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O U R 

W O R L D 

Liz O. Baylen / Born in 1979, she graduated from Ohio University’s School of Visual 

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assignments around the world and was selected as a finalist for the Pulitzer Prize while with 

The Washington Times. Most recently, her images have appeared in several major newspapers. 

Photo data: SIGMA 24-70 mm F2.8 IF EX DG HSM. 1/800 second exposure at F5.0 

LIZ O. BAYLEN SHOOTS THE WORLD WITH A SIGMA LENS 

Focusing on the ball, just as a player would, here in New York’s Central Park. 

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O U R 

W O R L D 

Tom Servais / Born in Miami in 1953, Servais moved to California at the age of 20 to find 

himself and pursue surfing. After taking several photography classes, he began his career as a 

photographer with Surfer magazine. Fueled by the joy of turning his passion into a career, he 

travels the world in pursuit of an endless summer. 

Photo data: SIGMA 18-250mm F3.5-6.3 DC OS HSM, 1/1,000-second exposure at f/6.3. 

TOM SERVAIS SHOOTS THE WORLD WITH A SIGMA LENS. 

A man at the beach is enveloped by the gentle rays of the setting California sun. 

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man’s lifetime was captured by a high magnification, compact Sigma zoom lens for digital SLR cameras 

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FEATURES 

HOW-TO 

COLUMNS/ 

DEPARTMENTS 

TESTS/REVIEWS 

30 

Behind the Masks 

Learn the secrets of a Photoshop 

master. A Digital Toolbox Special. 

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58 

Travel Photography 2.0 

The new way to great shots is 

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Nature Arm yourself with 

photography’s secret weapon for 

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Tips From a Pro Infuse 

ordinary moments with visual 

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By Laurence Chen 

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Editorial A trip to Asia offers a 

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82 

MAY 2009 VOLUME 73, NO. 5 

48 

America’s Most Photo-Friendly 

Cities Which of the 30 biggest burgs are 

best for photographers? The results will 

surprise you. By Neal Matthews 

HANDS ON: HP Designjet 

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62 

Lighting Your Way 

A guide to every type of lighting 

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10 Camera Bargains 

Get big fi repower for little cash— 

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You Can Do It Go buggy with a 

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Three Ways 

Take great close-ups without 

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18 

90 

120 

How I Shot This A photographer 

welcomes spring, and risks his 

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Picture Doctor Image ailments 

cured quickly in Photoshop, plus 

a diagnosis for fi ltration frustrations. 

Backstory A photographer and 

graphic designer team up to 

create an unnerving image of a bionic woman. 

84 

Which Tripod Should I Buy? 

For the European vacation of 

a lifetime, an unconventional monopod 

is a better choice. 

PLUS 

8................................................Letters 

20...................................Your Best Shot 

38.....................................................The Fix 

40.......................................Why It Works 

98....................................Time Exposure 

106.......................................Cheat Sheet 

112........................................By the Book 

116......................................Tech Support 

119...........Speaking of Photography 

86.....................Classifi ed Advertising 

PATRICK SMITH 

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Vincent Laforet high above New York City shooting with a Canon 5D Mark II and a 16GB Lexar Professional UDMA 300x CompactFlash card

Egypt September 27 – October 7, 2009 

Get ready for the photographic journey of a lifetime as Mentor 

Series heads to Egypt, a land of archaeological and cultural riches. 

Shoot alongside Nikon professional photographers Reed Hoffmann 

and Mark Alberhasky while photographing dynamic landscapes, 

spectacular pyramids and the glorious Nile River. 

Visit the Three Great Pyramids of Giza in Cairo, a glorious 

backdrop to capture camel drivers and their camels. Want to see the 

symbol that has represented the essence of Egypt for thousands of 

years? Nothing can prepare you for seeing the Sphinx the first time, 

in its massive splendor. The photos you take here are ones you’ll 

cherish for many years. 

Photograph Upper Egypt and explore the charming city of Aswan. 

Travel by boat to the Temple of Philae, located on its own island, 

where the grand quarries provided much of the materials used to 

build Egypt’s great obelisks and pyramids. Board the MS Royal Lily, our 

floating hotel for the next 4-days, where the journey will provide you 

with many spontaneous photo ops of Egyptian life along the Nile. 

Disembark in Kom Ombo and discover the unique photo ops of this 

glorious temple. Next, enjoy a visit to the extremely well preserved 

Temple of Edfu. In Luxor, explore Thebes, the country’s capital 

© Jen keough 

throughout the period of the new kingdom. Here, you’ll find vast 

pylons and pillars of Karnak Temple and take a horse carriage ride to 

the Temple of Luxor. As you cross the Nile, you’ll visit the burial ground 

of ancient Egypt, Valley of the Kings, home to the infamous Tomb of 

King Tut. 

You won’t want to miss Bahareya, where you’ll photograph the 

colors of the Black Desert and its volcanic remains, the White Desert 

and its unusual limestone formations, and the diamond-like Crystal 

Mountain. 

Back in Cairo discover some of the most glorious sights yet. View 

archaeological treasures at the Museum of Egyptian Antiquities and 

spend some time exploring the Khan el Khalili Bazaar. In the narrow 

alleyways of the Bazaar, you’ll find a bustling marketplace with 

bargaining shop owners, backgammon players, and the daily hustle 

and bustle of Egyptian life. You and your camera will revel in the sights 

of the distinctive culture. 

From the deserts to the Nile, the pyramids to the temples, Egypt’s 

eye-catching views will stimulate your senses and provide you with 

fantastic photos. Sign up today for a memorable trek that will bring 

out the adventurer in you. 

© Tim keough © Tim De Boeck

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Special Thanks to our Premier Sponsor: 

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LETTERS 

When I travel, I enjoy 

photographing the interiors 

of museums. And as I’ve 

visited museums throughout 

the U.S. and Europe, I’ve 

picked up a few pointers that 

I’d like to share. 

While most museums 

permit photography inside, 

almost every one has 

regulations against fl ash, 

tripods, and commercial 

use. Usually the rules are 

posted by the museum’s 

entrance and tickets booths. 

The rules are also posted on 

museums’ websites. 

Instead of a tripod, I use 

a steady surface and the 

self-timer or a cable release. 

For this shot inside London’s 

Museum of Natural History, 

I placed my Canon EOS 40D 

on a big donation box. I made 

a donation, and nobody said 

a word. With fl ash prohibited 

and a steady surface, I shot 

at ISO 100 and 15 seconds at 

f/18. For handheld work, I’ll go up 

to ISO 800, and I’ve never had a 

problem with noise from my 40D. 

Capturing the architecture inside 

halls with high transparent ceilings 

on a bright day can be tricky. 

Card tricks 

I have a DSLR that uses CF cards and 

a point-and-shoot that takes SD cards. 

Recently in Hong Kong, I found an 

SD-to-CF adapter for less than $20 (no 

brand name). It works perfectly, and I 

now can use SD cards in both cameras. 

Am I giving up anything? Poul Mork 

Singapore 

No, as long as the SD cards matches its 

larger CF sibling in speed and capacity. 

For those who want an adapter with a 

brand name, Delkin Devices (www.delkin. 

com) sells one for $30 (street). 

Back off 

I would like to express my concern 

regarding the third-place photo in the 

November 2008 Your Best Shot. It’s 

a close-up of a chick in a nest taken 

with a 100mm macro lens. In order 

to take this frame-fi lling close-up, the 

INSIDEJOB 

Especially when using a wide-angle 

lens. That’s when I add a neutraldensity 

fi lter, such as B+W’s 502 

graduated ND, which has 2 stops 

of density at the top. 

Instead of multiple lenses, I use 

a wide-range zoom with image 

photographer must have gotten much 

closer to the nest than is advisable. 

In his “Nature Photography Field 

Guide,” John Shaw writes: “I would 

strongly urge you not to photograph 

birds at their nests…Nesting birds have 

a strong instinct to care for their young, 

so up-close photographic activity of 

any sort just adds stress to an already 

stressful time. Some birds tolerate very 

little disruption at the nest site and will 

immediately desert the nest, dooming 

eggs or chicks…No photograph 

whatsoever is more important than the 

welfare of the subject.” Veronica Scalise 

Naperville, IL 

Circular logic 

When I use my circular polarizer on a 

digital camera, it doesn’t seem to have 

the same effect as with fi lm. True? Or 

am I imagining it? Peter James 

South Glastonbury, CT 

stabilization, such as Canon’s EF 

28–135mm f/3.5–5.6 IS USM for 

the close-ups. For architecture, I 

use a wide-angle zoom, such as the 

Canon EF-S 10–22mm f/3.5–4.5 

USM. Alexander Viduetsky 

Valley Village, CA 

Generally speaking, the effects of 

a polarizer should be quite similar 

whether fi lm or a digital sensor 

records the image. Different fi lms, 

however, can show the effects 

differently. The blue of a polarized 

sky, for example, might appear less 

intense when recorded on low-contrast 

color negative portrait fi lm, and very 

intense when captured on highcontrast, 

high-saturation color slide 

fi lm. Similarly, a digital image might 

show varying intensity depending 

on parameters such as contrast, 

color saturation, and dynamic range. 

And if you have white balance set to 

automatic, it might be counterbalancing 

the blue of that blue sky. Our advice: 

Experiment with different settings on 

your camera. And shoot a lot. p 

GET IN TOUCH! 

E-mail us at PopEditor@hfmus.com. 

8 WWW.POPPHOTO.COM POP PHOTO MAY 2009 

ALEXANDER VIDUETSKY

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EDITORIAL 

equivalent on my Canon) was 

just the thing for subjects ranging 

from a gaudy grilled squid stand to 

colorfully chaotic street markets. 

Vietnam? I could ramble on about 

photographing this landscape of rice 

paddies, war relics, and captivating 

people. But the most surprising thing 

I encountered—and was determined 

to capture—was Ho Chi Minh City’s 

traffi c. To say “swarms of motorbikes 

to the infi nite power” doesn’t fully 

describe this city’s transportation 

system. Cars, bicycles, and old-time 

cyclo (“see-klo”) peddle-taxis are 

massively outnumbered by whirring, 

buzzing two-wheelers that crowd the 

streets and even the sidewalks in a 

free-for-all of urban mobility. 

How to capture it? I shot this 

photo at 1/30 sec, f/22, and ISO 800. 

It shows my wife, Demetria, just 

seconds—and dozens of motorbikes— 

behind my daughter and me crossing 

a street. The shutter speed was slow 

enough to blur the bikes, but fast 

enough to be easily handheld. For 

depth of fi eld that didn’t quit, I went 

with the small aperture (which, in turn, 

required the high ISO). 

By John Owens 

BAGGAGECheck 

Thinking inside— 

and outside—the 

camera bag 

When packing for a trip, 

we all face that angel and devil on 

our shoulders whispering “Travel 

light!” and “Don’t forget to bring 

[fi ll in the blank].” The trouble is 

it’s tough to tell who’s saying what. 

Take too little, and for the want 

of the right gear you could miss 

the images of a lifetime. Bring 

too much, and you’ll be like the 

Clampetts rolling into Beverly 

Hills. I know, because I’ve 

been at both extremes. 

But on a recent trip with 

my wife and daughter to 

Hong Kong and Vietnam, 

I was thoroughly happy 

with my packing list and 

what I captured. 

The DSLR: a Canon EOS 40D, 

a solid, familiar middleweight. Just one 

body, since I didn’t expect any camerakilling 

activities, nor the kind of action 

that would require instant access to 

both a long, fast lens and a short, fast 

one. This was, after all, a vacation. 

While there’s much to recommend 

a wide-ranging zoom—such as an 

18–200mm, the extreme Sigma 

18–250mm, or the more extreme 

Tamron 18–270mm—I rarely use such 

a long lens. I knew from experience 

that short to mid focal lengths would 

serve me best. 

Hong Kong is perhaps the most 

concentrated ball of ambition, 

commerce, crassness, and culture on 

the planet. I love the place. And the 

photo ops are so tightly packed that 

there’s no reason to aim your camera 

over there when you’ve got great 

subjects right here. 

That’s why in Hong Kong, most of 

the time my 40D sported a Tokina 12– 

24mm f/4 AT-X Pro. At 1.25 pounds, 

it’s relatively heavy, but I’ve had great 

success with this lens over the years, 

and that 12mm (19mm full-frame 

ROAD RAGE: 

A slow shutter puts 

fun into the serious 

business of crossing 

the street in Ho 

Chi Minh City. 

The lens: a Canon EF 28–135mm 

f/3.5–5.6 IS USM. Along with the wideangle 

Tokina, this glass dominated my 

shooting in Vietnam. 

But I’m most delighted that at the 

last minute I tossed a Casio Exilim EX- 

Z150, a petite compact, into my bag. 

The streets converging in front of 

the city’s central market surge with a 

nonstop fl ood of motorbikes. Crossing 

requires courage, stupidity, and a 

willingness (I learned from the locals) 

to neither pause nor deviate from a 

steady course across the fast-moving, 

potentially lethal fl ow. Just go. 

I huddled my family on my leeward 

side, turned on the Casio’s video 

mode, and held the camera at waist 

level, pointing toward the oncoming 

motorbikes. As we walked, I narrated 

above the din of internal combustion. 

Okay, maybe you had to be there, but 

to the Owens clan, this video clip is a 

funny forever keepsake. 

While I’m a confi rmed DSLR 

shooter who tries to bring only 

what’s necessary, I’m sure glad I 

packed that little Casio. I just can’t 

fi gure out if it was the angel or the 

devil who suggested it. p 

10 WWW.POPPHOTO.COM POP PHOTO MAY 2009

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Even if high dynamic range imaging isn’t your cup of tea, you’ve got to 

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HOT: Multi-pattern auto white balance, multitarget AF, 28–200mm (full-frame 

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Give Tilt a Whirl 

$2,500, estimated street 

n www.usa.canon.com 

Looking for an entirely different way of 

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movements allow you to selectively position 

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Canon’s new TS-E 17mm f/4L full-frame lens is the 

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obviously, the price is as serious as the lens. 

The Pen is Mightier 

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Sometimes technology is at its best when it mimics traditional media. 

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With just a 2MP camera, the iPhone’s 

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This sleek 8MP model sports a 2.6-inch 

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The customizable TouchWiz interface 

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Cyber-shot C905 

$350, unlocked (carriers not announced) 

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With an 8.1MP sensor, this phone (soon 

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that looks amazing!’”

HOW I SHOT THIS 

FULLColor 

Ukrainian-born photographer 

Dima Gavrysh (www.dimagavrysh. g y 

com) didn’t wait until he graduated 

from the National Cinema Academy 

of Ukraine before he began working 

as a photographer. Instead, he started 

his freelance journalism career early, 

and in a few years he traded up 

from an internship in the U.S. at the 

Associated Press website to shooting 

for AP, Bloomberg News, and the New 

York Times. Although he’s now based 

in New York, he prefers to be far from 

home—traveling and photographing. 

Q. What are we looking at? 

A. This is the Holi festival, a Hindu 

festival of color and springtime. 

The powdered color honors Lord 

Krishna. It began in the small town 

18 PHOTOS BY DIMA GAVRYSH; INTERVIEW BY DEBBIE GROSSMAN 

BRAVING THE PAINT 

DURING HOLI 

of Mathura, Krishna’s birthplace. 

Not every region of India celebrates 

it on the same day, but I decided I 

needed to go where it started because 

that’s where it is most intense. The 

holiday usually takes place at the full 

moon in March. It starts around 10 

in the morning and goes until 3 in the 

afternoon. Then people get exhausted 

and retreat to their homes.

A B 

THE OUTTAKES: These guys (A) give you 

a sense of how hard it is to breathe, but 

what’s really missing is the energy of the 

festival. Still a great shot (B), but without 

the fl ying powder, it’s not the winner. 

During the day it’s very intense: 

People hug strangers, people throw 

powder at each other. All shapes 

are covered in powdered pink, 

yellow, green—any color you can 

think of. When it all mixes together, 

it looks like smog. In this picture 

you’re seeing a mix of purple, red, 

and yellow. That’s why you can’t 

really tell what color it is. 

HOLI MOLY! This Canon 

EOS-1D Mark II lived to 

tell the tale. 

Q. How did you keep your 

cameras clean? 

A. I tried to cover them with 

plastic bags, but it didn’t work. 

You cannot shoot when you cannot 

reach the controls. Plus the camera 

immediately gets dirty with the 

powder. It’s a mess. Luckily I had two 

Canon EOS-1D Mark II cameras. 

They’re water-tight and dustproof. I 

was able to go through this madness 

without any mechanical problems. I 

had a fi lter, and that’s what saved the 

lens. The entire day I was shooting 

nonstop without any protection for my 

cameras. Afterward, I couldn’t clean 

them the traditional way—I put them 

under the hot water tap and scrubbed 

them with a toothbrush. There was no 

damage. That’s why I have so much 

respect for Canon engineers. 

Q. What lens did you use? 

A. The Canon TS-E 24mm f/3.5L 

tilt-shift lens. That’s why the powder 

is sharp and the kids in the middle 

are sharp and everything to the left 

and right is blurred. Because Holi is 

so often photographed, I wanted to 

shoot it like no other photographer 

did. People are used to such sharp, 

bright pictures that are so correct that 

they’re no longer interesting. When I 

use the tilt-shift, it’s a little puzzling 

and people can’t fi gure out right away 

what they’re looking at. 

Q. How did you set exposure? 

A. The light changed constantly 

because the streets were narrow and 

fi lled with powder. I changed my ISO 

from 100 to 800 and then to 400. Then 

I had to change my white balance from 

Auto to Daylight and then to Shadow 

to get at least remotely correct color 

reproduction. Eventually I ended up 

shooting everything with the Cloudy 

setting, then tweaking it in RAW 

conversion. This exposure was set in 

aperture-priority to f/4.5 at 1/800 sec. 

Q. What makes this one 

the best shot? 

A. It has the color and the emotion 

and it gives you an idea how crazy 

the festival is. The powder that you 

see fl ying through the air is actually 

fl ying at me. The next moment I 

was covered in it. p 

POP PHOTO MAY 2009 WWW.POPPHOTO.COM 19

YOUR BEST SHOT 

20 28 WWW.POPPHOTO.COM POP PHOTO APRIL MAY 2006 2009

By Kathleen Davis 

1 st Place 

Color Control 

DINA 

GOLDSTEIN, a 

39-year-old pro 

photographer based 

in Vancouver, BC, 

Canada, has an eye 

for high-contrast 

color. We couldn’t 

resist the variety 

of shades in her 

photo of beads in a 

shop in Jerusalem. 

Goldstein says she 

had to tiptoe to 

get the right angle 

and light outside 

the shop. And her 

portrait of a woman 

eating an ice cream 

cone caught the 

attention of the 

judges of Pop 

Photo’s 15th 

Annual Readers’ 

Photo Contest for 

2008—she won the 

People category. 

See more of her 

work at www. 

dinagoldstein.com. 

TECH INFO: Nikon 

D80 with 17–55mm 

f/2.8 Nikkor lens. 

Exposure, 

1/60 sec at f/4.5, 

ISO 400. Contrast 

increased in Adobe 

Photoshop CS3. 

Greater Gator 

POP PHOTO MAY APRIL 2009 2006 WWW.POPPHOTO.COM 21 28

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YOUR BEST SHOT 

With skill and creativity, you can 

take stellar wildlife shots without 

risking your life. Electronics 

technician DAN WELLS, 64, battled only the crowds at the Flint 

RiverQuarium in Albany, GA, to get what would otherwise be 

dangerously close to this alligator. TECH INFO: Canon EOS Digital 

Rebel XT with 28–70mm f/2.8 Tokina lens. Exposure, 1/125 sec at f/5, 

ISO 200. Refl ections and spots on glass removed, and converted to 

black-and-white in Adobe Photoshop CS2. 

Sunset Surprise 

Planning to take part in the Mobile 

(AL) Arts Council’s “Pulse of the Bayou” exhibit, local photographer 

and chemical operator LESA JONES, 39, knew just what she was 

going for and thought she had plenty of time to get it. But as she looked 

along the shore, she noticed the sun was sinking much faster than 

she’d anticipated. She managed to readjust her camera settings quickly 

enough to capture this shrimp boat at sunset. Check out more of her 

work at www.avantgardeimaging.com. TECH INFO: Canon EOS Digital 

Rebel XTi with 24–105mm f/4 Canon IS lens. Exposure, 1/500 sec at 

f/7.1, ISO 400. Noise reduction, sharpening, and saturation adjustments 

in Corel Paint Shop Pro Photo X. p 

22 

2 nd Place 

3 rd Place 

FOR RULES AND ENTRY INFORMATION, VISIT WWW.POPPHOTO.COM.

LET YOUR IMAGINATION FLOW 

Photograph by: 

Michael Burnham 

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Round Your World

NATURE 

Text and photos by Guy Tal 

Help from digital photography’s superhero 

Don’t be afraid of the mighty 

histogram. Once you understand 

what it has to say, this chart—when 

displayed on your camera’s LCD 

screen—can help you take signifi cantly 

better photos. 

Histograms give you valuable 

information on exposure, dynamic 

range, color cast, the need for fi lters, 

and the risk of image noise—at a 

glance. Here’s how to use them when 

you’re in the fi eld. 

GRAPHIC 

Scenes 

nExposure: Watch your tail 

The histogram’s horizontal axis 

represents tones ranging from 0 on the 

far left (pure black) to 255 on the far 

right (pure white). The vertical axis is 

a relative indication of the number of 

pixels at each level. 

An image comprised primarily of 

dark tones will show higher values 

towards the left and taper off to the 

right, while one comprised of bright 

tones will show the opposite bias. 

Images in even light, with a lot of 

midtone detail, will generally tend to 

show peaks around the center. 

Once you’ve captured an image, 

the histogram tells you quickly if 

both highlight and shadow areas 

have usable detail—both tails fi t 

neatly within the horizontal scale. 

A histogram that ends abruptly 

on either side of the scale (called 

clipping) indicates lost detail. If 

it’s clipped on the left side, some 


fiMT. MORAN, GRAND TETON NATIONAL PARK, WY Composed mostly of 

midtones, this scene required a histogram curve in the middle of the graph. Canon EOS 

5D with 24–105mm f/4L Canon EF lens on tripod; 4 sec at f/16, ISO 100. 

dark areas are underexposed. On 

the right, you’ve lost highlight detail 

due to overexposure. Adjust your 

settings accordingly and keep checking 

the histogram until both sides are 

contained on the scale. 

Your camera’s sensor, though, can 

detect only a limited range of tones 

between pure black and pure white. 

This dynamic range is around 6 to 8 

stops of light for most DSLRs, enough 

to capture both the shadow and 

highlight detail in most scenes. But if 

the contrast range of the scene you’re 

shooting exceeds the sensor’s dynamic 

range, you may get clipping in both 

the dark and bright areas—adjusting 

exposure may help bring one tail of the 

histogram into range, but not both. 

How do you fi x this? One way is to 

sacrifi ce detail in either the shadows 

or the highlights. (Keep in mind that 

most viewers will generally be more 

tolerant of blocked-up shadows than 

blown-out highlights.) Another is to 

reduce the contrast range by using a 

hard-edge or graduated split neutraldensity 

fi lter to mask off the brightest 

portion of the scene, such as sky above 

a shadowed foreground. 

If you don’t have a fi lter, or if the 

scene has no straight dividing line, 

you can blend multiple exposures, 

commonly called high dynamic 

range (HDR) imaging. Blend them 

together using software such as Adobe 

POP PHOTO MAY 2009 

WWW.POPPHOTO.COM 28

NATURE 

€ SHALLOWS OF THE GREAT SALT LAKE, UT 

To keep the high-key effect, the graph was placed 

to the right side of the histogram. Same equipment 

as previous spread; 1/250 sec at f/22, ISO 100. 

Photoshop. Photoshop versions CS3 and higher 

offer automated HDR blending, as do other 

programs such as Photomatix Pro from HDRsoft. 

With automated HDR, combining fi ve to nine 

exposures taken at 2/3-stop intervals works well. 

nFine-tuning tips 

Expose to the right: Digital sensors can 

distinguish between much fi ner variances in 

highlights than in shadows, capturing more detail 

on the right side of the histogram. And there’s 

a greater risk of visible noise on the histogram’s 

left, where an incorrect reading will be more 

pronounced. So by exposing to push the curve 

as far to the right side as possible, without going 

over the edge, you can maximize detail while 

minimizing noise. 

When you do this, the image on the 

camera’s LCD may seem much brighter than 

you want, so you may need to fi x this later. I 

highly recommend shooting RAW images and 

correcting exposure during conversion. When 

you shoot JPEGs, exposing to the right boosts 

the risk of lost highlight detail. 

Silhouettes and high-key images: You shouldn’t 

always fi t both tails of the histogram neatly within 

the horizontal axis—for instance, if you want 

deep blacks or pure whites in the fi nal image. 

For a silhouette, where the foreground object is 

rendered completely black while the background 

maintains detail, shift the exposure so that the 

histogram is clipped on the left side but retains 

detail throughout the rest of the range. 

