..............5.19

160 220 Roll ............14.70

160 220 PP (5) .........73.50

400 135-36 ...............7.99

400 120 Roll ..............5.85

400 220 Roll ............15.19

400 220 PP (5) .........75.95

800 135-36 ...............9.99

800 120 Roll ..............8.98

COLOR SLIDE

Provia

RDP 100F 135-36 .....9.89

RDP 100F 120 Roll ....7.19

RXP III 400X 135-36 .. 16.09

RXP III 400X 120 Roll 10.25

Velvia RVP

Pro 50 135-36 .........11.69

Pro 50 120 Roll ..........8.55

100 135-36 .............10.64

100 120 Roll ..............7.69

PROCESSING MAILERS

Slide 36 Exp. (35mm) .8.99

B&W 35mm .............16.75

B&W 120 Roll ..........16.75

Print C41 35mm ......13.49

Print C41 120 Roll ...15.49

Print C41 220 Roll ...30.95

BLACK & WHITE PRINT

Pan F+ 50 135-36 .....6.50

Pan F+ 50 120 Roll ....4.99

FP4+ 125 135-36 ......6.25

FP4+ 125 120 Roll .....4.39

HP5+ 400 135-36 .....4.75

HP5+ 400 120 Roll ....4.09

Delta Pro

100 135-36 ...............6.25

100 120 Roll ..............4.50

400 135-36 ...............6.29

400 120 Roll ..............4.95

3200 135-36 .............7.99

3200 120 Roll ............5.99

XP-2 Super

400 135-36 ...............5.95

400 120 Roll ..............4.75

Infrared

SFX 200 135-36 ........7.99

SFX 200 120 Roll .......7.50

Acros 100 135-36 .....6.59

Acros 100 120 Roll ....4.62

Neopan 400 135-36 ..5.79

Tri-X 400 135-36 ......4.49

Tri-X 400 120 Roll .....4.95

TMX 100 135-36 .......4.95

TMX 100 120 Roll ......4.90

TMY 400 135-36 .......6.95

TMY 400 120 Roll ......4.59

BW 400CN 135-36 ....5.95

Toll-free Customer Service 800-634-1811 Dial 2

or email us at CS@beachcamera.com

Retail Showroom:732-968-6400

203 Route 22 East Green Brook, NJ 08812

Now Shipping Internationally

DinersClub

®

Where the Customer Always Comes First

A l l p r o d u c t s a r e b r a n d n e w , f a c t o r y f r e s h a n d i n c l u d e U S A w a r r a n t y !

Sunday . 10:00am-7:00pm Mon-Thurs 9:30am-9:00pm Friday 9:30am-2:00pm

All merchandise is brand new and factory fresh. Prices Are For Mail Order Only. 10% deposit required for COD orders. No restocking fee will be charged if merchandise is returned in pristine condition (returns are only subject to a 10% restocking fee if package is opened). Exchange or refund less shipping and handling within 15 days of receiving merchandise only if returned in original mint condition with original package and unfilled warranty cards. Please call 1-800-634-1811 Dial 2 for return authorization before returning product.Prices effective through end of monthly issue. Not Responsible for Typographical or Human Errors. All credit cards gladly accepted without any additional charges. New Jersey Resident add 6% Sales Tax. Prices are subject to verifiable manufacturer’s price increases & decreases. Thank you for shopping with us. Fedex Saver shipping charges: minimum $9.95 under $100. Over $100 add $5.00 for every $500 increase. Caller or check website for further details. Ask for your shipping total. *Asterisk indicates price listed is after mfg’s rebate. We appreciate your business every day! Prices Valid Thru Monthly Coverdate. Policy applies to all Beach Camera Advertisements. Shop on line 24 hours at our website www.beachcamera.com. Thank you for shopping with Beach!

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Wishing All Our Customers a Happy and Healthy Holiday Season

We Carry Digital Cameras, Lenses, Flashes & Accessories, Camcorders, Printers, Scanners, External Hard Drives, Binoculars, Scopes, Television, Home Theater, DJ Equipment, Computers, Tablets, Car Electronics, Toys

& Games, Sporting Goods, Housewares & so much more.

Camcorders

The Flagship of the VIXIA Series

VIXIA HF G30 offers a Genuine Canon 20x HD Video Lens and 8-Blade Circular Aperture for superb video quality and natural, beautiful background blur. The new DIGIC DV 4 Image Processor enables recording in MP4 up to 35 Mbps and AVCHD up to 28 Mbps – and even simultaneously with Dual Recording thanks to two SDXC memory card slots. A 3.5-inch OLED Touch Panel Display and Built-in Wi-Fi technol-ogy including remote control functionality via web browser are included. An optional accessory adds GPS location data to video files.