Conversely, when you want very bright objects 

to appear pure white, allow the histogram to be 

clipped on the right side. The image (bottom 

left) of the sun rising through a foggy shroud is 

a good example: Although a fairly large portion 

“SUBWAY” POOLS IN ZION NATIONAL 

PARK, UT Highlight and shadow detail could not 

both be maintained in a single exposure. So two 

exposures, one for the highlights (8 sec at f/16, ISO 

100) and another for the shadows (25 sec at f/16), 

were combined in Adobe Photoshop CS4, resulting 

in the histogram shown. Tripod-mounted Canon 

EOS 5D with 14–40mm f/4L Canon EF lens, with 

circular polarizer to suppress water refl ections. 

€ MORNING FOG, CARBON COUNTY, UT 

In this instance, the histogram graph was allowed 

to spill over on the right-hand (overexposure) side 

to render the sun as a spectral highlight. Tripodmounted 

Canon EOS 5D with 24–105mm f/4L Canon 

EF lens; 1/250 sec at f/16, ISO 100. 

26 POP PHOTO MAY 2009

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NATURE 

of the scene is overexposed, it still 

appears natural—in fact, it would 

look odd if the sun had any detail. 

nChange the channel 

We’ve been talking about luminosity 

(or brightness) histograms, which 

combine readings from all three color 

channels. But while these work well 

for evaluating overall exposure, they 

can be misleading. 

Take a scene containing a bright 

red fl ower. The histogram may show 

perfect exposure, since somewhere in 

the frame all tonal ranges are found 

in one or more of the color channels. 

But it won’t tell you that pixels in the 

red fl ower may not have any readings 

in the blue channel or may have 

oversaturated (i.e., clipped) the red 

channel. You will get no detail in the 

fl ower, even though the luminosity 

histogram shows a full range of tones. 

For greater insight and control, 

most DSLRs today can also show 

separate red, green, and blue channel 

histograms. The RGB graphs make it 

is easy to spot cases when one or two 

channels are clipped, and to correct 

WITHOUT SPLIT ND FILTER 

WITH SPLIT ND FILTER 

THERMAL POOL, YELLOWSTONE 

NATIONAL PARK, WY 

The contrast was too great for the 

dynamic range of the camera, so a 

2-stop split ND fi lter was used over 

the sky to allow for detail in both 

the highlights and shadows. Tripodmounted 

Canon EOS 5D with 17–40mm 

f/4L; 0.8 sec at f/22, ISO 100. 

BIRCH LEAF IN FROZEN POOL 

The correct exposure according to 

the luminosity histogram resulted in a 

near-neutral gray. To accentuate the 

cool blues, I adjusted the white balance 

so that the blue channel in the RGB 

histogram was further to the right than 

the other channels. Tripod-mounted 

Canon EOS-1Ds with 50mm f/2.5 Canon 

Macro EF; 0.8 sec at f/22, ISO 100. 

accordingly. As with exposure, try to 

fi t both tails of each color channel’s 

histogram within the scale. 

This information is useful if 

you plan to convert your image to 

black-and-white and discard one of 

the color channels. (For instance, 

applying a red fi lter effectively 

discards information from the blue 

channel). In this case you will want 

to make sure that the channels you 

wish to keep are not clipped. 

Reviewing each channel separately 

also lets you creatively use color 

casts. In the picture of the leaf 

(above, right), I increased the amount 

of blue to enhance the image’s cold 

mood. I did this by carefully adjusting 

my camera’s white balance, keeping 

an eye on the blue channel histogram 

to make sure I pushed it just far 

enough without losing detail. p 

To see more of Guy Tal’s images, visit 

his website, guytal.com. 


DIGITAL 

TOOLBOX 

SPECIAL

SECRETS OF A 

PHOTOSHOP 

MASTER 

As photographers, many of us 

use Adobe Photoshop all the time, but 

rarely do we take it to the heights the pros 

do. Their work, which has created and 

perfected almost every advertisement you 

see these days, is so seamless that even the 

most well-versed Photoshopper might be 

hard pressed to fi gure out how they were 

made. So I asked Robert Bowen, a master 

compositor and retoucher who works for 

high-end advertising clients, to show us 

how he accomplished a few of his favorite 

composites. Then I got him to reveal some 

of his best tips and techniques so you can 

boost your skills, too. —Debbie Grossman 

vTiny Bubbles 

Bowen made this composite for a Michelob 

ad. He started with photographs of two beer 

glasses taken by Steve Bronstein, one full 

and the other in various stages of emptiness, 

down to just some foam stuck to the sides. Of 

course, not even fantastic photography could 

create fl oating masks of bubbles, so Bowen 

had to make those himself. Here’s how: 

Putting P it together 

The Th main glass composite is primarily 

done do with layer masks. I dragged in the 

image of the second, empty glass, and used a 

combination of the Pen tool and the Brush tool 

to make a selection and mask off everything 

besides the glass. The top right portion of the 

empty glass is actually from another photo that 

had a more useful pattern of foam. 

Making the faces 

Because B comedy and tragedy masks 

are so iconic and recognizable, I did 

some research to come up with a reference. 

Before I could start, I had to answer the 

question: What would the comedy and 

tragedy masks look like if they were made 

out of bubbles and foam? Once I had a 

sense of what I wanted, I drew a very basic 

mask-shaped template that I could use for 

position. With that on its own layer, I could 

turn it on and off as I added bubbles on top 

of it. Because I had lots of photographs of 

glasses with different amounts and types of 

bubbles in them, I had a lot to work with. I 

would grab a section of a glass, drop it into 

place, and mask it off completely. Then I 

would use the brush tool to bring back the 

bubbles where I needed them. To make 

them blend, I set the Blend mode to Screen, 

which retains the highlight information of the 

bubbles without obscuring the subtleties of 

the beer’s midtones. 

Foam design 

The T fi nal masks needed to be just 

right—they had to look natural in 

terms of what foam and bubbles are actually 

capable of doing, while at the same time 

look as much like idealized comedy/tragedy 

masks as possible. They also had to be a 

quick read. People don’t look at ads for very 

long, so they have to say what they need to 

say in a very quickly. To make it happen, I 

used Layer Masks to play with the bubbles 

until they were just right. 

3D 3 bubbles 

( (not shown) 

The T bubbles in the full glass aren’t 

just suspended, they’re integrated with the 

rest of the bubble events going on in the 

glass, particularly those interesting lines of 

bubbles between the mask and the bottom. 

I achieved dimensionality by building up 

various layers of screened bubble images, 

and then, to further emphasize depth, I added 

a few Levels and Curves adjustment layers to 

darken the left side and brighten the right. 

Extra E condensation 

Steve S 

Bronstein gave me source 

photos with varying amounts of 

condensation that I could apply to the sides 

of the glass. I was able to pick and choose 

from these to composite together different 

shots and achieve the perfect synthesis. I 

added those bubbles the same way I added 

the ones in the glass—by bringing in pieces 

of images and using layer masks to show 

and hide what I needed. 


sStrange Fruit 

You might think you recognize this composite from 

the cover of the 2005 bestseller Freakonomics, but 

it’s not quite the same. Bowen isn’t sure how such 

a similar image ended up on the book’s cover, since 

he executed this composite for a series of clients 

back in 2002. The apple and orange were fi rst shot 

separately by photographer Steve Bronstein on a 

dark background, before Bowen decided the whole 

thing looked better on white. Master that he is, he 

switched out the background in Photoshop without 

having to go back to the photographer for a reshoot. 

Bowen tells us how he made his version: 

Perfecting the stem 

Since the apple’s stem 

was a little roughedup 

and imperfect, 


it drew too much attention to itself. That was easily 

fi xed with the Clone Stamp. But more importantly, 

because the stem was originally photographed against 

a dark background, it didn’t separate well—it sort of 

dissolved into blackness. To fi x it, I created a highlight 

on the left side of the stem to match the position and 

character of the real highlight on the left side of the 

apple. I used eight separate layers to do it. I gradually 

created the effect from areas cloned in from the 

actual apple highlight. On a few of these layers, I set 

the Blend mode to Vivid Light or to Linear Dodge to 

punch up the brightening effect. Normally I would have 

used Screen to do this, but in this case it created an 

unfortunate colorizing side effect. 

Adding refl ections 

Compositing doesn’t just stop with the object 

itself. If there is a refl ection, I have to address 

that, as well. Because there was an orange refl ection 

included in the source photography, I was lucky 

enough to be able to bring that in. I made a rough 

selection of the refl ection in the original fi le and 

dragged it in, then added a layer mask to make 

the refl ection fi t. I probably could have created 

a successful illusion by using the orange 

and fl ipping it vertically, but since I had 

the actual refl ection, I worked with that. 

What’s really nice: It catches highlights 

differently from the actual orange, 

adding an extra element of realism. 

CONTINUED ON PAGE 34

CONTINUED 

FROM PAGE 32 

Adding a shadow 

There was no shadow at all in the photo 

of the orange slice. But if you look at 

the original apple, you can see that there was a 

shadow on the apple. So I had to transfer that 

to the orange. I used the Pen tool to draw a path 

where I wanted the shadow to be, and converted it 

to a selection. Then I used brightness and contrast 

in the Multiply Blend mode to darken it. Because 

the shadow wouldn’t have a hard edge in reality, 

I went into Quick Mask mode and drew a quick 

selection around the top side, and blurred it with 

Gaussian Blur. Then I pulled down the layer’s 

Manage your 

open fi les. If you’re using 

Photoshop CS4, take advantage of the 

new interface to better organize your 

fi les. When you’re cloning from multiple 

images, check the box for Match Zoom 

and Location (or Match All)—it’s easy 

to revisit possibilities and compare 

your options without having to move 

windows all over the place. 

Return to the 

Clone Stamp tool. 

CS4 makes it easy and effi cient 

to use the Clone Stamp—the new 

version shows you a preview of your 

change before you commit to it. I used 

to waste a lot of time of trying to get 

just the right clone, always undoing 

and retrying. Though confusing at fi rst, 

this change in CS4 is magnifi cent. 

Clone on 

new layers. Always clone 

onto a new, blank layer. Switch 

between Sampling Current, 

Current and Below, and All Layers in 

the pulldown menu in the Options 

Bar. I recommend that you become 

very familiar with these distinctions 

because they are extremely useful 

when creating complex composites. 

Label your layers 

effi ciently. I like to name 

layers that only have cloned 

and healed fi xes in them “f” 

for fi x. This makes them easier to fi nd 

again later and group together. 

Make merged 

copies. The merged copy 

(Shift + Ctrl [Command on a Mac] 

+ C, followed by Ctrl [Command] + 

V) is a lifesaver for a warping adjustment, 

such as Liquify, that must take place on 

top of a fi le stack on which you’ve already 

done a lot of work in terms of Adjustment 

Layers and cloning clean-up layers. 

Take advantage of 

Quick Masks. 

Developing the ability to work 

simultaneously with Quick Masks 

and selections is critical to refi ning your 

compositing workfl ow. Just hit the Q key 

on your keyboard to enter Quick Mask 

mode. With Quick Masks, you can paint a 

mask directly in the working space. Most 

often, I use Quick Mask in conjunction 

with the Lasso tool. I’ll load an already 

created alpha channel for an entire 

object, switch to Quick Mask mode, and 

quickly select and delete areas that I 

don’t want in my current selection. You 

opacity until the shadow looked natural. I chose 

to make the shadow fall a little lower than the 

one in the original apple photo, simply because 

it worked better aesthetically. 

Between apple & orange 

Where there’s a slice, there will be an 

edge—and the look of that edge is important 

for a convincing composite. In this case, the pith 

between the orange fl esh and the apple edge was 

brought in from the orange shot. I used the Warp 

tool to carefully match it to the contour of the apple 

slice. For fi ne adjustments, I used the Liquify brush. 

can also Ctrl [Command] + click on any 

layer thumbnail, layer mask thumbnail, 

channel thumbnail, or path thumbnail to 

turn it into a selection. Once selected, 

go into Quick Mask Mode and then alter 

the selection to make a new mask, or 

combine multiple selections. 

Use “scrubby 

sliders.” Instead of manually 

inputting numerical values—such 

those for selection feathering, 

opacity, or font size—mouse over the 

word or icon labeling what you want to 

change, and you’ll see a pointed fi nger. 

Click and drag left or right to decrease or 

increase the numerical value in the box. 

Hide your selections. 

Typing Ctrl [Command] + H 

hides or shows the crawling ants 

selection. I use this all the time. 

When, say, you have an area selected 

and you want to increase contrast, it’s 

important to see how it transitions at the 

edges. Hiding the noisy ants while you 

adjust gives you an idea of the real effect 

of your fi x. This same key command 

can even hide the warping grid. It’s 

unbelievably useful, because it allows 

you to see what’s going on at the edges 

of the area you are working with. 


Flash. 

Flashier. Sure, your camera comes with a built-in 

flash, but it lacks the power to take great 

pictures in any situation. That’s where the 

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vBusted! 

Howard Berman was the photographer 

on this ad for a Sony video camera 

with a night-vision attachment. Bowen 

worked from an idea the ad agency, 

Lowe & Partners/SMS, had: You’re 

walking around a dark house, when you 

suddenly come upon this scene and grab 

the shot. Berman shot the couch, the 

cat, and the dog separately, and Bowen 

put them together. It’s what Bowen 

calls a “groupthink project,” in which a 

team of people, from art directors to the 

client, come together to create a single 

image. Here’s how Bowen did his part: 

The shadows 

know I needed hard shadows 

to mimic the effect of on-camera 

fl ash. For the sofa’s shadow, I selected 

the sofa with the Pen tool, saved my 

selection, and created a Layer Mask. 

I slid this up so it appeared behind the 

sofa, and switched into Quick Mask. 

I loaded my saved sofa selection, 

inversed it, and deleted the enclosed 

area of the Quick Mask, leaving selected 

only the narrow area that would become 

the shadow. To create it, I reduced the 

brightness using a Brightness/Contrast 

adjustment layer set to the Multiply 

Blend mode. I did the cat’s shadow 

the same way. 

Handling the 

subjects A shoot like 

this requires an extensive animal talent 

search. And along with the animal comes 

a handler who works with it professionally 

and knows its personality. The handler 

is on set and communicates with the 

photographer. This dog and the cat were 

never on set together, and to make each 

animal I composited several shots. In 

some of these shots the handler may 

be touching the animal in various ways. 

Such animals are treated extremely 

well and they are selected because they 

function well in this type of environment. 

Marrying dog 

cat To get the dog to embrace 

the cat, I did a lot of warping and 

compositing. I started with the Transform 

tool in each of its incarnations—scale, 

rotate, and distort all helped me shape 

the animals so they would seem to be 

together. Finally, I applied the Liquify 

tool subtly to make them really look like 

they’re snuggling up close. p 

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THE FIX 

KEEP THE COLOR 

Travis Taylor 

Hamilton, MT 

The problem: We agree with 

photographer Travis Taylor that 

this simple, formal composition 

was an apt subject for black-andwhite 

conversion. And he used a 

good tool, Channel Mixer in Adobe 

Photoshop, to make the conversion. 

But, what we liked about the 

original was the softness of the 

light—and all the great shadow 

detail that he captured. 

What now: As the original image 

was a RAW file, we were able to 

process two other versions, in each 

case using Adobe Camera Raw. In 

pBefore 

uAfter 

looking at the color version, we liked 

the soft pastel effect, adding just a 

little contrast and vibrance (Adobespeak 

for more intense color) in 

Photoshop CS4. We then tried it in 

b&w using ACR’s black-and-white 

conversion tools, again with minor 

fiddling of contrast. We like the 

subtler effect, and the nice bokeh 

(out-of-focus background) that 

gets lost in the dark interpretation. 

Which is your fave, Fix fans? 

Next time: This is an excellent 

example of the advantages of 

shooting RAW. It not only gives you 

By Debbie Grossman 

& Dan Richards 

more leeway on exposure and color 

balance, but also plenty of room for 

different aesthetic interpretations. 

And if you want to try still another 

version, you always have the digital 

“negative” to go back to. 

Tech info: Nikon D300 with 

70–300mm f/4–5.6 Sigma DG 

macro lens on tripod and a Nikon 

Speedlight SB-600 positioned 

near flower head. Exposure, 1/200 

sec at f/14, ISO 200. RAW file 

processed in Adobe Lightroom; 

b&w conversion made with Channel 

Mixer in Adobe Photoshop CS3. 


LOSE THE COLOR 

Kim Bennett 

Climax, SK, Canada 

pBefore 

qAfter 

The problem: The classic 

big, full moon shot, with an owl 

silhouetted in front, makes for a 

bold graphic statement. But as 

soon as we brought up the image 

on our computer screen, the 

Centered Subject Police barged in 

and issued a summons. 

What now: We cropped in to 

move the owl off-center, which 

places it just about where the Rule 

of Thirds says it should go. See 

how this makes the composition 

immediately more dynamic by 

removing the static space around 

the subject? The tighter crop has 

the added advantage of making 

the moon and the owl bigger 

relative to the frame. While we were 

looking at the cropped version, we 

also thought: (1) the odd color cast in 

the shadow areas doesn’t do anything 

for the picture; and (2) the image 

is essentially monochrome to begin 

with. So we used the black-and-white 

conversion tool in Photoshop CS4 

to knock out the color. Using Levels, 

we brightened the exposure just 

enough to bring out a little detail 

in the post, which added a bit more 

interest to the composition. 

Holds a 

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afraid to crop the image later to cut 

down on empty space. 

Tech info: Konica Minolta 

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6.3 Sigma APO DG lens, 1/80 sec at 

f/6.3, ISO 800. Minor corrections in 

Adobe Photoshop Elements 4.0. p 

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nFundamentals: The Aha! 

factor, strong graphic sense, sharp 

eye for a vantage point. 

nSurprise: At fi rst, we thought 

this was a clipboard with an unusual 

design. Then we noticed people… 

nGraphic sense: The tile fl oor 

cries out to be photographed—but 

what if it were just the tile fl oor? The 

inclusion of the concierge desk puts 

a visual handle on it. 

nVantage point: Photographer 

Thomas Hawk was up on the 12th 

fl oor of the San Francisco Hyatt 

Regency, looking down at the 

Embarcadero Center atrium. Many 

photographers have said it many 

times: Don’t limit yourself to the 

world at eye level. Look up, look 

down. Get down low, get up high. 

nP.S.: Hawk presented this 

image to us as a horizontal, with 

the desk at left. We thought it 

looked good as a vertical, and he 

agreed to let us reorient the photo. 

(We like that in a photographer.) 

Which do you prefer, readers? p 


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TIPS FROM A PRO 

BOY ‚ SLife 

Transforming ordinary 

moments into art 

If your idea of a stroll is blissful 

meandering, don’t take a walk with 

photographer Jeffrey Lamont Brown (www. 

jeffreybrown.com). Or so his father learned 

while ambling through a fi eld with Brown 

and the photographer’s son Sasha. 

The sun was strong, and a gentle 

wind blew across the Colorado plain. 

Suddenly, the eldest Brown had a piece of 

cardboard—a makeshift refl ector—thrust 

into his hands as he was dragged into 

position next to his son. The photographer 

commanded, “Keep the light on Sasha!” 

as he began fi ring off frames with his 

Canon EOS-1Ds Mark II and 24–70mm 

f/2.8L Canon lens. Sasha remained lost in 

his own world as the three of them moved 

along as a unit. The result is this image of 

a boy’s dreamy afternoon of discovery. 

“My son is a huge fan of having his 

picture made, but I'm very selective about 

when I photograph him because when I’m 

shooting I’m not ‘Daddy’ anymore,” the 

San Diego-based photographer says. “I’m 

not mentally present in his world—I’m a 

producer/director at work.” 

After a career as a photojournalist, the 

active-lifestyle photographer has found 

Text by Laurence Chen; photo by Jeffrey Lamont Brown 

his news skills invaluable for producing 

a commercial shoot. He has an eye for 

authenticity and capturing a moment as 

the action unfolds. “It’s like this super grabshot 

thing, but it also requires vigilance and 

commitment to anticipating it,” he says. 

But getting the shot is only half 

the picture. Brown isn’t satisfi ed with 

straight captures—he likes the sense 

of heightened reality that comes from a 

subtle use of high dynamic range (HDR) 

imaging. That’s where his postproduction 

and RAW workfl ow in Adobe Camera Raw 

and Photoshop come into play. His advice: 

1 

Control contrast and 

shoot RAW. Brown’s technique 

makes a powerful argument for 

capturing images in RAW format. Though 

that’s often seen as a way to compensate 

for poor exposure, a great initial exposure 

lets you create HDR images from a single 

frame—crucial with a moving subject. 

Expose to favor detail in the highlights, 

and use refl ectors to fi ll the shadows in 

important parts of the frame for a natural 

look. Brown uses whatever he can fi nd to 

kick light into the shadows of his shots, 

typically building 4x8-foot refl ectors on 

location using basic materials from a local 

home improvement store. Practice with 

boards or fabrics at different times of day 

to gain experience. And working with an 

assistant (even your dad) helps put the 

light right where you want it. 

2 

Layer multiple RAW 

conversions. Brown generally 

begins by converting the RAW fi le 

three times—for shadow and highlight 

detail, and for midtones (such as a face). 

He combines these three versions into a 

single fi le of three layers, usually beginning 

with the shadow layer on the bottom, the 

highlights layer next, and the midtone 

layer on top. But he’ll vary the sequence 

depending on the content of the photo. 

3 Plan your masks to 

reveal detail. For instance, 

when Brown wants more shadow 

detail in one part of the photo, he creates 

a layer mask on the top and “burns down” 

through the layer with a brush or other tool 

to reveal it, digging down into darks for 

more luminosity. “Almost all the pictures 

in my portfolio have half a dozen layers 

in them. I’m no purist—I have no interest 

in using what comes straight out of the 

camera,” he says. “You have to bring a 

point of view to your work, a perspective. 

That’s what people hire you for.” p 


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Image © David Mejias. Wacom user since 2004.

YOU CAN DO IT 

BEJEWELED: 

Called a red-veined 

darter, this denizen of 

Mediterranean areas attracted 

Amm because it isn’t native to 

Germany, but is now appearing 

there thanks to global warming. 

To get close to those jewellike 

eyes, Amm used a 

Novofl ex macro 

bellows.

DEWFly 

Go buggy 

with a macro 

lens and 

help from the 

weatherman 

As a child, I 

often hiked with my 

father and brothers 

through forests and 

parks, so at a very 

early age, I developed 

a passion for and interest in nature. 

Photography came later, when 

in 2003 I bought my fi rst digital 

camera with macro capability, a 

Nikon Coolpix 4500. Ever since, 

I’ve dedicated myself to examining 

nature’s tiny creatures, thrilled by 

their structures and colors. 

After hours of searching on a predawn, 

September morning, I found 

this dragonfl y clinging to the grass 

on the banks of a charming pond 

near my home in Kronach, Germany. 

The morning was cold and foggy, 

and the rising sun would soon fi lter 

through the mist, creating a diffuse 

and warm-hued light. Everything 

was covered by very fi ne dewdrops. 

Under such conditions, winged 

insects are typically torporifi c, 

unable to walk, much less fl y. 

It wasn’t my fi rst encounter 

with a rare (in my area) red-veined 

darter. I’d seen one twice before 

in the early morning dark, but 

both times, the dew was too light 

and the wind too strong. On this 

particular morning, though, the 

conditions were perfect, and I 

rushed to get a picture. I had 

about an hour before the air would 

warm, the dew evaporate, and my 

subject would fl y away. 

I quickly mounted my Nikon 

D200 on a Manfrotto 055 

Pro-B tripod. To get life-size 

magnifi cation, I bayonetted a 

Novofl ex macro bellows into the 

camera’s lensmount and threaded 

a Rodenstock Rodagon 80mm f/4 

enlarging lens onto the bellows. 

After patiently composing 

Text and 

photos 

by Martin 

Amm 

and focusing, I let the D200’s 

histograms guide me to an exposure 

of 2.5 sec at f/11 (ISO 200). I used 

a gray card to get a custom white 

balance and natural color. 

Neither subject nor background 

were moved or manipulated, 

although I used Adobe Photoshop 

CS2 to adjust brightness, contrast, 

and saturation slightly. 

To anyone who wants to make a 

similar photo, I recommend: 

nRising long before dawn when 

three factors will be present: high 

relative humidity; cold, but abovefreezing 

temperatures; and still air. 

nSearch in the grasses surrounding 

lakes and ponds for your sleeping 

subjects. When you’ve found one, 

set up and wait for dawn—and 

enough ambient light to take your 

photo. I avoid using fl ash because 

the pictures look like they were 

made in a studio, not in the fi eld. 

nUse the best and highest 

magnifi cation close-up equipment 

that you can afford. This could 

include a 1:1 macro lens, macro 

focusing rail, or a macro bellows. 

nTo prevent camera vibration, 

use a sturdy tripod and a camera 

that permits mirror lock-up, plus a 

remote shutter release or self-timer. 

nHave patience and good luck! p 

Martin Amm is a 22-year-old 

biology student from Kronach, 

Germany, who describes himself 

as “something between an amateur 

and professional photographer.” 

To see more of his work, visit 

www.naturfranken.de. 

POP PHOTO MAY 2009 WWW.POPPHOTO.COM 45 

Product Services Directory 

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As a photographer, does it matter 

whether you’re in Chicago, Nashville, or Seattle? 

We think there’s much more to a great photo town 

than dazzling architecture, lively street life, and 

picturesque scenery. A host of other factors—from 

the weather to the culture—combine to make a 

place hospitable to photographers. 

To measure the differences, we compared the 

30 most populous cities in the United States 

across 10 categories, including annual average 

percentage of sunny hours, number of days with 

measurable precipitation, per-capita number of 

camera shops and museums and galleries that 

exhibit photos. We even counted private security 

fi rms, since we’ve found that the more rent-a-cops, 

the harder it can be to take pictures in public. 

Our sources? Municipal websites and federal 

databases from the National Oceanic and 

Atmospheric Administration, General Services 

Administration, Federal Bureau of Investigation, 

and Environmental Protection Agency, as well as 

private sources such as online yellow pages. 

Each city was ranked 1 through 30 in each 

category (1 being the best). We asked our editors 

to assess the relative importance of each category 

for photographers, then used their responses 

to weight the scores, so that high marks in, say, 

parks and zoos counted more heavily than photo 

processors. For more on our methods, see the 

sidebar on page 54. The fi nal ranking, along with 

each city’s rank by category, is on pages 56–57. 

Here are profi les of four of the cities in our top 

10 and what makes them so photo-friendly. 

Denver, CO 

Overall rank: 1 st 

Denver’s smooth braiding of 

mountain trails, historic architecture, and 

nightlife engenders a visual confi dence and 

boldness that’s attracted photographers for 

150 years. In fact, there are 12 photography 

clubs in town. “Our club has grown a lot,” 

reports Larry Beneda, a long-time offi cer 

in the Denver Photographic Society (www. 

denverphotosociety.org). “We now have 60 

members, and they’re staying longer and 

participating more in the competitions.” 

Downtown Denver is a surprisingly photogenic 

mix of three eras—1870s, 1920s, and turn-of- 


TRAVEL PHOTO 

SPECIAL 

the-21st century. “There’s great 

variety of subject and background,” 

says local pro photographer 

Eric Stephenson (www. 

stephensonweddings.com). “LoDo— 

Lower Downtown—especially has 

some fantastic backdrops.” 

The 23-blocks in LoDo contain 

about 125 designated historic 

structures dating back to Denver’s 

founding in the late 1850s, when 

saloons thrived. Now it thrums 

with nightclubs, restaurants, 

galleries, and lofts. But there’s also 

a separate historic district fi lled 

with Art Deco and Gothic Revival 

buildings from Denver’s early-20thcentury 

boom years. 

After sparkling mornings, dramatic 

bulbous thunderheads boil up almost 

every afternoon above the Front 

Range peaks on the western edge 

of the city. Capricious weather can 

give you 70-degree temperatures 

and quaking aspen trees one day, 

blizzards the next. Far from a 

comedown, “snow is usually a 

bonus,” says Stephenson. Winter 

and summer sports feed into a 

year-round energy that keeps the 

denizens on their toes, with cameras 

cocked and loaded. And, of course, 

the rugged Rockies are just a short 

wagon-ride westward. 

San Francisco isn’t the 

sunniest—Phoenix and Las Vegas 

are tied for that spot—but its 66percent 

annual average hours of 

sun is about perfect for bringing 

out color while preserving detail 

in the shadows. (It also happened 

to be the midpoint of our 30 

cities, giving it a #1 rank in that 

category.) The onshore Pacifi c 

winds keep the East Bay smog in 

its place, allowing the cat-footed 

fog to drift through the treetops 

and bridge cables. And passing 

clouds and fog soften the light 

when you want lower contrast. 

San Francisco fosters a vibrant 

photographic culture. “We don’t 

have any trouble organizing photo 

meet-ups,” understates Richard 

Zimmerman, a board member of 

the Photochrome Camera Club 

(www.photochrome.org). 

PATRICK SMITH, WWW.PATRICKSMITHPHTOGRAPHY.COM 

San Francisco, CA 

Overall Rank: 

To pro shooter Erin Kunkel, “The 

whole city is beautifully compact, 

and within a few blocks you have 

radically different neighborhoods, 

shops, and people.” 

You can shoot with a breezy, 

moody backdrop along the 

waterfront, then walk a few blocks 

up a hill and fi nd a totally different 

microclimate that affords a bright 

sunny view of the bay. Neon slicks 

the streets of Chinatown, and from 

the vantage point of the Marin 

Headlands, the faded red skeleton 


of the Golden Gate Bridge seems 

to glow in the afternoon sun, the 

bristling city posing for you in 

the background. 

Even the people are picturesque. 

On commercial shoots, “I cast real 

people, rather than go through an 

agency to hire models,” says Kunkel. 

“The population is so diverse. 

People dress as a way to express 

their identity, and they’re so open to 

trying things.” 

This was Ansel Adams’s hometown, 

where he received his bent nose as a 

result of being thrown against a wall 

in the 1906 earthquake. Most of 

the city was destroyed, and other 

than the redwoods, there isn’t much 

here that’s older than 100 years. 

Nonetheless, San Francisco’s visual 

impact remains timeless. 


TRAVEL PHOTO 

SPECIAL

Austin, TX 

Overall Rank: 

DANIEL BOUD/RETNA LTD., WWW.BOUDIST.COM 

Springtime in Austin 

is to photographers what 

wintertime on Maui is to 

surfers: endless waves of 

opportunity. In town every 

March comes South by 

Southwest (www.sxsw.com), a 

musical gathering of the tribes 

of moguls and artists on the 

make, leaving behind a thriving 

year-round indie music scene. 

Just 15 minutes past the city 

limits the annual riot of Texas 

wildfl owers breaks out in the 

Hill Country. Above it all the 

luminous clouds block just 

enough of the bright Texas sky 

so you can leave your camera on 

auto mode and fi re away. 

Both a state capital and a 

college town (with the biggest 

urban campus in the country), 

as well as a growing softwaredevelopment 

center, the city’s 

contradictions have spawned 

a years-long Keep Austin 

Weird crusade. Sixth Street 

and SoCo—South Congress 

Avenue—draw the nightclub 

crowds, where you can snap away 

at musicians-at-work pretty much 

unhampered. “Students come 

in with pictures from the clubs 

quite often,” reports Austin pro 

Brian Lofl in (www.lofl in-images. 

com), who teaches photography 

and is president of the Austin 

Shutterbug Club. 

The parks, Zilker Botanical 

Gardens (www.zilkergarden. 

org), and greenery along Lady 

Bird Lake—a reservoir on the 

Colorado River, which runs 

through town—produce plenty 

of the photo contest entries 

for the 100-member club. The 

presence of some 50,000 students 

at the university creates its own 

international community. 

The wildfl owers are gone in late 

April, just as Art City Austin fi lls 

the streets with working visual 

artists. Then, starting in May, “we 

get these great storms,” which are 

photogenic in their ominousness, 

explains Lofl in. But Austin is 

at the bottom end of Tornado 

Alley—by midsummer the 

weather is too hot and sticky to 

raise a camera to eye level. Best 

to plan your photo tour there for 

some other time of the year. 

POP PHOTO MAY 2009 53

TRAVEL PHOTO 

SPECIAL 

We started by indentifying the 30 

largest cities (not metropolitan areas) 

in the U.S. by population, along with 

10 factors that matter to photographers 

(whether traveling or local), such as the 

average percentage of sunny days a year, 

the number of museums and galleries that 

show photography, and the cost of visiting. 

To make our comparisons more 

accurate, we calculated the ratio of each 

city’s population to its amenities in fi ve 

categories—parks and zoos, camera 

Philadelphia 

Overall Rank: 

stores, photo fi nishers, museums and 

galleries, and security companies. For 

instance, Louisville, KY, has 2,277 people 

per park, while San Jose, CA, has 14,028. 

(For the underlying data and sources, 

please visit www.PopPhoto.com.) 

Next, we ranked each city from 1 

through 30 (1 being the most desirable) 

based on each of those numbers. In the 

case of the weather (the percentage of 

sunny hours and the number of days a year 

with measurable precipitation), we took 

Philadelphia was 

arguably the main center of 

photography in the U.S. for the 

fi rst 50 years of the new medium, 

beginning in 1839. Skylit photo 

studios clustered up and down Ninth 

Street, South Street, and Germantown 

Avenue. It was also an historic place 

for female photographers—the 1910 

founding president of the national 

Women’s Federation of Photographers 

was Philadelphian Mary Carnell. 

Jill Sprague (www.redbubble.com/ 

people/SnowInSummer), a Phillybased 

semi-pro photographer, calls the 

city “still the center of things.” 

Aside from the usual tourist stops 

such as Independence Hall and the 

Liberty Bell, Philadelphia has plenty of 

historic sites to photograph. The key 

to capturing it all? Traveling on foot. 

Sprague walks all over the compact 

cityscape, from the Philadelphia 

Museum of Art (where Rocky 

exulted), down along the Schuylkill 

River to 9,200-acre Fairmount Park 

full of deer, birds, and native forest. 

The historic architecture of Old City 

Philadelphia, the colorful crowds on 

South Street, the big cat habitat at 

the Philadelphia Zoo, the gentrifying 

row homes of South Philly, and the 

eerie forest of memorial obelisks and 

chiseled angels in Laurel Hill cemetery 

have attracted Sprague since she got 

her fi rst camera at age eight. 

“But my number-one place to 

shoot is Eastern State Penitentiary,” 

she declares. This is a fortress-like 

historic landmark, where decay and 

bright green life and ghostly light 

draw photographers from all over 

the country. “I’ve shot hundreds of 

pictures there, and I still fi nd things to 

take pictures of every time I go,” she 

says. “It’s really mind-blowing.” p 

the midpoint of the extremes as optimum, 

and ranked by deviation from that number. 

That’s why rainy cities in the Pacifi c 

Northwest ranked on par with desert cities 

such as Phoenix and Las Vegas. 

Of course, some of our 10 categories 

ultimately matter more to photographers. 

We took into account that subjective reality 

by using the opinion of our resident experts 

(a.k.a. the Editors) to create an “importance 

factor” for each category. We multiplied 

each city’s rank in each category by that 

factor, then added up the scores. 

The results? Turn the page to fi nd out. 


RUTH SAVITZ 

PAGE 56–57: JEDPHOTO/FOTOLIA.COM (LOUISVILLE); HALBERMAN/ISTOCKPHOTO.COM (SEATTLE); NNEHRING/ISTOCKPHOTO.COM (SAN JOSE); THOMAS BEDENK/FOTOLIA.COM 

(NEW YORK); DAVID PRUTER/FOTOLIA.COM (SAN DIEGO); ZVIEW/ISTOCKPHOTO.COM (HOUSTON); STEVEGEER/ISTOCKPHOTO.COM (CHICAGO); VENI/ISTOCKPHOTO.COM (DETROIT)

www.joby.com/popular 

Joby is dedicated 

to the environment. 

We proudly donate 

1% of our sales to 

the preservation of 

the planet. 

In an effort to preserve resources, 

many Joby products are available 

with or without retail packaging. 

Designed with the professional 

photographer in mind, the new 

Gorillapod FOCUS is the strongest 

Gorillapod yet. Machined aluminum 

sockets ensure a rock-solid hold in almost 

any environment. Use it with or without 

your own professional tripod head.

City Cost to Sunny Rainy/ 

Visit Hours Snowy Days 

1 Denver, CO 20 5 1 

2 San Francisco, CA 26 1 8 

3 Austin, TX 12 10 2 

4 Louisville, KY 8 17 17 

5 Jacksonville, FL 3 5 10 

6 Seattle, WA 23 28 29 

7 Fort Worth, TX 16 8 4 

8 Philadelphia, PA 24 17 11 

9 Dallas, TX 17 8 4 

10 San Jose, CA 1 1 16 

11 San Antonio, TX 14 10 3 

12 Charlotte, NC 6 7 13 

13 Memphis, TN 7 3 7 

14 New York, NY 30 14 15 

15 Portland, OR 11 26 28 

16 Washington, DC 28 17 11 

17 Boston, MA 29 14 20 

18 San Diego, CA 21 3 25 

19 Columbus, OH 9 25 24 

20 Milwaukee, WI 5 22 18 

21 El Paso, TX 2 26 22 

22 Houston, TX 13 12 6 

23 Nashville, TN 14 17 13 

24 Indianapolis, IN 3 21 20 

25 Las Vegas, NV 18 28 29 

26 Chicago, IL 27 22 18 

27 Los Angeles, CA 19 12 27 

28 Baltimore, MD 25 16 9 

29 Phoenix, AZ 22 28 26 

30 Detroit, MI 10 24 23 


* OVERALL RANK IS BASED ON CATEGORY RANKINGS, WEIGHTED BY IMPORTANCE. ** RANKED BY THE RATIO OF POPULATION TO NUMBER OF AMENITIES.

RANK BY CATEGORY 

Clean Camera Photo Parks/ Museums/ Crime Private 

Air Stores** Processors** Zoos** Galleries** Rate Security** 

18 2 11 2 6 10 18 

1 1 2 12 1 11 26 

2 13 22 13 9 6 14 

22 14 1 4 16 13 9 

3 28 10 6 25 16 17 

5 3 15 1 2 7 6 

10 27 29 11 21 8 4 

20 10 13 5 12 25 2 

9 11 26 10 13 26 20 

5 21 19 28 29 1 16 

4 23 23 23 26 9 7 

24 9 4 26 15 20 19 

18 18 5 17 18 29 27 

13 15 24 20 8 2 8 

7 4 17 7 5 12 28 

15 6 21 3 3 22 30 

12 12 12 9 4 17 21 

21 19 16 14 11 4 22 

11 8 30 8 28 21 1 

8 29 3 19 10 28 13 

23 20 20 18 27 3 12 

27 22 27 16 23 19 23 

15 26 9 22 7 23 29 

24 7 25 15 19 24 25 

28 5 7 24 17 15 3 

26 24 6 21 14 18 11 

29 17 14 27 20 5 24 

17 16 18 30 22 27 15 

30 25 8 25 30 14 5 

13 30 28 29 24 30 10 

FOR THE DATA AND SOURCES BEHIND THIS RANKING, VISIT WWW.POPPHOTO.COM. 

PHOTO CREDITS ON PAGE 54

The new way to great shots: 

Put Google in your viewfi nder

MATT WHITNEY 

LOOK BEFORE 

SHOOTING: 

Clicking on snapshot 

icons leads you to 

geotagged photos such 

as this this one by Matt 

Whitney of a red-sand 

beach—and shows you 

where you can fi nd 

the scene. 

You don’t need a pricey 

gizmo for your DSLR or a satellite 

receiver for your PC to reap the 

benefi ts of GPS in photography. All 

you need is an internet connection 

and free Google Earth software 

(download Version 5.0 in Beta from 

earth.google.com). Before investing in 

ways to add geographic data to your 

pictures, you can use this resourceladen 

program to plan a photo tour. 

Google Earth combines satellite 

and aerial photography to let you 

see, often in 3D, pretty much any 

place in the world and interact with 

the terrain. Used alongside Google’s 

geo-location photo application, 

Panoramio, it lets you trace the steps 

of other photographers, learning 

where and how to get great photos in 

places you’ve never seen before. And 

there are plenty of extra services to 

help you plan your trip. 

How to put all this to use? Here’s 

how I went step-by-step through 

using Google Earth to plan a recent 

photo vacation on the Hawaiian 

island of Maui (hosted by the Maui 

Visitors Bureau, www.visitmaui. 

com)—and how you can use it just 

about anywhere you want to go. 

Map your 

destination 

When you open up Google Earth’s 

browser and type in a destination, it gives 

you a full aerial view, which you can zoom 

in and out of. Planning to travel around a 

fairly big area? This makes it easy for you 

to gain a visual perspective of the terrain, 

and it also lets you map it out. 

One tool lets you hone your search 

down to street addresses, search by 

business name or category, and plot an 

itinerary. Street views, roads, and places 

of interest are visible on separate layers 

that you can turn on or off. 

This helps you judge the convenience 

of hotels to your photo destinations. 

For instance, I could see that the Aston 

Kaanapali Shores (www.astonhotels. 

com) and Royal Lahaina Resort (www. 

royallahaina.net) would put me close to 

such sites as Iao Valley and Maui’s rocky 

west coast. Hotel Hana-Maui (www. 

hotelhanamaui.com), one of the few in 

Hana, made it a good place to fi nish my 

drive down Highway 360. 

Click on any business name, and up 

pop user reviews from TripAdviser.com. 

Click on any state park or hotel, and the 

address and contact info will also appear. 

BY LORI FREDRICKSON 

A placemark tool lets you bookmark all 

the places you might want to visit, so you 

can save and come back to your research 

during the planning phase. 

Explore the sites 

Once you’ve checked out the places you 

know you want to visit, the real fun starts. 

Time to check out scenery that might not 

show up in any guide books. 

Google’s Panoramio application allows 

users of this online photo community 

(www.panoramio.com) to upload 

geotagged photos—which, in Google 

Earth, will show up right where they were 

taken. With Geographic Web activated 

in your Layers box, snapshot icons pop 

up on your map—the closer you zoom 

in, the more you’ll see. Click on an icon 

for a photo taken at that location. (This 

isn’t always precise down to the exact 

geographic coordinates, though.) 

When you run across a cluster of these 

icons close together, chances are there’s 

something to see there. This is how I 

discovered the Nakalele Blowhole, a small 

eruption on the northwest coast of Maui. 

It can also show you the best time of day 

to visit—for example, I learned that Kihei 

Beach is a great place to catch the sunset. 


PLACES OF 

INTEREST: 

With this feature, you 

can fi nd historical 

landmarks and places 

to stay overnight or 

eat—even farmer’s 

markets—near your photo 

destinations. 

A lone icon 

in an otherwise 

undotted location 

is also worth clicking 

on, as it often denotes a photo op that’s 

off the beaten path. This led me to such 

photogenic villages as Makawao, on 

the interior of the island. 

Once you have part of your itinerary 

planned—from, say, the airport to your 

hotel, or your hotel to a beach—Google 

Earth will not only give you directions, 

but allow you to take a tour. Click on the 

Play button in the lower right corner of 

your directions, and Google will “drive 

you,” on street level, along the route. 

You can pause at any time if something 

catches your interest. 

Besides businesses, such points 

of interest as small parks or notable 

WHERE THE 

SIDEWALK ENDS: 

When you drag your 

mouse over the satellite 

image of a national park 

such as Mt. Haleakala, 

Google Earth will show 

you the different trails and 

geological features of 

the terrain. 

memorials are marked on the terrain 

with Wikipedia icons. A side road or 

beach catch your eye? Click on the 

camera icon, and Google Earth will 

put you into Street View, which lets 

you view that terrain just as if you were 

actually standing there. 

It also shows trails in some national 

parks. For instance, I’d read about the 

wonders of sunrise and sunset at Mt. 

Haleakala, but dragging my mouse over 

an image of the crater, I discovered 

a path leading through the rocky red 

terrain, called the Sliding Sands Trails. 

Panoramio snapshots showed me that 

late afternoon sunlight turns the rock 

path warm amber. 

Another cool feature: the Daylight 

tool, which allows you to see how the 

landscape will be lit at any given time. 

Hit the Road 

No matter how much research you do 

in advance, and even if you don’t bring 

along a laptop, you’ll always fi nd more 

to shoot once you arrive. Maui natives 

are known for their Aloha and quick to 

share wonders of their beautiful island. I 

heard about the stunning Olivine Pools 

from a friendly beachcomber, and 

the concierge at Hotel Hana- 

Maui let me in on a few nearby 

red-sand beaches where 

you’re sure to fi nd surfers. 

Plotting these locations into 

Google Earth made it easy to 

hit several spots in one day. 

Google Earth contains 

up-to-date traffi c and weather 

information, too. Maui’s ecological 

diversity means that certain parts of 

the island (such as Lahaina) are sunny 

at the same time that it’s raining in 

others (such as the north shore). With 

the weather app activated, you can 

check the weather wherever you’re 

visiting—so I knew to pack a jacket to 

climb Mt. Haleakala, although it was 

warm outside my hotel room. 

The business search can be handy 

on the road, as I learned when, after 

a 2-hour drive, I found that I’d left my 

camera battery charger in the hotel I’d 

checked out that morning; I stopped at 

a café that had Wi-Fi access, typed in 

“camera” near my location, and found 

an authorized Canon dealer, Lighthaus 

Camera, just 15 minutes out of my way. 

Finally, Google Earth comes in 

especially handy on a long scenic drive. 

The Road to Hana, Highway 360, one of 

Maui’s spectacular sights, stretches 34 

miles with innumerable places to stop 

off and photograph waterfalls, blacksand 

beaches, and rocky cliffs. Driving 

to Hana, I stopped so many times on 

the fi rst 15 miles of highway that had 

to hurry through the next 15. So on 

the morning of my return, I opened up 

Google Earth and prowled carefully 

down the miles I’d missed. 

That was how, a few hours later and 

just past the legendary black sand 

beaches and caves of Wai’anapanapa 

Beach, I knew to stop over at Pua’a 

Ka’a State Wayside Park. Hidden 

behind a few picnic benches up on 

a hill was a small, secluded tidepool, 

wrapped in dense green foliage, with a 

waterfall spilling down from the small 

cliff above. The perfect fi nal photo spot 

on my way home from Maui. p 


LIGHTING 

YOUR 

WAY 

A gear guide 

for every type 

of shooter 

What makes a great monolight, umbrella, 

or softbox? That depends. The perfect light for location 

shooting is completely different than one suited to the 

studio. Beginners, advanced amateurs, and seasoned pros 

each have different needs, goals, and budgets. Same for 

location portraitists and event photographers. 

To help you make informed choices about lights and 

lighting accessories, no matter where you are on your 

photographic journey, here’s some of our favorite 

lighting gear, with something just right for you. 

62 

By Peter Kolonia

LOCATION-READY: 

California Sunbounce’s 

Windkiller (A) will 

tame unruly breezes. 

Dynalite’s RoadMax 

packs (B) and heads 

are sized to go. For 

light weight and power, 

though, few strobes 

can compete with the 

Calumet Travelites (C). 

TY ALLISON, WWW.TYALLISON.COM (VOLLEYBALL PLAYER) 

Location kits always 

entail trade-offs. You want 

gear rugged enough to 

weather the rigors of the road, but 

that won’t weigh you down. Your 

lights must be bright, but without 

blowing fuses. The six Profoto 

Pro-7 A packs Ty Allison used for 

this photo of pro volleyball player 

Denise Johns did the job, and 

never got in the way. Our favorite 

location gear includes: 

nLIGHTS: CALUMET 

Travelite 375 ($500, 

direct; www.calumetphoto.com) 

Well constructed, with an ample 375 

watt-second output, this conveniently 

configured monolight is bright enough 

and, at 6.4 pounds, light enough, too. 

Its continuously adjustable power 

output spans 5 stops, and it offers a 

full catalog of useful add-ons such 

as the inexpensive BOWENS 

Ringlight Converter 

($400, street) and CALUMET 

Travel-Pak Battery 

Starter Kit ($530, direct) 

Delivering 200 full-power pops per 

charge, the Travel-Pak can support 

up to two Travelite 375 heads for 

a bright 750 watt-second output. 

Best part? At just 9 pounds, the 

battery is one of the lightest. 

nSTANDS: LOWEL 

Uni-TO lightstand 

($55, street) The 

lowest leg sections of this 

featherweight fold upward 

instead of down (like most 

lightstands), giving the Uni-TOs a 

desirable ratio of extended height 

(about 8 feet) to contracted 

height (21 inches). They’re 

unusually flexible—the legs 

can be positioned from flat 

on the ground to a minimal 7inch 

footprint for use in tight 

confines. As a location stand, 

it’s not made for heavy loads, but 

will easily handle a centered 5- or 

6-pound head with umbrella. 

nMETER: KENKO KFM- 

1100 Auto Digi Meter 

($260, street) A remarkably 

easy-to-use flash-and-ambient 

meter, thanks to its few buttons 

and large LCD display. (Go 

ahead, leave the manual at 

home.) Thin (1-inch deep) and 

light (under 5 ounces), it takes 

universally available AA batteries. 