Share your talents with the WorldThe VIXIA mini is super slim and weighs approximately 5.6 ounces, so you can

capture beautiful, high-quality video and stills wherever you go. To match its out-

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Headline Quality and Easy Sharing

With the compact, easy-to-use VIXIA HF R40, you'll see and capture the world in a whole new way through a Genuine Canon HD Video Lens with 53x Advanced Zoom. SuperRange Optical Image Stabilization keeps your video smooth and steady throughout the entire zoom length, while improved Dynamic IS helps keep your video sharp and blur-free when you shoot while walking. Dual Recordingallows you to record in AVCHD to the flash drive and MP4 to the SD card simultaneously, creating archival and easy-to-send video at the same time.

The On-the-go Videographer’s Dream

This feature-rich, professional model records Full HD 1080p to either its

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Vixia HF G30

XA10 Pro HD

Vixia HF R40

Vixia Mini

Cameras and Lenses

CamcordersCAll Or lOg On fOr Current

inStAnt rebAteS And prOmOtiOnS

Canon’s EOS 70D is a trailblazing powerhouse featuring a

revolutionary autofocus technology that unlocks the poten-

tial of Live View: Dual Pixel CMOS AF. This allows the EOS

70D to capture video in Live View with smooth and precise

autofocus similar to that of a camcorder, complete with the

superb image quality that is a hallmark of EOS cameras.

The 16.1MP Exmor® APS-C sensor Alpha NEX-3N delivers high-resolution photos and exquisite Full HD movies and features a large APS-C size sensor, a built-in pop-up flash, 4 fps continuous shooting and much more. Also included are a motor zoom lever, 180° tilt-able LCD, AVCHD™ 1080/60i/24p HD movies, built-in flash, up to ISO 16000 sensitivity, advanced noise reduction and Intelligent AF.

The AF 18-270 covers an angle of view equivalent to that of a 28mm wideangle to a 419mm ultra telephoto with just one lens, letting the user capture once-in-the-lifetime images of panoramic landscape images or close-up pic-tures of children smiling, without having to get too close to the subject and without having to change lenses.

Meet the New Game-Changer

EOS 70DEvery Detail of Life, Beautifully Revealed.

Alpha NEX-3N

The Longest Steadiest Lens on Earth

AF18-270mm F/3.5-6.3 Di II VC (Vibration Compensation) LD Aspherical (IF) Macro

Optimized for creativity. Streamlined for flexibility.

D5200

An HD-SLR designed to awaken your creative passion. Find exciting new perspectives with an ultra-high resolution Vari-angle display that swivels to nearly any position. Capture your vision in lifelike brilliance with an exceptional 24.1 MP DX-format CMOS sensor, then share it instantly with the optional WU-1a Wireless Adapter. Unleash the artist within. Includes Nikon Inc. USA limited warranty. © 2013 Nikon Inc

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Now that the wildly popular Statehood, D.C. & U.S. TerritoriesQuarters have ended, and all of the National Park Quartersfrom 2010-2013 have been released, collectors are snapping upthese coins in preferred Uncirculated condition. Minted onlybriefly, these special quarters will never be struck again! Don’t miss out, get your Uncirculated set of all 50 Statehood quarters, all 6 one-year-only D.C. & U.S. Territories quarters, plus all twenty2010-2013 National Park quarter designs – before it’s too late –for the special price of ONLY $29.95! You’ll SAVE 78% off theregular price of $142.00, and enjoy Free Shipping. Order now andyou’ll also receive all four Uncirculated 2009 Lincoln bicentennialcents, absolutely FREE!

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The leader of tripod head

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Ninety years ago, a watch-maker in Paris famous

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Top Quality screw in optical Glass Filters19-37mmÉÉ19.95 67-82mmÉÉ..19.9540-49mmÉÉ..9.95 86-95mmÉÉ..59.9552-62mmÉÉ.14.95 105-122mmÉ129.95

Sun Shade Lens Hoods19-37mmÉÉ...9.95 67-82mmÉÉ..19.9540-49mmÉÉ...6.95 86-95mmÉÉ..69.9552-62mmÉÉ...9.95 105-122mmÉ..99.95

3 Lens Close-up Macro Lens Sets19-37mmÉÉ..29.95 52-62mmÉÉ.29.9540-49mmÉÉ..19.95 67-82mmÉÉ.39.95

SIGMA4.5mm F2.8..........838.958mm F3.5.............828.95 10mm F2.8...........598.95 15mm F2.8...........568.95

20mm F1.8...........588.9524mm F1.8...........498.9528mm F1.8...........308.9530mm F1.4...........278.95