POP PHOTO MAY 2009 63 

FOR LOCATION SHOOTERS

LIGHTING YOUR WAY 

nRADIO REMOTES: 

POCKETWIZARD MiniTT1 

transmitter ($199, street) and 

FLEXTT5 transceiver ($219, 

street) For wireless triggering of offcamera 

strobes, the latest PocketWizard 

set is the first to offer TTL-compatibility 

with Canon and Nikon flash systems. A 

fraction of the size of previous models, 

both transmitter and transceiver are 

perfectly scaled for location work. 

nEQUIPMENT CASE: 

PHOTOFLEX FV-Multibag 

Transpac ($190, street) 

An excellent compromise between utility 

and affordability, this large, wheeled case 

offers protective rigid walls with hard 

Event photographers need 

a fully articulated on-camera flash with 

power enough to bounce off distant walls 

or ceilings—such as the CANON 

580EX Speedlite ($204, 

street) that Jonathan Young used for 

this happy couple. Event shooters also 

demand a professional-looking rig that 

won’t have the bride wondering why the 

photographer she hired uses the same 

64 

FOR EVENTS 

plastic corners, double stitched seams, 

padded interior walls, and a waterrepellent 

polyester shell. 

nACCESSORIES: 

CALIFORNIA SUNBOUNCE 

Windkiller ($144, street) 

An unusual location accessory that can 

prevent wind from ruining a model’s 

carefully styled coif, the Windkiller slides 

onto the Sunbounce mini 3x4-foot frame 

($275 kit, including reflector) where 

it not only calms the breeze, but, due to 

its dark-gray textile surface, doubles as 

a subtractive gobo, deepening shadows 

and shaping in head-and-shoulder 

portraits. Also nice: The built-in baffles 

prevent blow-overs. 

nOPTIONS & UPGRADES: 

flash as her nephew. They also 

need a belt- or shoulder-carried 

battery that will provide a day’s worth of 

power and split-second recycle times. 

nLIGHTS: QUANTUM 

INSTRUMENTS Qflash Trio 

QF8C ($875, street) In TTLdedicated 

models for 

Canon or Nikon cameras, 

the Trios sport a built-in 

FreeXwire TTL radio 

slave that lets you place 

lDYNALITE Roadmax 

location light kits In a variety 

of combinations, each kit offers heads, 

umbrellas, stands, and a case. Starting at 

about $1,925, they’re expensive, but for 

such features as the built-in PocketWizard 

receiver for wireless triggering and unusual 

AC-powered accessory battery, the 

DYNALITE XP1100 ($1,436) 

may make them worth the price for some. 

lSP-SYSTEMS Excalibur 

Lancerlight 320 monolight 

kit ($395, street) Anyone who wants 

to try battery-powered location lighting 

on a budget should consider this bargainpriced 

kit. It offers a 320 Ws strobe head 

and reflector, lightstand, battery pack, 

charger, and all the cords. 

them on lightstands around the perimeter 

of a pitch-black reception hall and trigger 

them wirelessly from your camera. The 

only line of shoe-mount flash capable 

of bare-bulb use, and the only one with 

user-interchangeable 

flash tubes, the 

Trio (and other 

Quantum Qflashes) 

give 

event shooters 

an edge—or two. 

NOT JUST FOR 

WEDDINGS: The 

Quantum Qflash 

Trio delivers plenty of 

power and wireless TTL 

compatibility with Canon 

or Nikon flash systems. 

JONATHAN YOUNG/LOVE CAPTURES PHOTOGRAPHY (WEDDING)

Now is the 

Time to Invest 

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MATT STOCK, WWW.MATTSTOCKPHOTO.COM (INTERIORS) 



For studio strobes, 

pros need full lines of light 

modifiers and shapers, with 

construction quality that lasts for 

decades. Miami pro Matt Stock 

used WHITE LIGHTNING 

X800 strobes ($399, direct; 

www.white-lightning.com) for these 

South Florida interiors. He prizes 

them for the finely adjustable power 

output he uses to blend ambient 

and strobe sources seamlessly. 

Other pro gear we like… 

nLIGHTS: ELINCHROM 

Digital Style Combo 

600RX ($1,650, street) This 

kit of two 600RX monolights (with 

cords) is intentionally simple, without 

the stands and umbrellas which most 

pros already own. The kit’s killer 

feature is its EL-Skyport RX wireless 

radio slave set. Unlike most radio 

remotes, which simply fire strobes, 

these let you adjust RX output from 

the camera-mounted transmitter. 

nSTANDS: PHOTOGENIC 

caster-equipped 

lightstand ($150, street) 

Prized for its brushed stainless steel 

uprights and air cushioned action, 

this stand is unique for clutch-andgear 

section locks that can support 

the heaviest studio loads. The rolling 

casters make for easy and precise 

adjusting of large light fixtures, but 

the wheels are also removable. Its 

built-to-last cast iron base is only 

19-inches in diameter—a very small 

footprint for such a heavy lifter. 

nMETER: SEKONIC 

L-758DR ($500, street) 

The only flashmeter that you can 

program to match the dynamic 

PRO LEAGUE: The AlienBees ringflash 

(A) delivers a distinctive look, while 

the EL-Skyport USB transceiver 

(B) allows computer-controlled 

lighting. For an extra hand in 

tabletop setups, try the Graf 

Strato set (C). 

range of specific camera sensors, 

Sekonic’s L-758DR can help you 

set and fine-tune flash exposure 

without ever firing a shutter. Its builtin 

PocketWizard transmitter lets you 

work wirelessly (with an optional 

receiver). While version 1.0 of the 

programming software required a 

computer-science degree, version 

2.0 will profile your sensor in minutes. 

nRADIO REMOTES: 

ELINCHROM EL-Skyport 

USB transceiver 

($105, street) For some users, 

this is a natural and inexpensive 

upgrade for Skyport flash triggers. 

It adds the unusual ability to control 

(and save for later reuse) strobe 

settings from a computer. 

nEQUIPMENT CASE: 

TENBA 1030 PAT TriPak 

($265, street) Among the bestdesigned 

grip bags, the TriPak holds 

up to four lightstands or tripods, each 

in its own ballistic nylon pocket— 

convenient because legs and locks 

won’t catch or snare on each other. 

nACCESSORIES: 

STUDIOBALL Graf Strato 

Mini Tubing studio set 

($750, street) Tabletop product 

shooters who wish they had an 

extra hand will find several in this 

multipurpose tool. Able to aim 

numerous small reflectors, gobos, 

miniflashes, or filters, and hold small 

subjects, the many-armed Graf Strato 

is infinitely customizable, and for 

complex setups, indispensable. 


lALIENBEES ABR800 

ringflash ($400, direct) For 

a visual kick, creative shooters like 

the youthful, shadow-free quality 

a ringlight offers. This unit takes 

ringlights a step further by including 

accessories such as a cool mounting 

bracket, diffusion cover, 

and filter holder for 

its 10-inch ring 

reflector. 

FOR HIGH-END SHOOTERS



CHRISTINE BLACKBURNE, WWW.CHRISTINEBLACKBURNE.COM (ICE POPS) 

Versatility is the 

key for serious amateur 

and beginning pro 

shooters—versatility to explore 

new forms of lighting across a 

wider range of possible subjects, 

from portraits to products (like 

Christine Blackburne’s colorful 

ice pops) and beyond. The upand-comer 

could get a boost 

from products such as… 

nLIGHTS: F.J. WESTCOTT 

TD3 ($420, street, with bulbs) 

and TD5 ($650, street, with 

bulbs) Spiderlite kits One of the 

few lights that can actually be called 

fun, the Westcott Spiderlites accept all 

three popular light sources: tungsten, 

compact fluorescent, and strobe. Not 

the most precise option (the bulbs are 

either on or they’re off) Spiderlites are 

perfect for mixing and matching color 

temperatures —exactly what we mean 

by “versatility.” There’s even a battery 

for off-grid location projects. 

nMETER: GOSSEN 

Digipro F flash and 

ambient meter ($240, 

street) offers a lot at this price 

point. The industry’s only full-featured 

meter that’s small enough to be stuffed 

into a shirt pocket, it was designed 

to be used single-handedly. It takes 

incident or reflected readings of flash 

or ambient light, with a digital and 

analog readouts, ambient versus flash 

analysis, programmable exposure 

compensation, shadow versus 

highlight latitude readouts, exposure 

averaging, and cumulative multiflash 

readings. A lot of meter for the money. 

nREFLECTOR: 

LASTOLITE TriGrip ($75, 

READY WHEN YOU ARE: Lastolite’s 

TriGrip reflector (A) is unusually 

feature-packed. The Sunpak 

DigitFlash 500 (B) provides a lotta light 

in a thin package. Gossen’s Digipro F 

meter (C) fits in a shirt pocket. 

street) Like most nylon reflectors, 

this collapses for easy transport. 

Unlike most others, though, the 

TriGrip offers a set of accessory 

slip-on sleeves ($64, street), 

and its built-in handle easily 

enables single-handed use. 

nCASE: TENBA’S 

Roadie Rolling Grip 

Case ($227, street) 

A yard long, with built-in wheels 

and a dual-mode rolling design, 

this case can be pulled at ground 

level on all four wheels or lifted for 

rolling on two. It will accommodate 

a tripod plus lightstands, with 

pockets for smaller grip items. 

nACCESSORIES: 

lMANFROTTO AutoPole 

2 kit ($380, street) Our favorite 

background support can handle 

up to three cored backdrops, 

allowing you to raise and lower them 

via color-coded pull chains—no 

stepladder required. 

lWESTCOTT’S 

rentable backdrops 

($49 per week, direct; www. 

rentscenicbackgrounds.com) 

They’re easy to hang from 

your AutoPoles, or, less 

expensively, on 3M adhesive 

hooks via built-in grommets. With 

over a hundred to choose from, 

they range from realism to fantasy 

to abstractions. If you develop a 

special fondness for one, buy it 

for between $120 and $150. 

OPTIONS & UPGRADES: 

lSUNPAK DigitFlash 500 

($400, street) is a flat panel 

flash well suited to working in small 

spaces and is easy to pack up. 

With a bright 500 Ws output and 

proportional fluorescent modeling 

light, the unit’s flash output can 

be set from full to 1/32 power. 

A relatively large light source, it 

produces a very soft light 

without the dimming effect 

of a softbox. 

FOR MIDLEVEL STUDIO SHOOTERS


STARTER SET: 

Photogenic’s Eclipse 

umbrellas (A) are 

surprisingly multifeatured, 

and the 

Flashpoint Lighting Case 

(B) will hold up to four of 

them. For full functionality 

in a tiny package, the 

MicroSync Digital flash 

trigger (C) is hard to beat. 

70 POP PHOTO MAY 2009 

KYLE CHRISTY, WWW.KYLECHRISTY.COM (PORTRAIT)

For studio newbies, 

inexpensive and simple is the 

way to go. Simplicity in gear and 

style, as exemplified in Kyle Christy’s 

one-light portrait of actress Gabriella 

Union, means no complicated controls 

(what is asymmetrical, anyway?), heavy 

packs, or softboxes that are difficult to 

set up and/or mount. Some of the best 

at being simple include... 

nLIGHTS: INTERFIT 150 

Ws Stellar X monolight 

($207, street) Well constructed and 

straightforward, this entry-level strobe 

has well-marked controls and simple 

dial-set output—no labor-intensive, 

multi-press push-buttons. A grab handle 

allows easy aiming and carrying. While 

simple, the unit also offers its share of 

sophistication in stepless power setting, 

fan cooling, auto dumping, and a long 

list of groovy accessories. 

nBACKGROUND STANDS: 

SAVAGE Port-A-Stand ($110, 

street) With a carrying bag and free 

roll of white seamless, this favorably 

priced background system includes a 

telescoping cross 

bar (9.4 feet) and 

two risers (8.3 

feet) that can double 

as lightstands. All 

together it weighs a 

mere 12 pounds. 

nCASE: 

FLASHPOINT 

CS770 lighting 

case ($170, 

direct; www.adorama. 

com) This is a procaliber 

case at an 

amateur price. Interior 

dividers include a 

long shelf to create 

top and bottom 

compartments, 

plus vertical 

dividers. The 

tough-guy 

construction 

includes high impact 

plastic walls with 

foam padding plus 

a weather-resistant 

outer nylon shell. 

Its 38x10x10-inch 

dimensions are 

big, but not too. 

nLIGHT 

MODIFIERS: 

PHOTOGENIC Eclipse 32inch 

white umbrella ($22, 

street) This umbrella has something 

extra: a removable black backing. The 

backing prevents ambient spill, creating 

visibly stronger shadows, especially 

in small studios. Also nice: its highly 

reflective, white satin internal surfacing 

prevents the umbrella ribbing from 

appearing in reflective subjects. 

nSTUDIO ACCESSORIES: 

SP-SYSTEMS Grip Clamp 

($27, street) Studio clamps are 

indispensable. They handle reflectors, 

diffusers, filters, backdrops, and more. 

Start with a selection of various-sized 

A-clamps, and then graduate to a 

heavy-duty, gear-driven tool like the SP 

Grip Clamp. It can hold accessories and 

light fixtures weighing up to 33 pounds. 


lMICROSYNC Digital Radio 

Slave kit ($190, street) Once 

you’ve tripped over a PC cord a few 

times, you’ll see the point of wireless 

strobe triggering systems. One of the 

most novice-friendly is the MicroSync 

Digital, thanks to its favorable pricing 

and compact proportions. The 

smallest radio transmitter 

there is, it will fire strobe 

at distances up to 100 

feet and free you from 

that trip-wire otherwise 

known as the PC cord. 

lLASTOLITE 

EzyBalance 

gray card 

($49, street) 

Depending on the 

color and reflectivity 

of your subject 

and the color 

temperature and 

consistency of the 

light source, setting 

an accurate white 

balance in-camera 

can be tricky. The best 

hedge is including 

a white balance 

target in one shot per 

lighting setup. Light 

and collapsible, Lastolite’s 

EzyBalance offers a 

washable white surface 

for custom white 

balancing, and a 

gray side for finetuning 

white balance 

later in software. p 

FOR NOVICE SHOOTERS 

n Product name n Catalog number 

n Street price 

LOCATION SHOOTERS 

•Calumet Travelite 375 CE1100 $ 500 

•Calumet Travel-pak CE1107 $ 530 

•Bowens Ringlight 

Converter BW-1790 $ 400 

•Lowel Uni-TO UN-55 $ 55 

•Kenko KFM-1100 KFM-1100 $ 260 

•PocketWizard FlexTT5 

transceiver 801-150 $ 219 

•PocketWizard MiniTT1 

transmitter 801-140 $ 199 

•Photoflex FV-Multibag 

Transpac FV-Multibag $ 190 

•California Sunbounce 

Windkiller 0001WK $ 144 

•SP-Systems Excalibur 

Lancerlight B&H kit SPACD3200K $ 395 

EVENT SHOOTERS 

•Quantum Instruments 

Qflash TRIO QF8C/QF8N $ 875 

HIGH-END SHOOTERS 

•White Lightning X800 X800 $ 399 

•Elinchrom Digital 

Style Combo EL 20728.2 $ 1650 

•Photogenic caster 

lightstand 959336 $ 150 

•Sekonic L-758DR 401-758 $ 500 

•Elinchrom EL-Skyport 

USB RX transceiver EL 19354 $ 105 

•Tenba 1030 PAT Tripak 634-504 $ 265 

•Studioball Graf 

Strato kit GRS222 $ 750 

•AlienBees ABR800 

ringflash ABR800 $ 400 

MIDLEVEL 

STUDIO SHOOTERS 

•Westcott TD3 Spiderlite kit 4861A $ 420 

•Westcott TD5 Spiderlite kit 4881 $ 649 

•Gossen Digipro F GO4033 $ 240 

•Lastolite Tri-Grip 

reflector LL LR3607 $ 75 

•Lastolite Tri-Grip 

covers LL LR3698 $ 64 

•Tenba Roadie Rolling 

Grip Case 638-323 $ 227 

•Manfrotto AutoPole 2 kit 2961D $ 380 

•Westcott rentable backgrounds 

(*PER WEEK) (n.a.) $ 49* 

•Sunpak DigitFlash 500 MDF500 $ 400 

NOVICE SHOOTERS 

•Interfit Steller XD 150 INT450 $ 207 

•Savage Port-A-Stand 6203750 $ 110 

•Flashpoint 

Lighting Case FPCS770 $ 170 

•Photogenic 

Eclipse Umbrella 909143 $ 22 

•SP-Systems Grip Clamp SPGRIP $ 27 

•MicroSync transmitter/ 

receiver kit VMTRM $ 190 

•Lastolite EzyBalance 

gray card LL LR1250 $ 49

$499 & UNDER SPECIAL By Philip Ryan 

It’s no secret that we love 

pricey DSLRs. They represent some 

of the best imaging technology you 

can get. But sometimes that’s more 

than you really need. And let’s be 

real—some of us just don’t have the 

budget for an $8,000 Nikon D3X. 

That’s why we chose 10 cameras, 

many of them just announced, 

ranging from $300 to $499, that 

caught our eye with their relatively 

low cost and impressive features. 

Here’s how to get big 

fi repower for little cash 

—without a DSLR 

CANON 

POWERSHOT 

SX200 IS 

12.1MP • $ 350, street 

• www.powershot.com 

An obvious answer to the pint-sized 

TZ5 from Panasonic, Canon packed a 

12.1MP sensor, 12X (28–336mm full-frame 

equivalent) f/3.4–5.3 optically stabilized 

zoom, and 3-inch LCD into a camera 

body that’s small enough to easily fi t in a 

jacket pocket. Keeping with the current 

trend, the SX200 can capture 720p HD 

video. The bonus: Unlike some cameras, 

it has a mini-HDMI output, so you can 

connect it straight to your high-defi nition 

TV to watch the footage. 

CASIO EXILIM 

EX-FC100 

9.1MP • $ 350, street 

• www.casio.com 

Casio made big waves when it released 

its EX-F1 and EX-FH20, both of which 

shoot extremely fast, full-resolution bursts 


Each Of These Kids Needs Somebody 

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Once. 

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changing free cleft surgery which 

takes as little as 45 minutes and 

costs as little as $250. 

It gives desperate children not 

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Charge my gift to my credit card: ❒ Visa ❒ MasterCard ❒ AMEX ❒ Discover 

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Donate online: www.smiletrain.org or call: 1-800-932-9541 

Z09051049ZFJN22 

The Smile Train is a 501 (c)(3) nonprofit recognized by the IRS, and all donations to The Smile Train are tax-deductible in accordance with IRS regulations. 

© 2009 The Smile Train.

$499 & UNDER SPECIAL 

and super-slow-motion HD video. Too 

bad they weren’t exactly pocket-sized. 

Now, the company that kicked off the 

ultra-thin camera craze has created a 

supercompact model that can shoot 30frame-per-second 

bursts and 1000-fps 

video. Its 5X optical zoom offers a little 

more reach than the average pocket 

camera, and its smooth curves will suit 

even the most stylish of snapshooters. 

FUJIFILM 

FINEPIX 

F200EXR 

12MP • $ 400, street 

• www.fujifi lmusa.com 

Fuji’s fi rst compact camera to use 

its new Super CCD EXR sensor, the 

F200EXR sports a 5X zoom lens, as well 

as some cool new shooting options. In 

normal shooting mode, you can capture 

12MP images. But cut that down to 

6MP, and the sensor’s specialized high- 

and low-sensitivity pixels expand the 

dynamic range by capturing two images 

at once—one with extra detail in the 

highlights, the other in the shadows— 

and merging them. Another mode, 

called Pixel Fusion, boosts sensitivity 

by combining adjacent pixels during 

capture for low-light images with little 

noise, according to Fuji. 

KODAK 

EASYSHARE 

Z980 

12MP • $ 400, street 

• www.kodak.com 

With its 12MP sensor and 24X, 26– 

624mm (full-frame equivalent) f/2.8–5 

zoom, the Z980 has a few things in 

common with other cameras in this 

round-up. But it’s the only superzoom 

that we know of to come with a 

removable vertical grip. Just like most 

DSLR vertical grips, it screws onto the 

bottom of the camera body and has 

a duplicate shutter button to make 

verticals more comfortable to capture. 

Its hot-shoe and slightly-larger-thanmost 

3-inch LCD make it stand out from 

the pack. Plus, like more and more 

compacts these days, it can capture 

720p HD video in the H.264 fi le format. 

NIKON 

COOLPIX 

P90 

12.1MP 

• $ 400, street 

www.imaging.nikon.com 

Nikon’s newest fl agship superzoom 

sports a 24X, 24–624mm (full-frame 

equivalent) f/2.8–5 optically stabilized 

zoom lens that even includes ED glass 

to cut down on chromatic aberration. 

The camera can also choose your scene 

mode for you, correct for lens distortion, 

and includes all the features, such 

as face detection, that have become 

staples of compact cameras. If you don’t 

mind limiting yourself to 3MP, it can even 

shoot at 15 frames per second. 

OLYMPUS 

SP-590UZ 

12MP • $450, street 

• www.olympus 

america.com 

Olympus has been building interesting 

creative features into its new DSLRs 

lately, so it’s no big surprise that a 

multiple-exposure option (though 

only 2 frames at a time) is included 

in this new superzoom. Living up to 

that category, the 590UZ includes an 

expansive 26X, 26–676mm (full-frame 

equivalent) f/2.8–5 lens and sensor- 


THE ULTIMATE IN PHOTO SHOPPING: 

www.adorama.com 

CARBON FIBER TRIPODS 

ALL THE FEATURES OF HIGH-PRICED CARBON FIBER TRIPODS 

WITHOUT THE HIGH PRICE 

Carbon fiber is much stronger than aluminum yet it is about 30% lighter in 

weight than aluminum. It absorbs shock and does not transmit vibrations; that 

ensures sharper images and the built-in bubble level helps you get it straight. 

Flashpoint tripods feature European styling. They open and close with ease 

and have leg locks that really lock solid. Legs are multi-positionable and with 

the low center column, the tripods can be used for low, ground-level 

photography. Leg ends are rubber tipped and have retractable spikes. 

BALL HEADS: Made of magnesium alloy. stronger and less weight than 

standard aluminum ball heads. 

HEIGHT CLOSED LOAD WEIGHT PRICE 

Tripod F-1128 55-1/4” 18.5” 9.9 lbs 2.64 lbs $ 152.95 



Monopod 55.11” 18.75” 11 lbs 10 oz. $ 89.95 

Ball Head F-1 - - 8.8 lbs 11.6 oz. $ 49.95 

Ball Head F-2 - - 11 lbs 14.4 oz. $ 59.95 

Ball Head F-3 - - 17.6 lbs 16.1 oz. $ 74.95 

Our Muslins Feature: 

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• Dozens Of Colors In Solids, Splatters, 

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THE PHOTOGRAPHY PEOPLE 

42 West 18th Street, NYC | 800.223.2500 


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Tripods Shown 

w/Optional Head 

FOR A COMPLETE SELECTION SEE OUR WEB SITE 

NEW!

$499 & UNDER SPECIAL 

shift stabilization to help keep your shots 

steady at those massively long focal 

lengths. It also includes face detection, 

“smile shot” mode, a 2.7-inch LCD, and 

a mini-HDMI output so you can view your 

images on your high-defi nition TV. 

PANASONIC 

LUMIX DMC- 

ZS3 

10.1MP • $ 400, street 

• www.panasonic.com 

Sure, this Lumix has a 10MP sensor— 

fewer pixels than the similar 12.1MP 

Canon SX200 midsized long-zoom. 

But, it has the Canon beat on the wide 

end of its range, since its 12X optically 

stabilized lens covers 25–300mm 

(full-frame equivalent). The ZS3 also 

lets you zoom while recording 720p 

video, and it includes face recognition. 

In contrast to generic face detection, 

you can program this camera to 

recognize up to six specifi c people, 

ranked in importance, so the camera 

can prioritize your favorite folks when 

focusing and metering a group photo. 

Can’t decide on a crop? This camera 

captures images in up to three aspect 

ratios simultaneously. 

PENTAX X70 

12MP • $ 400, street 

• www.pentax 

imaging.com 

Pentax’s new X70 has a 12MP sensor, 

but if you shoot in 5MP mode, which 

can still yield decent-sized prints, it 

has some nifty things to offer. For 

example, at that lower resolution, 

you can shoot at up to ISO 6400 and 

capture bursts of up to 11 frames 

per second for up to 21 consecutive 

images. Aside from these feats of 

low-res derring-do, the X70 boasts a 

24X, 26–624mm (full-frame equivalent) 

f/2.8–5 zoom lens, 2.7-inch LCD, and 

sensor-shift image stabilization. 

SAMSUNG 

HZ10W 

10.2MP 

• $ 300, street 

• www.samsung.com 

Another entry in the midsized long- 

zoom category, the HZ10W sports 

the widest lens of all the cameras 

featured here. Its 10X 24–240mm 

(full-frame equivalent) f/3.3–5.8 

optically stabilized zoom lens feeds 

light to a 10.2MP sensor. Keeping 

up with the competition, the HZ10W 

has a 2.7-inch LCD, offers face 

detection, and can record video 

at up to 720p HD resolution. We 

particularly like its sleek design, 

which includes a curved strap lug 

on the upper right of the camera 

back that’s perfect as a thumb rest 

when you hold the camera. 

SONY 

CYBER- 

SHOT 

DSC-HX1 

9.1MP • $499, 

estimated street 

• www.sonystyle.com 

Sony’s fi rst Cyber-shot to include 

a CMOS sensor, this 9.1MP 

electronic-viewfi nder camera raises 

the imaging stakes. Its 20X optically 

stabilized zoom, 3-inch LCD, and 

10 fps burst are impressive, though 

they’re not all at the front of this 

pack. But, besides the sensor 

design, its 1080p HD video capture 

and a unique panorama mode that 

lets you create sweepingly wide 

or toweringly tall images—up to 

1920x4912-pixels (horizontal) or 

7152x1080-pixels (vertical)—set this 

newcomer apart. p 


The Ultimate In Photo Shopping: 

Enjoy our online quote feature at www.adorama.com/sell 

Adorama spent millions 

of dollars in 2008 buying 

35mm, Medium & Large 

Format, Scopes, Video 

and Digital equipment. 

Our customers happily 

traded or cashed in their 

equipment. We were 

able to satisfy them 

BY SIMPLY PAYING ABOVE 

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Adorama pays top dollar 

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Adorama has over 100,000 new items and more than 20,000 used items in stock. 

WE PAY TOP DOLLAR PLUS 

For Current Models 


EXTRA CASH BONUSES 

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Your check or trade will be 

sent out promptly. If you are 

not pleased with our offer 

we will return your equipment 

to you fully insured. 

Remember shipping is 

Adorama’s expense. 

To find out the value of 

your equipment, 

contact us 

Phone: 

800-223-2500 

Fax: 

212-675-8715 

eMail: 

used@adorama.com 

Please Include your phone Number 

when you eMail. 

Bring it: 

42 West 18th Street 

New York NY 10011 

Ship it: 

Att. Used Department. 

Adorama 

7 Slater Drive 

Elizabeth, NJ 07206. 

42 West 18th Street | New York, NY 10011 | 800.223.2500

PROFESSIONAL 

Durable, Affordable 

PRO 700 DX 

Max Height: 74.80 in. 

Max Load: 15.00 lbs. 

Weight: 7.05 lbs. 

SUPER 

A.M.T. 

ALLOY 

PRO 500 DX 

Max Height: 63.95 in. 

Max Load: 10.00 lbs. 

Weight: 5.47 lbs. 

SUPER 

A.M.T. 

ALLOY 

SLIK Super A. M. T. alloy uses a mixture of 

Aluminum, Magnesium and Titanium to form 

an alloy stronger than regular aluminum yet 

much more light-weight. 

For professionals, the PRO 700 DX is a sturdy 

tripod that will hold up to years of regular 

use. The PRO 500 DX is a slightly smaller 

and lighter version with the same features. 

For enthusiasts, the PRO 330 DX and PRO 

340 DX are compact and light-weight for 

easy use and easy traveling. 



Visit our website for more information at 

www.thkphoto.com 

LENS TEST By Julia Silber 

TopSeed 

No lens epitomizes Sigma’s new 

level of competiton with Canon and Nikon 

better than this 24–70mm f/2.8. When we 

tested Sigma’s previous 24–70mm f/2.8 in 

2002, it sold for $380, a fraction of the 

price of comparable high-speed glass. 

This newcomer? $900, street. 

The improvements are dramatic. They 

include a super-quiet HSM autofocus 

motor, ELD and SLD glass elements to 

suppress chromatic aberration, three 

aspheric elements for compactness and 

reduced aberration, rounded aperture 

blades for better bokeh, and an internalfocusing 

design. On APS-sensored 

DSLRs, the lens scales up to about a 

38–112mm full-frame equivalent. 

HANDS ON: This solid-feeling lens is 

much more compact than its predecessor. 

It’s lighter than the comparable 2-pound 

Nikkor, but not by much. Focus and zoom 

rings turn smoothly, easily, and evenly 

across their ranges. AF is rapid, accurate, 

and, for all practical purposes, silent. 

IN THE LAB: Its Excellent SQF results 

were drastically superior to the earlier lens, 

especially at 50mm and 70mm, indicating 

much more sharpness and contrast. 

Distortion, according to DxO Analyzer 

3.0.1 tests, was also vastly improved, with 

Visible barreling at 24mm (0.39%), versus 

Very Visible (1.2%) barrel distortion before. 

At 50mm pincushioning was Imperceptible 

(0.09%)—astounding next to the Very 

Visible (1.5%) pincushion distortion of the 

earlier lens. Similarly, the new lens 

showed just Slight pincushioning at 

70mm (0.15%) compared with Very 

Visible (1.8%) pincushion distortion in 

24–70mm (24.95–68.56mm tested), 

f/2.8 (f/3.02 tested), 14 elements in 12 

groups. Focusing turns 90 degrees 

counterclockwise. Zoom ring turns 80 

degrees clockwise. Focal lengths marked 

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

■ Diagonal view angle: 84–34 

degrees. ■ Weight: 1.82 lb. ■ Filter 

size: 82mm. ■ Mounts: Canon AF, 

Nikon AF, Pentax AF, Sigma AF, Sony AF. 

■ Included: Lenshood, softcase. 

■ Street price: $900. 

78 

70MM 50MM 24MM 

4.83 in. 

3.72 in. 

Sigma 24– 

70mm f/2.8 EX 

DG HSM AF 

0.40 in. 

0.61 in. 

3.48 in. 

2002. This all suggests a complete 

rethinking of the lens. Light falloff was gone 

from the edges by f/3.5 at 24mm and 

70mm, with no measurable falloff at 50mm. 

Magnifi cation ratios at the uniform closefocusing 

distance of 13.4 inches ranged 

from 1:10.31 at 24mm to 1:5.34 at 50mm, 

and 1:4.35 at 70mm—disappointing next to 

the older lens’ 1:3.6 top magnifi cation, but 

the price of SQF and distortion superiority. 

CONCLUSIONS: This top-drawer 

lens is fast and compact, with a practical 

focal-length range perfect for many of the 

subjects covered by event shooters and 

photojournalists in particular. p

Dependable, Portable, Affordable 

For a Limited Time, Save Up To $300 On Travelite Kits 

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LENS TEST By Julia Silber 

PRIMETime 2.15 

Nikon 50mm f/1.4G 

Nikkor AF-S 

The newest version of Nikon’s 

storied 50mm f/1.4 boasts a redesigned 

Ray Flash: THE RING FLASH ADAPTER 

www.expoimaging.net 

optical formula for more effective fl are 

prevention. A 75mm equivalent on Nikon 

smaller-sensor DX bodies, this $500 

(street) full-framer also has a circularbladed 

aperture for smoother defocusing. 

Model Minyoung Cheong shot by David Maynard with a Ray Flash, © 2008 D. Maynard Photography. 

in. 

50MM 

HANDS ON: Solid and ruggedly built, 

this handsome lens has an amply sized 

manual-focusing ring that turns smoothly 

and evenly, yet stiffl y. (You can use it even in 

AF mode.) Its broader, nonrotating barrel 

takes 58mm fi lters (up from 52mm on the 

previous model). It’s also slightly longer and 

slightly heavier—likely due to the SWM AF 

motor, which focuses almost soundlessly. 

IN THE LAB: Its superior sharpness and 

contrast produced Excellent SQF numbers 

on our optical bench. DxO Analyzer 3.0.1 

tests found barrel distortion in the high end 

of Slight (0.25%)—typical at such speeds— 

with light falloff gone from the corners by 

f/2.8 (also par for this course). The biggest 

difference between this new lens and its 

ancestors: Its maximum magnifi cation of 

1:5.89 at 16.87 inches is the highest of any 

50mm we’ve tested in recent years. 

CONCLUSIONS: Great for low-light 

and action shots, as well as scenes with 

strongly defocused areas, this 50mm makes 

a nice half-length portrait lens on DX Nikons. 

Its compact size suits it both to travel and 

everyday use, and its bright fi nder image is a 

pleasure. Is it worth $220 more than its 

predecessor? Depends on how much its 

ruggedness, silent AF, higher magnifi cation, 

and other improvements mean to you. p 

80 

0.39 in. 

2.87 in. 

50mm (51.68mm 

tested), f/1.4 (f/1.47 tested), 8 elements in 7 

groups. Focusing turns 180 degrees clockwise. 

■ Diagonal view angle: 46 degrees. 

■ Weight: 0.64 lb. ■ Filter size: 58mm. 

■ Mounts: Nikon AF. ■ Included: Lenshood, 

softcase. ■ Street price: $500.

800-617-4686 

Sun 10:00am - 6:00pm • Mon-Thurs 9:30am - 7:00pm • Fri 9:30am - 2:00pm 

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All merchandise is brand new and factory fresh and includes USA Manufacturer’s Warranty. Prices advertised are subject to additional 

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REVIEW HP Designjet Z3200 

Largeformat 

printing gets 

bolder & better 

RUNNING 

THE GAMUT: A new 

HP Chromatic Red ink 

improves color gamut in 

this faster-printing model, 

which also sports a built-in 

spectrophotometer for 

quick calibration and 

custom paper 

profi ling. 

Like the megapixel race 

among digital cameras, the color gamut 

race among inkjet printers is surging. 

Case in point: the next-generation HP 

Designjet Z3200 ($3,300, street, for the 

24-inch model; $5,325 for the 44-inch). 

This big pro printer offers better 

paper handling, faster print speed, and 

a larger internal hard drive (80GB) than 

its predecessor, the Designjet Z3100. 

More importantly, it introduces a new 

HP Chromatic Red ink that substantially 

extends the gamut of its pigmentbased 

prints, covering 95 percent of the 

Pantone color library. Like the Z3100, 

the new printer uses 11 individual color 

HP Vivera inks, plus a gloss enhancer 

that helps reduce bronzing and gloss 

differential on certain papers. 

A Postscript edition (Z3200ps), which 

we tried in the 24-inch version ($4,700, 

street; 

$6,800, 

44-inch), has some 

extras, including an online 

Pantone-licensed swatch set 

with spot colors that you can print 

and use for proofi ng or fi nal projects. 

Though more daunting than a desktop 

printer—the 24-inch model weighs 

133 pounds, the 44-inch model 189 

pounds—the Z3200 was a breeze to 

set up. We went from lifting the lid of 

the box to printing our fi rst calibration 

target in less than 90 minutes. Using 

the built-in system, we then calibrated 

and profi led a few HP-branded papers 

in about 20 minutes per paper. Not that 

you have to: The 50 supplied profi les 

are excellent. (And since they’re stored 

on the machine, you can print from any 

computer without installing them locally.) 

The maximum thickness of media 

accepted by the Z3200’s sheet- and 

backfeed is 0.8mm—about that of 

of two-ply matboard and more than 

adequate for the vast majority of inkjet 

papers on the market. 

That’s all great, but the Z3200’s print 

quality is even better. Our images were 


FOTOWORX/FOTOLIA.COM (CAR)

By Andrew Darlow 

superbly sharp and detailed on all the 

HP-branded and third-party media 

we tried, including gloss, semi-gloss, 

matte, and watercolor coated papers, 

as well as canvas. Bright colors printed 

with excellent saturation and detail, 

and skin tones were natural. Blackand-white 

prints look outstanding, 

whether made with a standard profi le 

or the driver’s internal grayscale 

option. (Choosing the latter instructs 

the printer to use only three neutralgray 

inks when printing on gloss or 

semi-gloss papers, and all four of its 

gray inks on matte papers or canvas.) 

Gamut maps confi rm what we saw 

with our eyes: The new Chromatic Red 

defi nitely improved the reproduction 

of reds. Testing by Wilhelm Research 

(www.wilhelm-research.com) 

estimates that the inks will resist 

fading and color shift for 250 years or 

more on many different media. 

What could be improved? We’d 

like an extension for the single-sheet 

paper feed tray for better support 

of large sheets. We’d also like a rollfeeding 

procedure that’s as simple as 

the one for sheet media. The Z-series 

roll feed is not as user-friendly as in 

Epson’s 24- and 44-inch printers, 

because it requires a back-bending 

reach-over if you try to load the paper 

from the front. (We were also asked to 

feed the roll paper again a few times.) 

And you will need to get behind the 

printer if loading paper from the rear. 

Our tests clocked the print speed 

at about 15 to 20 percent faster than 

the Z3100’s. One big surprise: the 

amazing print quality even when we 

chose Standard Quality (resulting in 

double the print speeds, and 16x20inch 

prints in just under 4 minutes). 

It’s not quite as detailed as the Best 

Quality setting, but it was diffi cult to 

tell the two apart on most of the prints 

we looked at side by side. 

All in all, HP’s Designjet Z3200 is 

an impressive machine, and ideal 

for those who want a big printer that 

makes high quality, long-lasting blackand-white 

and color prints. p 

Andrew Darlow’s 301 Inkjet Tips and 

Techniques: An Essential Printing 

Resource for Photographers (Course 

Technology, PTR; $50) packs 500-plus 

pages of advice. Visit inkjettips.com. 


WHICH ONE 

Which Tripod 

Should I Buy? 

I’m planning the 

European trip of a lifetime 

for this summer, and I’ll need 

a tripod. Since I’m looking 

Carry Like a Backpack, Access 

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forward to lots of museums, 

cathedrals, and long walks, can 

you recommend one that will 

be light and not too bulky? 

Three Seconds 

to Shoot 

PHOTO, LUGGAGE & COMPUTER CASES 

® 

Bringing ringin a camera support 

is a good idea—you defi nitely need 

stability for or long exposures in dimly lit 

churches ches and an romantic night scenes. 

When en you’re you picking a tripod, the 

most important thing is to choose 

one with light and sturdy legs, such 

as Induro’s C114 carbon-fi ber tripod 

($327, street; www.indurogear. g 

com). ) It weighs just under 3 pounds 

and holds up to 11 pounds of gear. 

Bringing a bulky, full-frame DSLR and 

a big telephoto lens? Gitzo’s GT2942 

basalt tripod legs ($375, street; www. 

gitzo.com g ) weighs 3.6 pounds and 

supports up to 22 pounds. 

But since you’re headed out to 

such a diversity of locations, many 

of which (like those dimly 

lit churches) may not 

allow you to use a tripod, 

we recommend that you 

consider a monopod. 

Trek-Tech’s TrekPod Go! 

($180, street; www.trek-tech. 

com) ) may be the perfect 

choice because it does 

triple duty: It’s a monopod, 

walking stick, and tripod 

all in one. It comes in three 

parts with its own travel 

case that actually fi ts into 

most carry-on luggage. 

Assemble it as a walking 

stick to suit your height 

and stride. When you want 

to use it as a monopod, just 

attach your camera to the top. 

When you need extra stability 

or want it to stand on its own, 

open the bottom section to 

reveal three built-in legs. 

The TrekPod Go! weighs 

only 1.75 pounds, so it 

shouldn’t hinder you in your 

wanderings. And you can 

use it where tripods don’t fi t 

or aren’t permitted. 

Its only downfall? It won’t 

hold more than 9 pounds of 

equipment. So if you’re also 

taking a big DSLR and serious 

glass, a tripod may still be 

your best option. p 

TRIPLE THREAT: 

The versatile TrekPod 

Go! goes where 

ordinary tripods can’t. 


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We adjust color, contrast and density 

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Spiral bound proof books with multi 

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A hand-crafted leather case 

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Do you have some near-perfect digital 

photographs that are marred by 

overexposure, underexposure, or low contrast? If 

you’re itching to fi x them, but reluctant to muck about 

with Adobe Photoshop’s Curves and other manual 

adjustments, Photoshop also offers some jiffy fi xes. 

Called Layer Blending modes, these use math to 

combine the pixels of one layer with the pixels of an 

underlying layer to create an improved image. First 

step: Duplicate the image layer, which stacks your 

picture on top of itself. Then click on the drop-down 

menu in the upper left corner of the Layers panel to 

change the blend mode from Normal 

to one of the following: 

nMultiply. This darkens images 

and increases highlight 

contrast, just what you want 

for an overexposed photo. It 

multiplies each layer’s pixel 

values together. 

nScreen. Basically the 

inverse of Multiply, this 

lightens images and increases 

shadow contrast, good for 

underexposed photos. 

nOverlay and Soft Light. These, in 

effect, multiply the shadows and screen the 

highlights, which increases contrast. Soft Light is a 

weaker version of Overlay. 

You control the degree of the blend effect by 

adjusting the opacity of the upper layer—the lower 

the percentage, the more transparent the layer. When 

you get the look you want, merge the layers and 

you’re done. Duplicating and blending layers takes 

only a few keystrokes, so it’s well worth trying for 

quick fi xes of your photographs. —Timothy Edberg 

You’ve said to use a circular polarizer 

to make skies bluer, reduce refl ections, 

etc. Aren’t all polarizers circular? And 

how does a linear polarizer work? —F.P. 

“Circular” has nothing to do with its 

shape—circular polarizers can also be 

rectangular. And linear polarizers are also 

made in a round, rotating fi lter mount. 

Both types reduce refl ections by aligning 

light waves in ordered ranks. A linear 

polarizer passes waves that are aligned in a 

linear fashion; think of a slotted grate. 

Circular polarizers work the same way, 

except that they add an additional layer of 

BLENDER RECIPES: 

The Multiply Blend mode 

in Adobe Photoshop darkens 

an overexposed image and 

improves colors (A). Screen 

adds snap to an underexposed 

frame (B). Overlay opens up 

shadows and enriches 

colors (C). 

90 POP PHOTO MAY 2009 

fi lter material, called a 

quarter-wave plate, that 

cranks the polarized light a bit 

off kilter. (It’s much more 

complicated, but believe us, you don’t want 

to read all about it.) “Circular polarization” 

was already a science term when the fi lter 

was invented, adding to the confusion. 

Circular and linear polarizers produce the 

same effects. But the latter can create 

problems with autofocusing and in-camera 

metering, for which DSLRs use 

semitransparent mirrors (also called beamsplitters). 

Linear polarizers tend to 

(surprise!) suppress refl ection in 

the beam-splitters. 

Circular polarizers’ 

slight rescrambling 

of light allows the 

AF and metering to work normally, which is 

why DSLR makers recommend them. 

Circular polarizers are considerably more 

expensive—sometimes twice the price. You 

can economize by using a linear polarizer if 

you’re willing to focus manually (or 

manually touch up the AF) and diligently 

check your exposures using a histogram. p 

FIELD GUIDE: How can you tell linear 

from circular? Often by the markings. Also, 

a linear polarizer works the same when 

reversed on your lens, whereas a circular 

one has little or no effect when reversed. 

TIMOTHY EDBERG (6)

SINCE 

1979! 

5 FERNWOOD AVE, RARITAN CENTER, EDISON, NJ 08837 C.O.D. 

® CALL TOLL FREE 

OPEN SUNDAY 

CELEBRATING OVER 

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IN BUSINESS 

FAX 1-732-379-5026 

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CANON GL-2 

3 CCD MiniDV Recording 

• 20X Optical Zoom • 100X Digital Zoom 

• Optical Image Stabilizer 

• 1.7 Megapixel Digital Still 

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Control 

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Price! Price! 

CANON CAMCORDERS 

ZR930.......IN STOCK! 

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PANASONIC CAMCORDERS 

SDR-H909 ..............NEW! HDC-HS100 ....IN STOCK! 

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WORLDWIDE 

SHIPPING 

35MM 

NIKON FM10K 

MANUAL FOCUS BODY 

W/35-75MM LENS 

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234 CANON 

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T2 KIT 

Body with electronic 

flash with 

Canon 28-90 III 4.0-5.6 Lens 

$ 99 

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POPULAR PHOTOGRAPHY MAY 2009 

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• Easy operation with 

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MAIL ORDER HOURS: 

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LENS MOUNT 

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Allows a Nikon type lens to be mounted on to a Canon EOS 

type camera. Although the lens will fit physically, automatic 

diaphragm (AE metering), or any other functions are not 

retained using this adapter. In this case you will need to 

meter in "stop-down mode" since the lens does not have the 

ability to have its aperture controlled by the camera body. 

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Allows fast and easy 

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up to 6 x 7 cm 

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the shooting condition •3.0-inch free-angle LCD 

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•F2.0 24mm Wide-Angle LEICA 

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• Automatic scene recognition 

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to work with an open shutter, 

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WITH SPEED AND 

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•Low vibration, extra quiet focal plane shutter with the option to 

re-cock the shutter at a more convenient moment 

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AND THE 

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• New 15.1 Megapixel CMOS sensor with improved noise 

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21.1MP 

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• Entirely new 21.1 MP 

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PowerShot 

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• 28mm wide-angle lens 


• RAW + JPEG modes 

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CARRY 

12.2MP 

10.1MP 

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lens not included 

14.7MP / 5xZM 

VIXIA HFS10 

• 32GB Internal Flash Drive & SDHC card slot 

• Genuine Canon 10x HD Video Lens 

• 1/2.6" 8.59 Megapixel Full HD CMOS Image Sensor 


HV40 

High Definition 

Camcorder 

THE ULTIMATE IN HD VIDEO QUALITY 

• Canon 2.96 Megapixel Full HD CMOS Image Sensor 

• DIGIC DV II Image Processor 

• SuperRange Optical Image Stabilization 

• Native 24p Mode 

• Instant AF (Auto Focus) 

High Definition 

Hard Disk Drive 

HG21 HG20 Camcorder 

High Definition Hard Disk •Record in MXP mode at 1920 

Drive Camcorder 

x 1080 resolution for the high- 

• 120GB of in-built storage est quality 24Mbps recording 

• True Progressive HD CMOS sensor•Record 

HD Video Directly to 


SDHC Memory Cards 

XL H1S 

HD CAMCORDER 

•New Genuine Canon 20x HD 

Video Zoom Lens III with 

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•Three 1/3" Native 16:9 CCD with 

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Processor 

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cards are optimized 

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high capacity to record 

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Many bags, 

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IN STOCK! 


Dual Flash 

Memory 

VIXIA HF20 Camcorder 

VIXIA HF200 

•32GB Internal Flash Drive & •Record HD Video Directly to 

SDHC Card Slot 

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•Compact and Lightweight •Compact and Lightweight 

•15x HD Video Lens 

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•3.89 Megapixel Full HD CMOS •3.89 Megapixel Full HD CMOS 

Image Sensor 

Image Sensor 


11-16mm f/2.8 

An ultra-wide angle lens with a 

fast f/2.8 aperture for better 

photography in low-light situations 

ST01 Tripod $ 99 

ONE OF THE FINEST 

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TRIPODS. 

The Titall utilizes heat-treated 

aluminum alloy and all critical 

parts are carefully machined 

from brass or steel. Lightweight 

at only 6 lbs., but can hold up to 13 lbs. 


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Digital Photography 

Capture and Share with Ease 

The Coolpix L20 offers easy to use features, such as 

Scene Auto Selector and Nikon's Smart Portrait System, 

making it the ideal camera for family photographers looking 

for great value. Features include 10.0 megapixels; 

Large, bright 3.0-inch LCD monitor; 3.6x zoom; Easy Auto 

Mode with Scene Auto Selector; Smart Portrait System; 

Motion Detection; 5 color options for special effects; powered 

by (2) AA batteries and available in several colors. 

Nikon, Inc. limited warranty included 2009 Nikon Inc. 

6 

The compact 10.2-MP D60 delivers breathtaking picture 

quality and the versatile handling of a D-SLR, yet is incredibly 

compact, easy and fun to use. It features fast startup and 

split-second shutter response. Nikon's Active Dust Reduction 

System activates automatically, along with Airflow Control 

technology to reduce the amount of dust that reaches the 

sensor. 


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Club 

® 

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email us at CS@beachcamera.com 

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CALL OR LOG ONTO WWW.BEACHCAMERA.COM FOR UP-TO-THE MINUTE REBATES, PRICING AND CURRENT PROMOTIONS. 

Digital SLR’s 

Also Available 

in Black 

Power Made Simple 

For perfect photos, fast and simple, there's nothing better than Canon's 

new EOS Rebel XS. With powerful features including a 10.1-megapixel 

CMOS Sensor, Canon's DIGIC III processor, fast shooting and more, it's a 

digital powerhouse. With simple, easy-to-use controls, a compact design, a 

2.5-inch LCD monitor, and Live View Function, it's a beginner's dream 

come true. 

Camcorders 

ZR950 

Affordable Performance 

The ZR950 is the top of the line of ZR camcorders. This latest addition to the 

ZR family also includes an array of features that turn your camcorder into a 

digital still camera, including 9 Point AiAF (Auto Focus), Progressive Photo, 

Simultaneous Photo Recording, Special Scene Modes, and Image Effects. It is 

also compatible with SD HC (High Capacity) memory cards for storing even 

more of your images. 

FS11 

L20 P90 

Stunning Photography is Just 

a Step Away 

S 

Nikon Authorized Dealer all Nikon products include full Nikon USA warranty! 

520 

Unleashing Creative Freedom 

A new 24x Zoom-NIKKOR lens for the COOLPIX P90 covers 

a broad focal range of 26mm wide-angle through 624mm supertelephoto 

(35mm format equivalent). The clarity of these 

precision optics combine with 12.1 effective megapixels and advanced Nikon digital 

image-processing to faithfully reproduce fine details and subtle tones, offering 

extended light sensitivity settings as high as ISO 6400 and image sensor shift VR 

image stabilization. 


9 

imageANYWARE 

Digital SLR 

Engineered for Artistry, Unleash 

your Potential 

The D90 is the world's first digital SLR camera with a movie shooting 

function that delivers genuinely cinematic results, enhanced by the 

creatively shallow depth of field made possible by the DX-format 

sensor. This is further refined by the optical quality and broad 

selection of NIKKOR lenses - the same lenses relied upon by 

professional photographers the world over. 


Official Camera of the US Open 

The new Olympus E-520 D-SLR incorporates a built-in image 

stabiliser to ensure blur-free shots irrespective of the lens attached. 

Matched with the Supersonic Wave Filter dust protection system 

and improved Live View capabilities, the freedom to frame and take 

great, crystal-clear photos is virtually limitless. 