800mm F5.6.......6698.95

10-20mm F4-5.6....478.95

12-24mm F4.5-5.6..748.95

17-70mm F2.8-4.5...458.95

18-200mm F3.5-5.6..238.95

24-70mm F2.8.....798.95

28-70mm F2.8-4....88.95 28-200mm F3.5-5.6...174.95

28-300mm F3.5-6.3...234.95

35-135mm F4-5.6...99.9550-150mm F2.8....698.95

50-500mm F4-6.3...948.95

55-200mm F4-5.6...124.9570-300 F4-5.6......138.95

70-300 F4-5.6 APO...188.95

100-300mm F4-5.6...99.95

100-300mm F4....1098.95

120-300mm F2.8...2698.95

120-400 F4.5-5.6...938.95150-500mm F5-6.3...948.95

200-500mm F2.8 APO EX DG...................25998.95300-800mm F5.6 EX BE HSM.....................7698.951.4X APO............218.95 2X APO...............278.95

8-16mm F4.5-5.6 DC...618.95

17-50mm F2.8

EX DCOS HSM..548.95

60mm F2.8...........278.95

10-20mm F3.5........548.95

18-250mm F3.5-5.6.358.95

70-300mmDGOS.248.95

70-200mm F2.8....888.95

50-200mm F4-5.6.148.95

85mm F1.4...........848.95400mm F5.6ÉÉ.299.95

19mm F2.8...........178.95

30 mm F2.8ÉÉ174.9535mm F1.4ÉÉ.848.95

500mm F4.5.......4598.95

50-150mm F2.8É968.95

70-200/2.8OS…..1148.95

105mm F2.8........458.95150mm F2.8.......688.95180mm F2.8.......1488.95300mm F2.8.......2998.95

70mm F2.8..........468.9550mm F2.8..........234.9550mm F1.4..........358.95

28-70mm F2.8.....318.95

10-20mm F4ÉÉ.398.95

18-35mm F1.8É.748.95

18-50mm F2.8-4........188.9518-50mm F2.8............375.95

TOKINA

10-17mm F3.5-4.5...444.9528-200mm F3.5-5.6....99.9511-16mm F2.8......564.95

12-24mm F4.........424.95 16-50mm F2.8......594.95 80-400mm F4.5-5.6....638.95

50-135mm F2.8....674.95

100mm F2.8.........384.95

16-28mm F2.8 .....748.00

17-35mm F4........719.00300mm F6.3ÉÉ.299.9512-28mm F4ÉÉ598.95

TAMRON14mm F2.8...........989.99 90mm F2.8..........348.95

28mm F2.5.............99.99 180mm F3.5........628.95

24mm F2.5.............79.95 500mm F8...........198.95

11-18mm F4.5-5.6...434.9517-50mm F2.8.....334.9418-200mm F3.5-6.3...158.9518-250mm F3.5-6.3...414.9518-270mm............398.95 19-35mm F3.5=4.5...159.9520-40mm F2.7-3.5...298.9524-135mm F3.5-5.6...398.95

28-105mm F2.8....298.95 28-200mm F3.8-5.6...118.95

24-70mm F3.3-5.6...89.95 28-75mm F2.8.......348.95

28-80mm F3.5-5.6...68.9528-300mm F3.8-5.6...294.95

28-300mm F3.8-5.6 VC....584.95 200-400mm F5.6......298.9555-200mm F4-5.6...128.9570-200mm F2.8...664.9560mm F2 Macro........399.95 1.4X Converter....124.95 2X Tele Converter.....138.951.4X SP Converter...178.95 2X SP Converter...208.95

24-70mm F2.8......1195.00

75-300mm F4-5.6...128.95200-500mm F5-6.3..758.9510-24mm F3.5-4.5....458.99

10-24mm F3.5-4.5...429.95

70-300mm F4-5.6 329.95

50/2.8 HM Super Angulon.........................................3498.9990/4.0 HM Makro-Symmar.......................................3198.99120/5.6 HM Aspheric Apo-Digitar...........................4698.99

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Canon rebel XT.....299.99

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Nikonos V.............179.99

Topcon super REÉ249.99

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Contax RTS III........699.99

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Leica M3.....................499.99

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Nikon D40..................199.99

Nikon N55....................66.99

Olympus OM4............179.99

Pentax LX...................299.99

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Canon Elan....................69.99

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Canon 1X......................69.99

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Leica R8......................749.99

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Nikon F100.................199.99