K2000 Kit 

Fast. Friendly. Fantastic 

Power that Empowers 

Be Interesting 

This limited availability,10Mp fun, and very stylish gloss-white K2000 

camera package includes 15-55mm and 50-200mm lenses. Its 

Shake Reduction system is compatible with any PENTAX lens ever 

made, and minimizes the effect of camera shake even at slower shutter 

speeds. Additional features include Advanced Auto Picture, a 2.7 

inch High-resolution LCD, High ISO of 3200 and more. 

Digital SLR 

The D700 offers pro-level performance and an extensive array 

of features and innovations in a comfortably nimble platform. 

In addition to the Nikon-original FX-format CMOS sensor, the 

D700 incorporates Nikon's EXPEED Image Processing 

System, Nikon’s renowned 51-point auto focus system with 

3D Focus Tracking, Scene Recognition & a new active dust 

reduction system, two Live View shooting modes and more. 


AF 18-200 f3.5-6.3 XR Di II 

LD Aspherical (IF) Macro 

The Powerful Zoom Range Exclusively 

for Digital SLR's 

The new AF18-200 is a high power zoom lens made for exclusive 

use with digital SLR cameras. It covers a powerful zoom range 

equivalent to 28-300mm on a digital SLR camera with a smallersize 

imager. The lens provides the convenience of handling many 

photographic scenes and the capability of shooting ultra wideangle 

to ultra telephoto shots without changing lenses. 

Vixia HF10 

Setting a New Standard for High Definition 

Now, with the light, compact Canon VIXIA HF10, you can 

have stunning AVCHD (Advanced Video Codec High 

Definition) format recording with Dual Flash Memory- record to 

both the camcorder's 16 GB internal memory and a removable 

SDHC card, extending your available recording space and 

offering added flexibility in file transfer and playback. 

Vixia HG20 

Shoot. Capture. See. Be HD. 

The VIXIA HG20 Hard Disk Drive Camcorder combines the ease of 

recording video directly onto an internal Hard Disk Drive with the advanced AVCHD (Advanced Video Codec High 

Definition) format. Its 60GB Hard Disk Drive allows you to record up to 22 hours and 55 minutes of crisp, high definition 

video (LP Mode). It also allows the recording of video and still images to an SDHC card. The VIXIA HG20 boasts 1920 x 

1080 Full HD, and has a CODEC capable of recording 24Mbps through Canon's own Full HD CMOS Image Sensor and 

advanced DIGIC DV II image processor. 

Flash Memory in a Compact Size 

The FS11 is one of Canon's first and most affordable Flash Memory camcorders. 

In addition to the advantage of added recording time, Flash Memory offers more to 

you as well. You'll appreciate its quick response time, because it doesn't have to 

wait for moving parts. Press the record button and your FS11 starts recording 

video faster than you've ever seen before. In addition, when you review your 

footage, it will start playing more quickly as well. Another plus is the FS11's lower 

power consumption rate, allowing your battery to last longer. 

We carry Cameras, Digital Cameras, Camcorders, VCR’s, DVD’s, Audio, Printers, Scanners, PDA’s and more 

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! 

620 

Featuring response so quick that it frees 

photographers to confidently capture every 

special moment at will, the 12MP COOLPIX S620 

is a finely crafted ultra-compact photographic tool 

that makes picture-taking a lot more fun. 

Performance features include the fastest start-up 

time in its class of a mere 0.7 seconds and a short 

shutter-release time lag. 


7 

Award Winner 

Corporate, School and Government purchase orders accepted! Fax to: (732) 424-5136

© Paul Tessier 

© Holger Mette 

Serious about taking your photography to a higher level? As a trekker, you’ll receive first 

class mentoring by experienced Nikon Professional Photographers who share their secrets and 

give you priceless photo tips for taking your creativity to the next level. You’ll get the chance 

to use an array of Nikon digital cameras along with an incomparable range of NIKKOR ® lenses, 

have incredible photo opportunities, bring back treasured images, and receive the kind of 

hands-on personal attention that will have you shooting better pictures immediately. 

REGISTER ONLINE AT WWW.MENTORSERIES.COM 

For more information call toll free at 1-888-676-6468 

DENALI NATIONAL PARK JULY 11 – 18, 2009 

EGYPT SEPTEMBER 27 – OCTOBER 7, 2009 

® 

© Douglas Wilson © Tim keough 

®

Nikon COOLPIX cameras: Great pictures and great fun for everyone! 

Behind every Nikon COOLPIX compact digital camera is 

the fundamental idea that photography is supposed to 

bring you joy. Every shot you take is a precious moment 

captured. With Nikon COOLPIX cameras you can capture 

that moment and its joy forever. 

Coolpix P90 

Even Closer Encounters. 

Incredible 24x Zoom. 

t 12.1 megapixel resolution 

t 24x zoom with 26mm wide-angle capability 

t Optical VR image stabilization 

t 3-in. high-resolution vari-angle LCD 

t ISO 6400 capability 

Take your passion further with a Nikon DSLR camera! 

Fusing 12.3-megapixel image quality and a cinematic 24fps D-Movie Mode, the 

Nikon D90 exceeds the demands of passionate photographers. 

All Nikon products include Nikon Inc. USA Limited Warranty. ©2009 Nikon Inc. 

VR Image 

Stabilization 

Expertise Is The Difference. 

OneCall’s Spokane, WA, call center staff is highly trained, experienced 

and non-commissioned. We’re happy to answer your questions about 

technology, compatibility, performance and more. OneCall’s PriceShield 

matches prices daily with other electronics retailers. And, if a price drops 

within seven days of your purchase, we’ll refund the difference! 

High 

Sensitivity 

Premium Features 

Smart Portrait 

System 

In-Camera 

Slideshows 

Wireless Image 

Transfer 

Coolpix L100 

Expand Your Range. 

Put the Power of 15x Zoom into Perspective. 

t 10.0 megapixel resolution 

t 15x zoom with 28mm wide-angle capability 

t Optical VR image stabilization 

t 3-in. high-resolution LCD 

t ISO 3200 capability 

Body 

Engineered for Artistry. 

Unleash Your Potential. 

t Incredible image quality using 12.3 effective megapixels 

t Remarkable low-noise performance up to 3200 

t D-Movie, an innovative movie shooting feature 

t Scene Recognition System integrated with Face Detection 

t Live View capability with 3-in. high-resolution LCD 

HDTV 

Home Theater 

Camera 

Camcorder 

Portable 

www.onecall.com | 1.800.633.5255

TIME EXPOSURE By Harold Martin 

25YEARS 

AGO 

MAY 1984 

1 

1 

1. Diver’s license: Amos Nachoum took 

this exotic cover photo 40 feet below the 

surface of the Red Sea using a Nikonos 

underwater camera fi tted with a l5mm 

wide-angle lens. Lighting was supplied 

by a single electronic fl ash unit. The fi lm? 

Kodachrome 64. 

2. Expressive hands: During the 1930s, 

Russell Lee reported on the burden of 

the Depression for the Resettlement 

Administration, a federal agency. 

Photographer and teacher David Vestal fi rst 

saw this picture in Edward Steichen’s offi ce 

at the Museum of Modern Art and never 

forgot it. Lee probably took this photo, a 

print from a 35mm negative, with a Contax, 

a camera he used frequently at the time. 

3. City promenade: Robert Bracklow, 

who died in 1920, attempted to do 

for o New e York o what a his s be better-known e o 

1. Seasonal 

triptych: 

ook three 

pictures to 

portray the 

summervel 

theme of 

ue. Masaharu 

ura, a Tokyo 

r, shot the 

2 

ng a Nikon 

or lens on 

Ektachrome fi lm. Wylie Leong of New 

York City used a Hasselblad with an 80mm 

f/2.8 Tessar for his butterfl y and beach 

pictures, both on Anscochrome fi lm. 

2. New era in fl ash: General Electric 

introduced its jellybean-sized all-glass fl ash 

bulb. Filled with zirconium, the new AG-1 

bulbs delivered the same amount of light as 

the larger PowerMite M2 and came in clear 

(10 cents) and blue (12 cents) versions. 

These tiny powerhouses made possible 

a new generation of ultracompact fl ash 

cameras and fl ash units. 

3. Zoom revolution: The fi rst zoom lens 

ever for 35mm still cameras, this was a joint 

contemporary, Eugène Atget, did for 

Paris−record the life of the city in all of its 

aspects. Unlike Atget, Bracklow was not 

a professional but a dedicated amateur 

who made his prints using the expensive, 

demanding platinum process. This photo, 

taken on Riverside Drive shortly after the 

completion of Grant’s Tomb in 1897, was 

part of a report by Harvey Fondiller on 

“Shows We’ve Seen.” 

4. Dramatic zoom: The growing use of 

zoom lenses by news photographers was 

described by Thom O’Connor. Among the 

photos in the article was this one by the 

author using a Canon 70–150mm f/4.5 

zoom set at about 100mm. The subject is 

an eye operation in Chicago’s Bethesda 

hospital. O’Connor was told he could 

shoot but not move during the procedure, 

so he ee let his sesdo lens do the emoving o go for him. 

1930 1940 1950 1960 1970 1980 1990 2000 

▼ 

50 

YEARS AGO 

MAY 1959 

2 

offering from Zoomar 

Corp. (Glen Cove, 

NY) and Voigtländer 

(Braunschweig, 

Germany). The 

36–82mm f/2.8 lens 

fi tted the Voigtländer 

Bessamatic 35mm leafshutter 

SLR. Mounts for 3 

focal-plane SLRs were in 

the works when 

we wrote about 

the lens. 

4. No kidding: 

John Tassos 

introduced 

his 4-year-old 

daughter Penny 

to the Rolleifl ex. 

Tassos pointed out that, since a child that 

age could not distinguish between a Rollei 

and a box Brownie, he started her off with 

one of the best. Tassos set the exposure 

while Penny did the actual shooting, 

showing a very good eye for composition. 

By the age of 5, she had become an 

accomplished photographer. p 


3 

4 

4

Fax: 212-239-7770 

/JOUI "WF 

Corner of 34th Street 

/FX :PSL / : 

4UPSF .BJM 0SEFS )PVST 4VOEBZ t .PO 5IVST t 'SJEBZ t 4BUVSEBZ $MPTFE 

B&H Online 

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Your source for brand name gear at discount prices 

B&H SuperStore 

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Specifi cations are those that have been supplied to us by the manufacturers and are subject to change without notice. Photos are for illustration purposes only 

and are subject to change without notice. Manufacturers rebates, terms, conditions and expiration dates are subject to manufacturer printed forms. Prices are 

valid thru May 9, 2009 subject to supplier pricing. Not responsible for typographical errors. © 2009 B & H Foto & Electronics Corp. 

5IF 1SPGFTTJPOBM T 

Source 

6TFE %FQU 

Buying & 

Selling your 

used gear 

just got easier 

With online quotes 

you can log on to 

CIQIPUPWJEFP DPN VTFE 

and experience 

B&H at your 

convenience. 

2VJDL %JBM 

Quick Dial 

Instantly reach 

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to assist you with your 

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process, making your 

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then call B&H and dial the 

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##

The Professional’s 

Source 

B&H Phones 

800-947-9980 

212-444-6666 

Fax: 

212-239-7770 

To Inquire About 

Your Order Call: 

800-221-5743 

212-239-7765 

or Fax: 

866-521-7375 

212-502-9426 

B&H Store 

420 Ninth Ave. 


New York, N.Y. 

10001 

Store & Mail Order 

Hours: 

Sunday 10-6 

Mon.-Thurs. 9-7 

Friday 9-2 

Saturday Closed 

Most orders 

shipped within 

24 hours 

Overnight service 

available 

All items are 

complete with 

all accessories 

as supplied by 

manufacturer. 

Used equipment 

bought, sold 

and traded 

Equipment leasing 

available 

Page 2 

Quick Dial 

61 

12 MegaPixels 

10 MegaPixels 

10 MegaPixels 

14 MegaPixels 

10 MegaPixels 

10 MegaPixels 

10 MegaPixels 

Memory Cards 

Powershot A1100 IS 

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NN t 4% 4%)$ $BSE 4MPU 

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#MVF (SFFO (SFZ 1JOL #CAPSA1100* 

Powershot SD880 IS 


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t NN FRVJW NN 

t 4% 4%)$ )JHI $BQBDJUZ $BSE 4MPU 

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(PME PS 4JMWFS #CAPSSD880* 

Powershot SD1200 IS 




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#MVF (SFFO %BSL (SFZ -JHIU (SFZ 

0SBOHF 1JOL #CAPSSD1200* 

Powershot G10 



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t NN G FRVJW NN 



t 8FJHIU P[ #CAPSG10* 

FinePix A150 

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FinePix S1500 

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t 8FJHIU P[ #FUFPS1500* 

Coolpix S230 

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Black, Blue, Plum, Red, Silver #NICPS230* 

CF Compact Flash 

13 MegaPixels 

12 MegaPixels 

10 MegaPixels 

10 MegaPixels 

10 MegaPixels 

Delkin Kingston Lexar Sandisk Sony 

Std Pro Std Ultimate Ultimate Platinum 

133x 

133x 266x II 

233x 300x 

Ultra Extreme Extreme 

133x 

II III IV 

300x 

1GB 9.95 22.95 — — — — — — — — — — — — 

2GB 12.95 29.95 9.95 — — 14.95 30.95 22.95 34.95 16.50 19.95 — 34.95 — 

4GB 18.95 46.95 14.50 14.95 22.50 27.95 — 38.50 59.95 29.95 37.95 69.95 54.50 68.50 

8GB 28.95 84.95 — 19.95 36.50 41.95 — 54.95 109.95 46.95 57.95 119.95 — 132.95 

16GB 48.50 156.50 — 34.95 86.95 64.95 — — 199.95 — 113.95 219.95 — 259.95 

32GB 87.50 — — — — — — — — — 228.50 — — — 

SD Secure Digital 

12 MegaPixels 

12 MegaPixels 

Coolpix P6000 

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t 8FJHIU P[ #NICPP6000* 

FE3010 

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t 7(" .PWJF XJUI 4PVOE 



t Y% DBSE TMPU t .# *OUFSOBM .FNPSZ 


Black, Magenta, Titanium #OLFE3010* 

Lumix DMC-LX3 

t .&(" 0 * 4 0QUJDBM *NBHF 4UBCJMJ[FS 




-FJDB -FOT t 3"8 'JMF .PEF 

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#MBDL PS 4JMWFS #PADMCLX3* 

Optio W60 

t +*4 $MBTT 8BUFSQSPPG UP h 

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0DFBO #MVF PS 4*MWFS #PEOW60* 

CyberShot DSC-W220 

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t NN G &RVJW 

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#MBDL #MVF 1JOL 4JMWFS #SODSCW220* 

CyberShot DSC-T90 




t NN G &RVJW 

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Black, Blue, Pink, Silver, Titanium #SODSCT90* 

CyberShot DSC-H20 





$BSM ;FJTT 7BSJP 5FTTBS -FOT 



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MSDUO Memory Stick Pro Duo 

Lexar Sandisk Sony 

40x Standard Ultra II 

Ultra II 

Mobile 

Gaming Mark II 

1GB 13.50 11.95 — — 16.95 18.50 

2GB 19.50 19.95 24.50 — — — 

2GB 2 Pack — 32.50 — — — — 

4GB 27.50 29.95 33.95 129.95 32.50 29.95 

8GB 49.95 42.95 52.50 — — 49.95 

16GB — — 187.50 — — 99.95 

XD xD Memory 

1GB 

2GB 

4GB 

8GB 

Standard 

5.95 

8.95 

— 

— 

Delkin 

Pro Micro 

7.95 7.50 

14.50 8.50 

— — 

— — 

Mini 

— 

12.50 

24.95 

33.50 

Kingston Lexar 

Standard Standard 

Platinum II 

60x 

— — — 

5.95 7.95 14.95 

— — — 

— — — 

133x 

— 

23.50 

— 

— 

Standard 

— 

7.95 

— 

— 

Ultra II 

— 

14.95 

— 

— 

Sandisk 

Extreme 

III 

— 

14.95 

— 

— 

Micro 

13.95 

— 

— 

— 

Micro 

Ultra 

14.95 

— 

— 

— 

Panasonic 

5MBs 20MBs 

Class 2 Class 4 Class 6 

7.50 — — 

— 8.50 14.50 

— — — 

— — — 

Type M 

Fuji 

Olympus 

Sandisk 

1GB 

22.95 

M+ 

16.50 

18.95 

2GB 

29.95 

M+ 

24.95 

— 

SD HC Secure Digital High Capacity 

Delkin Kingston Lexar Panasonic Sandisk 

Pro Standard Standard Platinum II 133x 6 MBs 10 MBs 20 MBs Standard Ultra II Extreme III – Class 6 Micro 

Class 6 Class 2 Class 4 Class 6 Class 2 60x Class 6 Class 6 Class 6 Class 4 Class 6 Class 2 Class 4 Class 6 20MBs 30MBs Class 2 

4 GB 14.95 9.95 9.95 11.95 9.99 22.50 34.95 — 14.50 24.50 11.95 — 22.95 * 34.95 48.95 26.95 

8GB 24.95 19.95 18.95 19.95 18.95 34.95 67.50 47.95 — — 19.95 34.95 * — 57.95 * 77.99 — 

16 GB 44.50 — 34.95 — — 59.95 — — — 89.50 — 64.95 * * with Reader 136.95 — 

32 GB 109.95 — — — — — — — — 273.95 — 146.95 * — — — —

10 MegaPixels 

& #PEZ 0OMZ .......................#OLEE520 

& ,JU XJUI NN 

;VJLP -FOT ................... #OLEE5201442 

10 MegaPixels 

& #PEZ 0OMZ .......................................#OLE3 

12 

#MBDL XJUI NN ....#PADMCG1KB 

#MVF XJUI NN...#PADMCG1KBL 

3FE XJUI NN .......#PADMCG1KR 

MegaPixels 

Evolt E-520 

“D-SLR” Digital SLR Camera 

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E3 


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SLR Lenses & Flashes 

50mm f/2 Macro ED Zuiko 

Digital Lens 

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Flash System 

'- 'MBTI...............................................................114.95 

'- 3 'MBTI ............................................................229.95 

'- 3 'MBTI ............................................................429.95 

3' 3JOH 'MBTI ..................................................229.95 

43' 3JOH 'MBTI 4FU .......................................479.95 

5' 5XJO 'MBTI ..................................................449.95 

45' 5XJO 'MBTI 4FU .......................................629.95 

Zuiko 4/3 System Digital Lenses 

for E-1 & Evolt Cameras 

'JTI FZF &% ................................................659.95 

.BDSP &% .....................................189.95 

.BDSP &% .....................................406.95 

&% ............................................. 2,099.95 

&% .......................................................... 5,894.95 

&% ........................................... 1,511.95 

&% .....................................649.95 

&% 48% .............................799.95 

&% .....................................239.95 

.............................................399.95 

&% ..................................399.95 

&% ...................................... 2,099.95 

&% ......................................279.95 

&% ................................... 5,189.95 

&$ Y 5FMFDPOWFSUFS ................................384.95 

&$ Y 5FMFDPOWFSUFS ....................................479.95 

.' 0. -FOT "EBQUFS ......................................99.95 

Lumix DMC-G1 

“D-SLR” Digital SLR Camera Micro 

'PVS 5IJSET 4ZTUFN Y NN $$% 

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50-200mm f/4-5.6 SMCP-DA 

ED AF Zoom Lens 



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12 MegaPixels 

A700 Body Only .............#SODSLRA700 

Kit with 18-70mm ..... #SODSLRA700K 

Kit with 16-105mm ...#SODSLRA700P 

24 MegaPixels 

" #PEZ 0OMZ .............#SODSLRA900 

HVL-F56AM Shoe Mount 

Digital Flash 

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AF Flash System 

"' '( ..........................................................................109.95 

"' '(; .......................................................................209.95 

"' '(; .......................................................................339.95 

SMCP-DA Digital AF Lenses 

&% *' .........................................................599.95 

"- -JNJUFE i1BODBLFw ........................424.95 

.BDSP -JNJUFE ...................................479.95 

-JNJUFE i1BODBLFw ...............................269.95 


&% *' ...................................................................899.95 

&% *' 4%. ..................................... 1,079.95 

&% *' .........................................429.95 

&% "- *' ..............................................699.95 

&% "- ...................................................399.95 

&% "- *' 4%. ..............................669.95 

"- ** ...........................................149.95 

&% *' "- ...............................419.95 

&% *' 4%. ..................................749.95 

&% ...............................................219.95 

&% ...............................................399.95 

&% *' 4%. ......................................CALL 

AF Lenses for 35mm & Digital SLRs 

-JNJUFE ...................................................869.95 

"- ...................................................299.95 


.....................................................................199.00 

.BDSP XJUI $BTF ..............................394.95 

-JNJUFE ...................................................679.00 

% '" .BDSP .......................................514.95 

+ '" "- ........................................59.95 

K200D Super 


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Alpha A700 


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Alpha A900 


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Quick Dial 

64 

Quick Dial 

16-80mm f/3.5-4.5 Carl Zeiss 

Vario-Sonnar T* DT Lens 



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Compatible with Maxxum D-SLRs 

Flash System 

)7- ' ". .............................................................299.99 

)7- ' ". .............................................................499.99 

Digital Lenses 

'JTI FZF .....................................................799.99 

............................................................559.99 

............................................................249.99 

....................................................... 1,299.99 

............................................................349.99 

.BDSP .............................................449.99 

Carl Zeiss ............................... 1,299.99 

.BDSP ..........................................639.99 

Carl Zeiss ............................ 1,399.99 

45' ........................................... 1,199.99 

( "10 ................................................. 5,999.99 

3FnFY ...........................................................699.99 

%5 .....................................649.99 

%5 Carl Zeiss ............699.99 

%5 .....................................199.99 

%5 ..................................499.99 

( "10 ............................. 1,799.99 

..........................................229.99 

Y 5FMFDPOWFSUFS ..............................................449.99 

Y 5FMFDPOWFSUFS ..................................................449.99 

64 


Source 

B&H Online 

bhphotovideo.com 





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We will be closed on: 

April 8th - 16th and 

May 29th, 2009 

One hour 

free parking at 

349 west 34th st. 

For a free 

catalog, call 

800-947-6933, 

212-444-6633, 

write or go online. 

Seven day 

customer satisfaction 

guarantee! 

Corporate accounts 

welcome 

Page 3


Source 

B&H Phones 

800-947-9980 

212-444-6666 

Fax: 

212-239-7770 



800-221-5743 

212-239-7765 

or Fax: 

866-521-7375 

212-502-9426 

B&H Store 




10001 


Hours: 

Sunday 10-6 


Friday 9-2 


Most orders 


24 hours 


available 

All items are 

complete with 



manufacturer. 


bought, sold 

and traded 


available 

Page 4 

Quick Dial 

64 

Quick Dial 

10 MegaPixels 

XS Kit with 18-55mm IS 

Black .................................... #CAEDRXSKB 

Silver .....................................#CAEDRXSKS 

12 MegaPixels 

Digital Rebel XSiT (Black or Silver) 

Body Only ...............................#CAEDRXSI* 

Kit with 18-55mm IS . #CAEDRXSIKB* 

15MegaPixels &04 % #PEZ 0OMZ..................#CAE50D 

,JU XJUI NN 

IS 64. .......................... #CAE50D28135 

64 

50mm f/1.2 “L” Lens 

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580 EX II Shoe Mount Flash 

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Digital Rebel XS 


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Digital Rebel XSi 


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EOS-50D 


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10-22/3.5-4.5 EF-S USM 

Digital Lens 

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21 MegaPixels 

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10 MegaPixels 

&04 %T .BSL *** 

Body Only ...................................#CAE1D3 

21 MegaPixels 

&04 %T .BSL *** 

Body Only ................................#CAE1DS3 

17-55/2.8 EF-S USM 

Digital Lens 



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EOS-5D Mark II 


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EOS-1D Mark III 


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EOS-1Ds Mark III 


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24-70/2.8 EF “L” USM Lens 

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IS 64. ....................................529.95 .................... 549.00 

*** .............................................154.95 .................... 159.95 

*** 64. .................................189.95 .................... 200.00 

Canon EOS Flash System (USA) 

64. ....................................284.95 .................... 295.00 

&9 .............125.95 &9 ** ..............CALL &9 ** ............. CALL 

Canon TS-E MF Lenses IMP USA 

.3 &9 3JOHMJHIU ........... 470.00 .5 &9 5XJO 'MBTI ......... 685.00 

“L” .................................................................... 1,129.95 ................1,150.00 

Canon EF-S Lenses For Digital Only IMP USA 

............................................................................ 1,129.95 ................1,150.00 

Compatible with the 20D, 30D, 40D, 50D & Digital Rebel only 

64. .BDSP .........................................384.95 .................... 400.00 

............................................................................ 1,129.95 ................1,150.00 

64. .........................................689.95 .................... 710.00 

Canon EF “L” Lenses IMP USA 

IS 64. ...........................................999.95 ................1,030.00 

64. ** ............................................................. 1,999.95 ................2,020.00 

IS 64. .......................................499.95 .................... 515.00 

** .....................................................................CALL ........................ CALL 

IS 64. ..............................................— .................... 170.00 

64. ................................................... 1,164.95 ................1,180.00 

IS .......................................................— ........................ CALL 

64. ................................................... 1,379.95 ................1,400.00 

IS 64. ....................................CALL ........................ CALL 64. ** ................................................ 1,849.95 ................1,870.00 

Canon EF Lenses IMP USA 64. ** ..................................................919.95 .................... 935.00 

.................................................................................599.95 .................... 610.00 64. .BDSP ................................. 1,279.95 ................1,300.00 

64. ........................................................434.95 .................... 445.00 IS 64. ....................................................CALL ........................ CALL 

....................................................................294.95 .................... 305.00 64. ......................................................679.95 .................... 695.00 

....................................................................174.95 .................... 180.00 IS 64. ........................................... 1,189.95 ................1,210.00 

64. ........................................................409.95 .................... 420.00 IS 64. SFBS ................................. 3,999.95 ................4,100.00 

........................................................................229.95 .................... 240.00 IS SFBS ............................................. 6,659.95 ................6,800.00 

.......................................................................84.95 ....................... 89.95 64. ................................................. 1,119.95 ................1,140.00 

64. ........................................................319.95 .................... 325.00 IS 64. SFBS .................................... 5,639.95 ................5,800.00 

.BDSP .....................................................239.95 .................... 250.00 IS SFBS ............................................. 7,399.95 ................7,600.00 

.1 & Y Y .BDSP ..........................849.95 .................... 865.00 64. ** ........................................ 1,424.95 ................1,450.00 

64. ........................................................344.95 .................... 355.00 64. .................................................679.95 .................... 700.00 

64. .BDSP ......................................474.95 .................... 490.00 64. ............................................ 1,159.95 ................1,190.00 

64. .........................................................394.95 .................... 410.00 

IS 64. ....................................... 1,039.95 ................1,059.00 

4PGU 'PDVT .........................................284.95 .................... 295.00 

IS 64. ........................... 2,219.95 ................2,300.00 

DO IS SFBS ................................... 5,349.95 ................5,500.00 

64. ..............................................579.95 .................... 600.00 

64. .........................................309.95 .................... 322.00 

IS 64. ................................... 1,069.95 ................1,100.00 

*** ................................................104.95 .................... 109.95 

64. ......................................... 1,174.95 ................1,190.00 

** 64. ..................................224.95 .................... 229.95 

IS 64. ................................... 1,649.95 ................1,699.00 

IS 64. ................................399.95 .................... 409.95 

IS 64. ........................ 1,429.95 ................1,460.00 

64. ......................................359.95 .................... 375.00 Y ** 5FMFDPOWFSUFS ...................................................279.95 .................... 290.00 

DO IS 64. .................. 1,169.95 ................1,190.00 Y ** 5FMFDPOWFSUFS ......................................................279.95 .................... 290.00 

USA = Imported & Warrantied by Canon USA IMP = Imported & Warrantied by B&H OPU RVBMJmFE GPS $BOPO 64" 3FCBUFT 8BSSBOUJFT

6 

D40 Kit with 

18-55mm DX ....................#NID401855 

MegaPixels 

10 

D80 Kit 

with 18-135mm DX ...#NID8018135 

MegaPixels 

12 

% #PEZ 0OMZ ................................ #NID90 

Kit with 18-105mm 

VR Lens .............................#NID9018105 

MegaPixels 


16-8mm f/3.5-5.6 DX 

ED-IF G AF-S VR AF Lens 



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D40 


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D80 


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D90 


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Nikon AF Flashes IMP USA 

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

SB-600 .......................................................................... CALL .....................CALL 

SB-900 .......................................................................... CALL .....................CALL 

R1 Wireless Twin Flash ....................................... CALL .....................CALL 

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

Nikon DX ED-IF Lenses for Digital Only 

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

12-24/4 G AF-S (77ø) .............................................................................CALL 

16-85/3.5-5.6 G AF-S VR (67ø) .........................................................CALL 

17-55/2.8 G AF-S (77ø)..........................................................................CALL 

18-55/3.5-5.6 G AF-S (52ø) .................................................................CALL 

18-55/3.5-5.6 G AF-S VR (52ø) .........................................................CALL 

18-70/3.5-4.5 G AF-S (67ø) .................................................................CALL 

18-105/3.5-5.6 G AF-S VR (67ø) ......................................................CALL 

18-135/3.5-5.6 G AF-S (67ø) ..............................................................CALL 

18-200/3.5-5.6 G AF-S (72ø) ..............................................................CALL 

55-200/4-5.6 G AF-S (67ø) ..................................................................CALL 

55-200/4-5.6 G AF-S VR (67ø) ..........................................................CALL 

Nikon D-Type AF Lenses IMP USA 

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

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

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

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

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

28/2.8 D (52ø) ......................................................... CALL ....................CAL L 

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

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

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

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

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

24-70mm f/2.8 G AF-S ED-IF 

Wide Zoom AF Lens 

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10 

D60 Kits 

with 18-55mm VR .........#NID601855 

with 18-55mm & 

55-200mm VR ........#NID601855200 

MegaPixels 

12 

% #PEZ 0OMZ ........................... #NID300 

Kit with 

16-85mm DX VR ...#NID300168535 

18-200mm DX VR ...#NID30018200 

MegaPixels 

12 

% #PEZ 0OMZ ........................... #NID700 

Kit with 24-120mm 

VR Lens ..........................#NID70024120 

MegaPixels 

18-200mm f/3.5-5.6 DX G 

AF-S ED-IF Digital Lens 



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

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

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

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

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

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

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

135/2.0 DC D (72ø) .............................................. CALL .....................CALL 

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

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

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

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

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

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



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

17-35/2.8 (77ø) ....................................................... CALL .....................CALL 

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

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

24-120/3.5-5.6 G AF-S VR (72ø) ................... CALL .....................CALL 

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

70-300/4.5-5.6 G-AFS VR (67ø) ..................... CALL .....................CALL 

80-200/2.8 D with Collar (77ø)...................... CALL .....................CALL 

80-400/4.5-5.6 D VR (77ø) ............................... CALL .....................CALL 

200-400/4 G AF-S ED-IF VR (52ø) .................. CALL .....................CALL 

TC-14E II (1.4x) Teleconverter......................... CALL .....................CALL 

TC-17E II (1.7x) Teleconverter......................... CALL .....................CALL 

TC-20E II (2x) Teleconverter ............................ CALL .....................CALL 

USA = Imported & Warrantied by Nikon USA (AF lenses include 

1 year warranty plus 4 years extended service coverage) 

IMP = Imported & Warrantied by B&H (not qualifi ed for 

Nikon USA Rebates & Warranties) 

D60 


t .FHB1JYFMT 

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Y GBDUPS 

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3"8 

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D300 


4FMG $MFBOJOH 4FOTPS 


t -JWF 7JFX t )%.* WJEFP PVU 

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t *40 XJUI #PPTU 

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Quick Dial 

Quick Dial 

24mm f/3.5 D ED PC-E 

Ultra-Wide Lens with 

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64 

D700 



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SB-600 Speedlight i-TTL 

Shoe Mount Flash 

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SB-900 Speedlight i-TTL 


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64 


Source 

B&H Online 







BWBJMBCMF GPS 







May 29th, 2009 

One hour 



For a free 

catalog, call 

800-947-6933, 

212-444-6633, 


Seven day 


guarantee! 


welcome 

Page 5


Source 

B&H Phones 

800-947-9980 

212-444-6666 

Fax: 

212-239-7770 



800-221-5743 

212-239-7765 

or Fax: 

866-521-7375 

212-502-9426 

B&H Store 




10001 


Hours: 

Sunday 10-6 


Friday 9-2 


Most orders 


24 hours 


available 

All items are 

complete with 



manufacturer. 


bought, sold 

and traded 


available 

Page 6 

.FUIPEJDBM BOE 

4UFQ CZ 4UFQ 

4FMFDUJWF 'PDVT 

4-3 $BNFSB -FOT 


*EFBM GPS UBCMFUPQ BOE 

NBDSP QIPUPHSBQIZ 

$PNQSFTT CFOE UIF MFOT 

UP mOE ZPVS EFTJSFE 4XFFU 

4QPU MPDL JU JO QMBDF XJUI 

UIF QVTI PG B CVUUPO 

for Canon, Leica, Nikon, 

Sigma, Olympus, 

Pentax, Samsung, Sony 

-&-$ $269.95 

11-16mm f/2.8 Pro DX 

AT-X Fisheye AF Lens 



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50 1%9 $569.95 

17-50mm f/2.8 XR LD-IF Di II 

Digital Lens 


GPS VTF XJUI EJHJUBM 

4-3 DBNFSBT 


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f or Canon, Nikon or 

Sony/Minolta 

50 $449.00 

18-50mm f/2.8 EX Macro DC 

Super Wide Angle Lens 


VTF XJUI EJHJUBM 4-3T 


t 4VQFS .VMUJ -BZFS 4.t 

NN mMUFS EJBNFUFS 

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f or Canon, Nikon, Sigma, 

Olympus, Pentax, or 

Sony/Minolta 

4* $419.00 

18-200mm f/3.5-6.3 OS DC 

(Optical Stabilizer) Lens 


GPS VTF XJUI EJHJUBM 

4-3 DBNFSBT 


t .BH SBUJP PG 


t 8FJHIU P[ 

f or Canon, Nikon 

or Sigma 

4* $439.00 

70-200mm 

f/2.8 II EX APO 

Macro HSM DG 

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4-3 $BNFSBT 


t ¡ BOHMF PG WJFX 


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f or Canon, Nikon, Sigma, 

Olympus, Pentax, or 

Sony/Minolta 

4* $799.00 

EM-140 DG TTL Ringlight 

t 8JSFMFTT 55- nBTI DPOUSPM 

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f or Canon, Nikon, 

Sigma, Pentax, 

Sony/Minolta 

4*&. %( $399.00 

PZ-42x II AF TTL Shoe Mount 

t (VJEF /P h 

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461; 9 $149.95 

Quick Dial 

64 

58 AF-1 TTL Shoe Mount 

Flash Digital Flash t (VJEF /P h 

285HV Professional Auto 


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for Canon 

.& "' $ $389.95 

for Nikon 

.& "' / $359.95 

DX Models – Designed for Digital SLR cameras only SKU # Canon EOS Nikon AF 

DX 35/2.8 Pro Macro (52ø) #TO3528PDX* $459.95 $459.95 

DX 10-17/3.5-4.5 ATX Fisheye #TO101735* $559.95 $559.95 

DX 11-16/2.8 Pro (77ø) #TO111628PDX* $569.95 $569.95 

DX 12-24/4.0 Pro (77ø) #TO122440* $499.95 $499.95 

DX 16-50/2.8 Pro (77ø) #TO165028DX* $659.95 $659.95 

DX 50-135/2.8 (67ø) #TO5013528* $699.95 $699.95 

Di – Designed for use on both digital & film SLR cameras 

Di-II – Designed for Digital SLR cameras only 

6-Year Warranty 

* Price After Rebate (Rebates expire 4-30-09) 

Rebate SKU# 

Canon 

EOS 

Nikon 

AF 

Sony/ 

Minolta 

Pentax 

AF 

Di 90/2.8 Macro (55ø) $60 #TA9028M* $429.00* $429.00* $429.00* $429.00* 

Di 180/3.5 LD IF Macro (72ø) $50 #TA18035* $649.00* $649.00* $649.00* — 

Di-II 11-18/4.5-5.6 (77ø) $75 #TA111845* $494.00* $494.00* $494.00* — 

Di 17-35/2.8-4 LD IF Aspherical (77ø) $10 #TA173528* $289.00* $289.00* — — 

Di-II 17-50/2.8 XR LD IF Aspherical (67ø) — #TA175028* $449.00 $449.00 $449.00 — 

Di-II 18-200/3.5-6.3 (62 ø) $30 #TA1820035* $249.00* $249.00* $249.00* $249.00* 

Di-II 18-250/3.5-6.3 (62ø) — #TA1825035* $499.00 $499.00 $499.00 $499.00 

Di-II 18-270/3.5-6.3 VC — #TA1827035* $599.00 $599.00 — — 

Di 28-75/2.8 XR (67ø) $10 #TA287528* $389.00* $389.00* $389.00* $389.00* 

28-80/3.5-5.6 (58ø) — #TA288035* $79.00 $79.00 $79.00 $79.00 

Di 28-200/3.8-5.6 Asp XR IF Macro (62ø) $50 #TA2820038* $249.00* $249.00* $249.00* $249.00* 

Di 28-300/3.5-6.3 XR (62ø) $50 #TA2830035XD* $349.00* $349.00* $349.00* $349.00* 

Di 28-300/3.5-6.3 XR VC (62ø) — #TA283003563* $599.00 $599.00 — — 

Di-II 55-200/4-5.6 LD Macro (52ø) $40 #TA55200456* $149.00* $149.00* $149.00* — 

Di 70-200/2.8 LD IF Macro (77ø) — #TA7020028M* $699.00 $699.00 $699.00 $699.00 

75-300/4.0-5.6 LD (62ø) — #TA753004* $149.00 $149.00 $149.00 $149.00 

Di 200-500/5-6.3 LD IF (86Cø) $30 #TA20050056* $849.00* $849.00* $849.00* — 

SP 1.4x AF Pro Converter — #TA14XP* $189.00 $189.00 — — 

SP 2x AF Pro Converter — #TA2XP* $219.00 $219.00 — — 

DC Models – GPS %JHJUBM 4-3T 0OMZ t DG Models – 0QUJNJ[FE GPS %JHJUBM 4-3T 

H – HSM Model 

R – Rear Slip-in Gelatin Filter Slot 

SKU # 

Canon 

EOS 

Nikon 

AF 

Sony/ 

Minolta 

Olympus 

4/3 Sys. 

Pentax 

AF 

Sigma 

AF 

DC 4.5mm f/2.8 EX Circular Fisheye HSM R 4* %$)4. $899.00 $899.00 $899.00 — $899.00 $899.00 

DG 8/3.5 EX Circular Fish-Eye R #SI835* $759.00 $759.00 $759.00 — $759.00 $759.00 

DC 10mm f/2.8 EX Fisheye HSM R 4* ')4. $649.00 $649.00 $649.00 — $649.00 $649.00 

DG 15/2.8 EX Diagonal Fish-Eye R 4* %( $609.00 $609.00 $609.00 — $609.00 $609.00 

DG 20/1.8 EX DF RF Aspherical (82ø) #SI2018* $459.00 $459.00 $459.00 — $459.00 $459.00 

DG 24/1.8 EX DF Aspherical Macro (77ø) #SI2418M* $389.00 $389.00 $389.00 $389.00 $389.00 $389.00 

DG 28/1.8 EX DF Aspherical Macro (77ø) #SI2818M* $299.00 $299.00 $299.00 — $299.00 $299.00 

DC 30mm f/1.4 EX HSM (62ø) #SI3014DCS* $439.00 $439.00 $439.00 $439.00 $439.00 $439.00 

DG 50mm f/1.4 EX (77ø) #SI5014* $499.00H $499.00H $499.00 $499.00 $499.00 $499.00H DG 50/2.8 EX Macro (55ø) 4* .%( $279.00 $279.00 $279.00 — $279.00 $279.00 

DG 70/2.8 EX Macro (62ø) 4* .%( $479.00 $479.00 $479.00 — $479.00 $479.00 

DG 105/2.8 EX Macro (58ø) 4* .%( $439.00 $439.00 $439.00 $439.00 $439.00 $439.00 

DG 150/2.8 EX APO Macro HSM (72ø) 4* ".%( $669.00 $669.00 — $669.00 — $669.00 

DG 300/2.8 APO EX HSM 4* %( $2,999.00 $2,999.00 $2,999.00 — $2,999.00 $2,999.00 

DC 10-20/4-5.6 EX HSM (77ø) #SI102045D* $479.00 $479.00 $479.00 $479.00 $479.00 $479.00 

DG 12-24/4.5-5.6 EX R #SI122445* $779.00H $779.00H $779.00 — $779.00 $779.00H DC 17-70/2.8-4.5 Macro (72ø) #SI177028DC* $369.00 $369.00 $369.00 — $369.00 $369.00 

DC 18-50/3.5-5.6 (58ø) #SI185035* $139.00 $139.00 $139.00 $139.00 $139.00 $139.00 

DC 18-50/2.8 EX Macro (72ø) #SI185028* $419.00 $419.00H $419.00 $419.00 $419.00 $419.00 

DC 18-125/3.8-5.6 OS (Optical Stabilizer) (67ø) #SI1812535OS* $339.00H $339.00H $339.00 — $339.00 $339.00H DC 18-200/3.5-6.3 OS (Optical Stabilizer) (72ø #SI1820035* $439.00 $439.00 — — — $439.00 

DC 18-200/3.5-6.3 IF Aspherical (62ø) #SI1820035* $319.00 $319.00 $319.00 — $319.00 $319.00 

DG 24-70/2.8 EX Aspherical (82ø) 4* %( $499.00 $499.00 $499.00 — $499.00 $499.00 

DG 24-70/2.8 EX IF HSM (82ø) #SI247028* $899.00 $899.00 $899.00 — $899.00 $899.00 

DG 28-70/2.8-4.0 EX (58ø) #SI287028D* $149.00 $149.00 $149.00 — $149.00 $149.00 

DG 28-70/2.8 EX (67ø) 4* %( $379.00 $379.00 $379.00 — $379.00 $379.00 

DG 28-300/3.5-6.3 Macro (62ø) 4* %( $299.00 $299.00 $299.00 — $299.00 $299.00 

DC 50-150/2.8 EX HSM II (67ø) #SI5015028* $749.00H $749.00 — — — $749.00 

DG 50-500/4-6.3 EX APO RF (86Cø) #SI5050046* $1,159.00H $1,159.00H $1,159.00 $1,159.00 $1,159.00 $1,159.00H Perfecting The Way Photographers Work 

Pro Lenses, Cameras & Flashes 

All Sigma cameras, lenses & fl ashes 

are made exclusively in Japan. 

DC 55-200/4-5.6 (55ø) #SI5520045* $149.00 $149.00 $149.00 $149.00 $149.00 $149.00 

DG 70-200/2.8 EX Macro II HSM (77ø) #SI7020028* $799.00 $799.00 $799.00 $799.00 $799.00 $799.00 

DG 70-300/4-5.6 DL Macro Super II (58ø) #SI703004S* $149.00 $149.00 $149.00 — $149.00 $149.00 

DG 70-300/4-5.6 APO Macro Super II (58ø) 4* %( $209.00 $209.00 $209.00 — $209.00 $209.00 

DG 120-300/2.8 EX APO IF HSM (105ø) 4* %( $2,999.00 $2,999.00 — — — $2,999.00 

DG 120-400/4.5-5.6 APO OS HSM (77ø Rear) #SI120400* $849.00 $849.00 $849.00 — $849.00 $849.00 

DG 150-500/5-6.3 APO OS HSM #SI150500* $979.00 $979.00 $979.00 — $979.00 $979.00 

DG 300-800/5.6 APO EX HSM 4* %( $7,999.00 $7,999.00 — $7,999.00 — $7,999.00 

DG 1.4x EX APO Tele-Converter 4* 9%( $219.00 $219.00 $219.00 — $219.00 $219.00 

DG 2x EX APO Tele-Converter 4* 9%( $239.00 $239.00 $239.00 — $239.00 $239.00 

DG EF-530 ST Flash 4*&' 45 $169.00 $169.00 $169.00 — $169.00 $169.00 

DG EF-530 Super Flash 4*&' $239.00 $239.00 $239.00 — $239.00 $239.00 

DG EM-140 TTL Ringlight 4*&. %( $399.00 $399.00 $399.00 — $399.00 $399.00

Bags & Cases Tripods 

DPS 3N1 Sling/ 

Backpacks 

3N1 bags provides fast 

equipment access and 

ultimate freedom, allowing 

three carrying options in 

one while morphing from 

sling to backpack and back 

again fast and easy. 

30 

10 Small 20 Med. 30 Large 

SKU # #KA31SBS #KA31SBM #KA31SBL 

Color Black 

SLRs 1 1 1 

HOLDS 

Lens/Flash 2 4 6 

Acc. Yes Yes Yes 

Price $79.95 $99.95 $124.95 

Large 

Shootout 

Shoulder 

Bags 

SHOOTOUT is 

designed from 

the ground up for 

serious outdoor 

imaging. Light on your shoulders but 

heavy on protection, access and features. 

Small Medium Large 

SKU # #TESSS* #TESSM* #TESSL* 

Color Black, Black/Olive, Silver/Black 

SLRs 1 1 2 

HOLDS 


Acc. No No Yes - 15" 

Price $98.95 $119.95 $159.95 

Film Color & B&W 

Quick Dial 

COLOR PRINT FILM PROCESSING MAILERS 

Gold – GA 100 Gold – GB 200 Max – GC 400 Reala Superia Press 

IMP IMP IMP CS 100 CA 200 CH 400 CZ 800 CZ 800 

135-24 2.19 2.49 1.99 — 1.99 1.99 3.49 — 

135-36 — 2.99 2.99 4.95 1.99 1.99 — 2.99 

Portra Ultra Prof. IMP 

Pro 

160NC 160VC 400NC 400VC 800 100UC 

Imported from Europe 

160C 160S 400H 800Z 

USA 

135-36 4.69 4.69 5.89 5.99 6.25 4.95 Manu-factured in USA for 5.75 4.89 5.75 5.99 

120 Roll 4.15 4.15 4.30 4.30 5.09 — Domestic Distribution 3.79 3.50 3.25 4.39 

220 PP (5) 44.50 — 48.50 49.95 — — 7.50 7.50 5.69 7.99 

73 

Fastpack 

Backpacks 

Protects your equipment 

and provide storage 

for accessories. Sideentry 

compartments 

let you quickly access 

gear & accessories, even 

while you're on the move. 

250 

200 250 350 

SKU # #LOFP200* #LOFP250* #LOFP350* 

Color Black, Blue, Red 

SLRs 1 1 1 

HOLDS 


Laptop No 15.4" 17.4" 

Price $74.95 $89.95 $112.95 

HOLDS 

3375 

Aero 

Backpacks 

Speed Pack's Dual Entry 

System allows camera 

access via side door or 

front panel. Weatherproof 

exterior and foam padded 

interior compartments for 

a custom equipment fi t. 

Speed Pack 75 Speed Pack 85 

3375 

3385 

SKU # #TA3375* #TA3385* 

Color Black, Rust 

SLRs 1 1 

Lens/Flash 3 4 

Laptop No 17" 

Price $89.95 $119.95 

Filters for Analog, Digital still or video cameras & lenses 

B&H SPECIAL! Buy 3 or more 

B+W Filters & Get 5% Off . 

55 58 62 67 72 77 

UV, KR1.5 25.95 25.95 29.95 38.95 44.95 51.95 

UV, KR1.5 Multi-Coated 39.95 39.95 46.95 54.95 68.50 93.95 

Circular Polarizer 66.95 68.95 72.95 86.50 99.50 111.95 

Circular Polarizer Multi-Coated 96.50 99.50 104.95 124.50 143.50 169.95 

81A, B, KR3, 6, 12, 15 25.95 25.95 29.95 38.95 44.95 51.95 

KB1.5, 3, 6, 12, 15, 20 25.95 25.95 29.95 38.95 44.95 51.95 

#021, 022, 023, 040, 041, 060, 061, 081, 090 25.95 25.95 29.95 38.95 44.95 51.95 

Graduated (N.D. & Colors) 52.95 54.95 57.95 64.95 74.95 92.95 

ND .9 (103), 1.8 (106), 3.0 (110), 4.0 (113), 6.0 (120) 44.95 44.95 69.95 69.95 89.50 99.95 

Enhancing 43.95 45.95 72.95 74.95 94.95 104.95 

Close-Up Lenses 0.25, 0.50, 1, 2, 3, 4, 5 25.95 25.95 29.95 38.95 44.95 51.95 

B&H SPECIAL! Buy 3 or more 

Hoya Filters & Get 10% Off . 

58 62, 67 72 77 82 

UV, Skylight (1B) 14.85 22.35 34.35 38.85 46.35 

UV, Skylight (1B) HMC 22.35 32.85 40.35 49.35 62.85 

UV, Skylight (1B) Super HMC 35.85 41.85 52.35 56.85 70.35 

Circular Polarizer 40.35 58.35 70.35 82.35 109.35 

Circular Polarizer HMC 76.35 92.85 130.35 169.35 262.35 

Circular Polarizer Ultra Thin Super HMC 83.85 101.85 149.85 187.35 281.85 

“Moose” Warm Circular Polarizer 59.85 86.85 107.85 128.85 166.35 

K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A 20.85 32.85 40.35 49.35 61.35 

80A, B, C, 81A, B, C, 82A, B, C, 85, B, C 20.85 32.85 40.35 49.35 61.35 

Close Up Set 49.35 68.85 88.35 97.35 — 

Cross Screen, Diff user 20.85 32.85 40.35 49.35 61.35 

Fluorescent FLD, FLW 20.85 32.85 40.35 49.35 61.35 

Intensifi er – Blue, Green Field, Enhancement (Red) 49.35 62.85 70.35 83.35 — 

Neutral Density 2x, 4x, 8x 20.85 32.85 40.35 49.35 61.35 

Soft A, B 34.35 49.35 56.85 59.85 — 

COLOR SLIDE FILM 

Distributed by 

190X Series 

Improved castings for reduced 

weight without compromising 

strength and stability. XB features 

low angle adapter, XProB features 

vertical/horizontal quick fl ip 

center column. 