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Minolta 160.......69.99

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Leica minilux.....199.99

Contax T2.........199.99

Yashica T4.........99.99

Nikon lite touch...49.99

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Minox GT...........199.99

Rollei 35..........129.99

Canon rebel X.......49.99

Minota 7000.........39.99

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Ricoh XRP...........99.99

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Canon dial..........49.99

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Leica c-lux.........299.99

Leica CL........... 499.99

Mamiya 7............699.99

Mamiya 645E.........199.99

Mamiya C220..........99.99

Yashicamat..........129.99

Minolta 70...........59.99

Minolta 9Xi..........149.99

Kodak C800............49.99

Samsung 170...........69.99

Pentax auto 110.......69.99

Nikon F100............169.99

Olympus IS.............79.99

Miranda FV.............99.99

Pentax PZ1.............109.99

Contax IIa.............139.99

Contarex...............249.99

Nikon 35Ti.............299.50

Nikon 28Ti.............349.95

Canon 24mm F1.4 ........989.00

Canon 50mm F1.4 ........229.00

Canon 85mm F1.2 .....1,299.00

Canon 300mm F2.8 ...2,199.00

Canon 16-35mm F2.8 ...889.00

Canon 24-105mm F4 ....789.00

Canon 28-300mm F3.5 ...1,299

Canon 70-200mm F2.8 ...1,199

Canon 100-400mm F4.5 ....1,199

Canon 430EX ...............189.00

Canon 580EX................269.00

Canon 24-70mm F2.8 ...899.95

50mm F1.4 Zeiss Planar...209.00

80-200mm F4 sonnar.....199.00

Hasselblad 150mm F4 ..299.00

Leica 35mm F2 Summicron M...899

Leica 50mm F2 Summicron M...399

Leica 135mm F4.5 Hektor Screw..129

Leica 50mm F2 Summicron R..349.50

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Mamiya 180mm F4.5....149.00

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Nikon 18-200mm F3.5..349.00

Nikon 80-200mm F2.8 ......399

Nikon SB600 ................269.00

Nikon SB900 ................349.00

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Olympus 70-210mm F4.5.......99.00

Olympus 50mm F1.4.......99.95

Panasonic 14-50mm F2.8....479.00

Pentax 28-80mm F3.5.....39.00

Pentax 35-80mm F4........44.00

Sigma 70mm F2.8.........379.00

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1939 version. Among the features promised in its advertising were interchangeable backs. However, the camera proved mechanically temperamental and somewhat awkward to handle. List price? A hefty $300 with an 80mm f/2.8 Zeiss Tessar, the same lens that Rollei rejected later in its first 2.8 model. As a result, the Exakta 66 became just another potentially useful camera that bit the dust.

Poetry in BloomJeannette Klute shot this lovely photo of a rose pogonia (a wild orchid) with a 4x5 Graflex Series D single-lens reflex camera using Ektachrome film. Enlarged dye-transfer prints were made in the Eastman Kodak labs. Klute had exhibited her flower pictures at the George Eastman House, the Museum of Modern Art, and the Museum of Natural History, among other venues. Professionally, she worked for Kodak as a research photographer in charge of the Visual Research Studio in the company’s Color Control Division.

Read the Book, Take the PictureOne of Pop Photo’s most popular features was the condensation of major books on specialized subjects such as this month’s digest of Child Photography. The author, Josef Schneider was possibly, one of the most successful child photographers of the period, with an unequalled talent for making any child subject not only appealing, but irresistible. —Harold Martin

106 POPULAR PHOTOGRAPHY JANUARY 2014

TIME EXPOSURE * JANUARY 1954

banks of 10 bulbs each, all 500-watt 3200 K to match the Type B film, supplied the lighting for an exposure of ½ sec at f/11.

Clunker of the MonthThis second version of the 6x6 Exakta had a new shape, but proved no more successful than the first

POPPHOTO.COM

60

YEARS AGO We published a feature on DuPont president Crawford H. Greenwalt’s bird photography.

Testing Pays OffPro photographer Hal Reiff installed new lights in his studio and made tests to see how different film emulsions reacted. One of the test results was a picture of Jeryl Johnson, this month’s cover model. Reiff used Kodak Ektachrome Type B in an 8x10 Calumet view camera with a 12-inch f/6.3 Ektar lens. An overhead bank with eight bulbs and two side

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IN 2013, I spent two weeks docu-

menting Syrian refugees with

photojournalist Michael Friberg to

capture a personal side you don’t

see in the media. One, Abu Feras

(an alias), now lives in Jordan with

his daughters. We talked, Mike

photographed him, and I captured

the girls in their yard on 4x5-inch

Kodak Portra. They were shy—they

still have nightmares. But focusing

under the hood makes you look

silly, and it seemed less threatening

standing next to a f eld camera.

We’ve since self-published the

work in a book, By the Olive Trees.

The title is from another source,

Abdul Rahman: “I planted an

olive tree here so we could feel

like we were in Syria. Every week

we say next week we will return...

If Bashar goes away, we will go to

Syria, and sit by the olive trees.”

—As told to Lori FredricksonBE

NJA

MIN

RA

SM

US

SE

N

112 POPULAR PHOTOGRAPHY JANUARY 2014 POPPHOTO.COM

BACKSTORY

Benjamin Rasmussen’s portrait of young displaced Syrians abroad

Home Away

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