190XDB 190XB 190XPROB 

SKU # #BO190XDB #BO190XB #BO190XPROB 

Head Requires Head (head sold seperately) 

Load Capacity 11 lbs 11 lbs 11 lbs 

Max. Height 57.5" 57.1" 57.5" 

Leg Sections 3 3 3 

Folded Length 21" 20.9" 22.4" 

Weight 3.5 lbs 4 lbs 4 lbs 

Price $98.95 $129.95 $159.95 

Carbon Fiber 

“C” Series 

Benro C-Series carbon fi ber is lighter 

without compromising strength, 

rigidity, and performance. 

2nd-Generation 8-layer carbon 

fi ber tube technology is 40% 

stronger yet 15% lighter. 

C158n6 C258n6 C358n6 

SKU # #BEC158N6 #BEC258N6 #BEC358N6 


Load Capacity 11 lbs 17.6 lbs 22 lbs 

Max. Height 58.5" 60.2" 68.1" 


Folded Length 19.3" 20.9" 24" 

Weight 3 lbs 3.6 lbs 5 lbs 

Price $239.95 $268.95 $384.95 

Distributed by 

Fuji Slide Processing 

36 Exposures (35mm) ........................................ 4.99 

Processing 

35mm 120 220 

Slide E6 ..........9.49 .................9.49 ...............18.95 

Print C41 ..... 13.49 ..............15.49 ..............30.95 

Kodachrome Ektachrome Professional Fujichrome Fujichrome Professional 

KR 64 EPY 64 E Series EPP Sensia Velvia RVP Astia Provia Tungsten 

USA Tungsten 100 VS 100 G 100 GX 100 RA 100 RM 200 RH 400 Pro 50 100 RAP100F RDP100F RXP III 400X RTP T64 

135-36 8.50 11.99 7.50 7.50 7.50 12.95 4.59 6.49 8.99 6.89 6.25 5.80 5.75 8.95 8.29 

120 Roll — 6.95 5.50 5.59 5.79 6.99 — — — 4.50 4.59 3.99 3.89 5.99 4.79 

220 PP (5) — — 51.95 — — — — — — 9.99 8.99 8.39 8.39 — — 

COLOR SLIDE FILM 

Plus-X Tri-X TMX TMY TMZ BW Pan F+ FP4+ HP5+ Delta Pro XP-2 Super Infrared Acros Neopan SLIDE 

125 400 100 400 3200 400 CN 50 125 400 100 400 3200 400 SFX 200 100 400 1600 Scala 200 

135-36 5.49 3.95 5.50 4.49 7.50 4.29 5.19 5.09 3.89 5.45 5.35 6.15 5.49 8.95 3.95 3.75 3.95 12.95 

120 Roll — 3.95 3.95 3.49 — 4.50 3.85 3.69 3.45 3.39 3.79 4.25 3.59 7.95 2.95 2.95 — — 

Quick Dial 

73 

055X Series 

Similar in design and features to 

the 190X series but with increased 

operating height and max load 

capacity. 055XB features low angle 

adapter, 055XproB features vertical/ 

horizontal quick fl ip center column. 

055XDB 055XB 055XPROB 

SKU # #BO055XDB #BO055XB #BO055XPROB 


Load Capacity 15.4 lbs 15.4 lbs 15.4 lbs 

Max. Height 70" 70" 70.3" 


Folded Length 24" 24" 25.7" 

Weight 4.6 lbs 5 lbs 5.3 lbs 

Price $134.95 $159.95 $174.95 

Explorer Series 

Six Layer, pultrusion (spun), 

100% carbon fi ber tubes, “G Lock” 

leg locks. Legs and center column. 

Can be locked at a wide range of 

angles making it the perfect 

wilderness fi eld tripod. Also 

available in Aluminum & Basalt. 

GT2932EX GT2330EX GT2531EX 

SKU # #GIGT2932EX #GIGT2330EX #GIGT2531EX 


Load Capacity 22 lbs 19.8 lbs 26.4 lbs 

Max. Height 59.8" 63.4" 66.9" 


Folded Length 25.2" 25.2" 25.2" 

Weight 4.4 lbs 5.2 lbs 4.1 lbs 

Price $374.95 $359.95 $599.95 

Why Filters for Digital Cameras? With sophisticated image editing tools like 

PhotoShop & PHOTO-PAINT, why bother with optical fi lters? Given enough time, 

talent and patience, you probably could emulate most fi lter eff ects in postprocessing, 

but when would you fi nd time to shoot, eat & sleep? 

Made exclusively with glass from Schott (Zeiss) 

the world’s fi nest optical glass supplier. 

Schott Glass in Brass Rings 55 58 62 67 72 77 

Skylight (1B), UV 32.75 34.25 45.00 51.25 63.00 73.75 

Skylight (1B), UV SH-PMC 59.75 65.00 78.25 85.50 108.50 120.50 

Circular Polarizer 85.50 89.75 96.75 112.00 134.00 153.00 

Circular Polarizer SH-PMC 128.00 135.00 146.75 167.25 185.50 212.75 

#5, #8, #25, #11, #13, #15, #22, 81A, 81B, 81C 32.75 34.25 45.00 51.25 63.00 73.75 

Digital Filter 138.00 141.50 145.00 168.75 200.00 236.00 

B&H SPECIAL! Buy 3 or more Tiff en 

Filters & Get 10% Off . (Not Valid on Kits) 

52, 55 58 62, 67 72, 77 82 

Hot Mirror (for Digital Cameras) 71.95 85.95 139.95 195.95 307.95 

UV Protector 10.95 12.39 15.95 31.95 48.95 

UV Protector Thin Wide-Angle — 19.99 24.99 50.95 — 

Skylight (1A), UV Haze 1 11.49 13.99 17.99 32.49 48.49 

Skylight (1A), UV Haze 1 Thin Wide-Angle — 28.49 37.49 65.95 — 

Circular Polarizer (Rotating mount) 35.95 37.95 51.95 68.95 118.95 

Circular Polarizer Thin Wide-Angle — 71.95 98.95 131.95 — 

Color Conversion 80A, 80B, 81A, 81B 15.49 16.99 31.49 42.99 57.95 

Close-Up Lens Sets (+1, +2 & +4) 49.49 62.95 81.95 115.95 — 

#812 Warming 

Graduated ND 0.6 

Enhancing 

10 Year Warranty 

Made in U.S.A. 

15.49 

43.99 

68.95 

22.99 

49.99 

101.95 

31.49 

60.95 

106.95 

42.99 

79.95 

123.95 

57.95 

102.95 

134.95 

FL-D Fluorescent (for Daylight Film) 20.99 24.99 31.49 49.99 90.95 

Neutral Density 0.3, 0.6, 0.9 15.49 16.99 23.99 42.99 57.95 

Soft FX 1, 2, 3 44.99 54.95 66.95 90.95 124.95 

Quick Dial 

73 

Quick Dial 

71 


Source 

B&H Online 







BWBJMBCMF GPS 







May 29th, 2009 

One hour 



For a free 

catalog, call 

800-947-6933, 

212-444-6633, 


Seven day 


guarantee! 


welcome 

Page 7

CHEAT SHEET By Kathleen Davis 

CHEAPThrills 

1. Stock Photos 

Free • www.freefoto.com 

If you need photos for your blog 

or website, Free Foto is a useful 

resource to bookmark. With more 

than a million photos in 162 sections 

(e.g., business, nature, USA, Europe), 

organized further into almost 3,500 

categories (e.g., clouds, Chicago, 

renewable energy) it’s almost 

guaranteed that you’ll fi nd what you 

need. All they ask is that you give 

credit where it’s due. 

2. Kodak Ektar 

100 Film 

$4.50, street • www.kodak.com 

Still clinging to your 35mm fi lm 

camera? It’s hard to beat Ektar 

100’s fi ne grain, vivid color, and 

high saturation. And now Kodak’s 

professional color negative fi lm is 

available in 120mm rolls for mediumformat, 

too. 

3. OLFA OLO Rolling 

Scissors $7, street 

• www.olfa.com If you do a lot of 

studio work, you know how annoying 

cutting seamless backgrounds with 

regular scissors can be. So it makes 

sense to drop some pocket change for 

a pair of rolling scissors that are supereasy 

to use, safer than shears, and 

guarantee no more ragged cuts. 

4. Case Logic ECB 

Camera Cases 

$12, street • www.caselogic.com 

Keep your compact camera safe with 

style. Case Logic’s ECB line is made 

with a durable, semirigid EVA material, 

that comes in fi ve different colors. 

When you factor in the internal pocket 

for accessories, detachable wrist 

strap, a 25-year warranty, and the 

price, it’s a no-brainer. 

5. Lexar 4GB 

JumpDrive FireFly 

USB Flash Drive 

$19, street • www.lexar.com 

Jump drives are a much easier way of 

copying and transporting images and 

data than constantly burning CDs. For 

less than $20 for 4GB of storage that 

you can use over and over, it’s a handy 

thing to throw in your bag. Bonus: It’s 

compatible with both Mac and PC, and 

it comes with a 2-year warranty. 

6. Ikimono Mini-Camera 

$20, street • www.urbanoutfi tters. 

com Take the advice of “always carry 

PHOTO STUFF 

FOR $25 

OR LESS 

your camera” a little more lightly. 

Ikimono cameras are tiny plastic 

cameras attached to a keychain that 

take 110mm fi lm for 3x5- or 4x6-inch 

prints. These colorful cameras don’t 

take themselves too seriously, with 

minimal controls and no fl ash, but 

sometimes it’s good to add a little 

humor to your shooting. 

7. Replacement Eyecup 

$20, street • www.pentaximaging. 

com The eyecup of the viewfi nder 

of a DSLR is one of the fi rst things to 

get lost. Sure you can live without it, 

but it’s annoying. Since a replacement 

(such as this one for the Pentax K100D 

& K110D) is only 20 bucks, save 

yourself the hassle and get an extra 

before you lose the one you have. 

8. “I Want My 

Own Camera” 

Child’s T-Shirt $25, direct 

• www.shopping.icp.org/store 

If you’re never without your camera, 

chances are your little one has started 

to imitate your shutter-happy ways. 

Though perhaps too young for a 

DSLR, with one of these T-shirts your 

budding photographer can always 

sport a camera around the neck. P 


©7/2008 



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12-24mm 

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• Exclusively for 

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cameras 

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mechanism 

SEE OUR WEB SITE FOR CURRENT 

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PRO 300 AF 

CONVERTORS 

• 1.4x Pro DG Series 

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• 3x Pro 

EXTENSION TUBES 

Autofocus Auto 

Available for Canon EOS, Nikon AF, 

Pentax AF, Maxxum 

• 25mm • 12mm 

Auto Set for AF SLR’s 

Consists of 36, 20, & 12mm Ext. Tubes. 

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Full Function AF Auto Extension Tube Set 

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TRADESHOW SPECIALS ! 

Lensaby Composer: $239.95 

Composer + Optic Kit: $324.95 

Composer + Optic Kit + Accessory Kit: $419.95 

Made Exclusively in Japan 

Perfecting the way photographers work 

AUTO FOCUS FLASHES 

Lens Mount Sony Canon EOS Nikon AF Pentax SIGMA Olympus 

EF 530 DG Super 219.00 219.00 219.00 219.00 219.00 –– 

EF 530 DG ST 149.00 149.00 149.00 149.00 149.00 –– 

EM 140 DG – 369.00 369.00 – 369.00 –– 

LENSES FOR AUTO-FOCUS & MANUAL CAMERAS 

Lens Mount Sony Canon EOS Nikon AF Pentax SIGMA Olympus 

4.5 f2.8 EX DC HSM Cir Fisheye –– 899.00 899.00 –– 899.00 –– 

8/3-5 DG Fisheye 759.00 759.00 759.00 759.00 759.00 –– 

10 2.8 EX DC HSM Fisheye –– 649.00 649.00 –– 649.00 –– 

15/2.8 EX DG Fisheye 609.00 609.00 609.00 609.00 609.00 –– 

20/1.8 EX-DG 459.00 459.00 459.00 459.00 459.00 –– 

24/1.8 EX-DG 389.00 389.00 389.00 389.00 389.00 –– 

28/1.8 EX-DG 299.00 299.00 299.00 299.00 299.00 –– 

30/1.4 EX-DC 439.00 439.00 439.00 439.00 439.00 439.00 

50 1.4 EX DG HSM 499.00 499.00 499.00 499.00 499.00 499.00 

50 2.8 EX DG Macro 279.00 279.00 279.00 279.00 279.00 –– 

70/2.8 EX DG Macro 479.00 479.00 479.00 479.00 479.00 –– 

105/2.8 EX-DG 439.00 439.00 439.00 439.00 439.00 439.00 

150 2.8 EX DG Macro APO –– 669.00 669.00 –– 669.00 669.00 

180/3.5 EX DG Macro 899.00 899.00 899.00 899.00 899.00 –– 

300/2.8 APO EX–DG 2999.00 2999.00 2999.00 2999.00 2999.00 –– 

500/4.5 APO DG 4699.00 4699.00 4699.00 4699.00 4699.00 –– 

800/5.6 EX APO DG HSM 7399.00 7399.00 7399.00 7399.00 7399.00 –– 

10-20/4-5.6 EX-DC 479.00 479.00 479.00 479.00 479.00 479.00 

12-24/4.5-5.6 EX-DG Asph 779.00 779.00 779.00 779.00 779.00 –– 

17-70/2.8-4.5 DC Macro 369.00 369.00 369.000 369.00 369.00 –– 

18-50/2.8 DG EX 449.00 449.00 449.00 449.00 449.00 449.00 

18-50/3.5-5.6 DG 139.00 139.00 139.00 139.00 139.00 139.00 

18-125/3.8-5.6 DC OS HSM 339.00 339.00 339.00 339.00 339.00 –– 

18-200/3.5-6.3 DC OS –– 439.00 439.00 –– 439.00 –– 

18-200/3.5-6.3 DC 379.00 379.00 379.00 379.00 379.00 –– 

24-70/28 EX-DG DF 419.00 419.00 419.00 419.00 419.00 –– 

28-70 2.8 EX DG 379.00 379.00 379.00 379.00 379.00 –– 

28-70 2.4 DG 149.00 149.00 149.00 149.00 149.00 –– 

28-300/3.5-5.6 DG IF Macro 299.00 299.00 299.00 299.00 299.00 –– 

50-150 2.8 EX DG HSM II – 749.00 749.00 –– 749.00 –– 

50-500/4-6.3 EX DG APO HSM 1159.00 1159.00 1159.00 1159.00 1159.00 1159.00 

55-200/4-5.6 DC 149.00 149.00 149.00 149.00 149.00 149.00 

70-200/2.8 EX HSM Macro II 799.00 799.00 799.00 799.00 799.00 799.00 

70-300/4-5.6 APO EX DG 209.00 209.00 209.00 209.00 209.00 –– 

70-300 /4-5.6 DL-Mac DG 149.00 149.00 149.00 149.00 149.00 –– 

100–300 /4 DG EX-IF HSM 1199.00 1199.00 1199.00 1199.00 1199.00 –– 

120–300 2.8 EX HSM DG –– 2999.00 2999.00 –– 2999.00 –– 

120–400 F4 5.6 DG APO OS HSM –– 849.00 849.00 –– 849.00 –– 

135–400 DG APO Asph 599.00 599.00 599.00 599.00 599.00 599.00 

150–500 5/6.3 DG APO HSM –– 979.00 979.00 –– 979.00 –– 

200–500 2.8 EX DG APO –– 24499.00 24499.00 –– 24499.00 –– 

300-800/5.6 EX DG APO HSM–– 7999.00 7999.95 –– 7999.00 7999.00 

1.4X APO Extender 219.00 219.00 219.00 219.00 219.00 –– 

2X APO Extender 239.00 239.00 239.00 239.00 239.00 –– 


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Compare features / Compare 

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SHIPPING INSTRUCTIONS See Our Web Site WWW.ADORAMA.COM For Shipping Charges And Relevant Information. 

INC. 

BY KATHLEEN DAVIS 

WAYS TO 

Take 

Macro-Free 

Close-ups 

Want to try macro? If 

you’re not ready to buy 

a dedicated macro lens, 

here are three inexpensive 

ways to use your DSLR 

and kit lens to see how the 

world looks in close-up. 

1Reversal ring. This $40 (or so) 

gadget lets you mount a lens 

backward, turning a normal 

lens into a kind of macro. It 

isn’t always the best solution, though. 

Autofocus won’t work, so you’ll have 

to focus manually. Some optically 

complex zooms are impossible to 

focus in reverse; others produce poor 

results. Lenses without an aperture 

ring are hard to stop down. And 

reversing the lens exposes the rear 

element and coupling mechanisms— 

shield these from damage with a 

makeshift lenshood. 

2Extension tube. With a rearlensmount 

at one end and a 

camera-body mount at the 

other, this device is usually 

used for closer focusing with long 

telephotos. But place one between 

your DSLR and a short tele or normal 

lens, and you can focus into the macro 

range. For even closer focusing, use 

one with a reverse-mounted lens. Try 

Kenko Auto Extension Tube Set DG 

(12-, 20- and 36mm, from $169, street). 

3Macro fi lter. Also called a 

diopter, this fi lter (about $20 

to $30, street) is basically a 

magnifi er that you put in front 

of the front lens element. These work 

better with telephotos (85mm or 

more). As a general rule, the weaker 

the diopter, the better the result. The 

edges of the resulting images tend to 

be soft, so you’ll need to stop down 

quite a bit or plan on cropping. P 


©9/2008 

Check out 

all canon HD 

Cameras 

The source of 

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INC. 

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ADORAMA 

BUDGET STUDIO 

FLASH 

• This economically priced AC strobe will allow you 

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• It has a circular flash tube that is daylight balanced at 5600 K, 

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• The Budget Studio Flash can be triggered through the camera 

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• Specs: 6-1/2” long, 3-1/2” diameter. Weighs only 15 ounces. 

Adorama AC Master Slave 

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Adorama AC 

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$ 19 95 

$ 18 95 

(LTBF) 59 95 $ 49 95 

BUY A ADORAMA BUDGET KIT AND SAVE 

BUDGET STUDIO FLASH KIT #1 

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$ 95 

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BUDGET STUDIO FLASH KIT #4 



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$ 4 95 





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$ 95 

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ON THOUSANDS OF PRODUCTS 

FLASHPOINT 

BUDGET STUDIO 

FLASH 160 

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INC. 

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$ 9 95 

BUY A FLASHPOINT BUDGET KIT AND SAVE 


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BUDGET 160 STUDIO FLASH KIT #1 



1 – 33" White Umbrellas with Black Cover 


$ 95 

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BUDGET 160 STUDIO FLASH KIT #4 



2 – 33” White Umbrella 

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Softbox for the 100 watt Second 

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$ 95 

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Flashpoint Multi Clip, Double Clips 

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$ 7 95 

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STORE: 212-675-6789 


• Sun. 9:30-5:30



FLASHPOINT MONOLIGHTS 

Where Pro Power and Quality Meet At An Incredible Price. 

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FLASHPOINT MONOLIGHTS 

Model GN Recycle Weight Sync Price 

FLASHPOINT 320 118 1.2 Sec 3.00 lbs. 6v 



FLASHPOINT 1820 282 3 Sec 5.75 lbs. 6v 


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Buy Buy 

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30w 7.69 7.19ea. 

70w 19.95 18.95ea. 


$ 99 95 

$ 189 95 

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Buy a Flashpoint Kit & Save 

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Softbox 

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Flashpoint Cool Light 1, 

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Flashpoint Cool 

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3MP Digital Camera with Cradle, 

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INC. 

YOUR 

QUESTIONS 

ANSWERED 

Macro options 

Back in my film days, I had a 

Canon bellows and macro lens for 

my AE-1. Now that I’ve ventured 

into digital, I would like to revisit 

macro photography. I have a Sony 

Alpha 700 and a Tamron 90mm 

f/2.8 macro lens. Where will I find a 

bellows for the A700? Jon Oakleaf 

Via e-mail 

Sony offers neither bellows nor 

extension tubes for your Alpha—at 

least, not yet. In the meantime, 

look into the Novoflex Universal 

Bellows ($365, street), or, if you 

want autofocus and autoexposure, 

the Novoflex Auto Bellows for the 

Minolta AF system ($994, street). 

To attach camera and lens to the 

bellows, the Universal bellows will 

require Minolta adapters (made 

by Novoflex), which start at about 

$120 (street) each. 

Hyper what? 

I’m confused about hyperfocal 

distance. What is it, and when 

should I use it? Dave Pidcock 

Great Falls, MT 


ELENA ELISSEEVA/FOTOLIA.COM

MACRO 

ECONOMICS: 

Buying a bellows to 

bring your macro lens 

closer to a tiny subject 

could set you back 

as much as $1,000, 

depending on the 

model. 

The hyperfocal distance is the nearest 

focusing point that includes infinity 

within the depth of field for a given 

aperture and focal length, and 

knowing it can help you maximize 

the DOF and control the focus of a 

distant background. A 50mm lens 

set to f/16 has a hyperfocal distance 

of 17 feet—focus it at that distance 

and everything from about 5.5 feet 

to infinity will be sharp. To download 

hyperfocal distance charts for your 

lenses, visit www.dofmaster.com. 

Oldies but goodies 

In your June 2008 Tech Support 

column, Jeffrey Bowen wondered 

about using his older Pentax lenses 

with a new Pentax DSLR. I say go 

for it! I have a K10D and a K20D, 

and I’m using a handful of Pentax 

primes dating from the late 1970s. 

My own tests with the K20D and 

a resolution chart show that the 

film-era 50mm and 135mm lenses 

are definitely superior in resolution 

to the current Pentax DA 18−55mm 

kit lens and DA 50–200mm zoom. 

Dave Shaffer 

Flagstaff, AZ 

Thanks for the heads-up, Dave! 

RAW deal 

I read the article on RAW in the 

February 2009 Picture Doctor and 

decided to try it. The problem? 

I couldn’t open the images with 

either Nikon’s Capture NX or 

PictureProject (with the NEF 

codec installed). What is the most 

inexpensive but consistently reliable 

way to open and edit RAW files? 

Vern Ghan 

Via e-mail 

Capture NX should have worked, 

so we’re guessing you have an 

outdated version. But as Debbie 

Grossman said in her April 2009 

Digital Toolbox, one of the most 

powerful—and affordable—RAW 

tools is Adobe Photoshop Elements 

7.0 ($85, street). With this software, 

most compatibility issues go away. 

Noisy numbers 

I’ve been comparing the Pop Photo 

Lab’s noise tests for several Canon 

DSLRs at ISO 800. The Canon EOS 

Rebel XSi has a noise value of 2.1— 

greater than the Canon EOS 30D 

(1.67). That, in turn, is greater than 

the Canon EOS 50D’s 1.5. Does this 

mean that, irrespective of resolution, 

the 50D is the best choice to 

minimize noise in low light? 

Dale Dyekman 

Richland, WA 

Yes. (Keep these easy ones coming!) 

Lens matters 

I switched from a Nikon film camera 

to the D70 a few years ago and use 

f/2.8 film-era lenses. Would I get 

significantly sharper photos with a 

newer digital superzoom, even if I 

must sacrifice the f-stop range? I’m 

thinking specifically of the Tamron 

18–270mm f/3.5–6.3. John Felegi 

Via e-mail 

Our tests have found little difference 

in sharpness between comparable 

digital-only and full-frame lenses. 

But if your full-framers are from 

the 1980s or ’90s, you’ll likely see 

improved light falloff and distortion 

control with the Tamron superzoom, 

especially at mid and longer focal 

lengths. But what will probably have 

most impact on your photography will 

be the built-in image stabilization. p 

Got a question? E-mail us at PopEditor@hfmus.com. Also visit the Tech Support forum at www.PopPhoto.com. 



INC. INC.





UNDERWATER PHOTOGRAPHY 

FILING & STORAGE 

PORTFOLIO 

CARRYING CASES 

• Deluxe padded carrying case • Constructed of black 

Softex material with interior padding • Has a 

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Quick-snap, secure buckles • Large zippered security 

pocket on the back of the bag • Window for ID 

or business card 

8x10 (up to 8-1/2 x 11 x 2") ............29.95 

11 x 14 x 2 (up to 11 x 14 x 2") .....39.95 

Don't let the low prices fool you. 

Flashpoint cases are comparable to cases costing twice as much 

ADORAMA 

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Made From acid-free materials and 

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protection 

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Holds and includes 6 slide boxes 

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Archival fiberboards developed 

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ARCHIVAL PAGES 

Sheets.................................25 ..........100 

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Most Negative Pages.....5.95 .......19.95 

Ultima Negative Pages..7.50 .......24.95 

Contact Pages ................9.95 .......34.95 

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Oversize Binder OB-1 ....9.95 

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New Sizes 

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Listed below are all of the advertisers in this issue 

and the pages on which the ads appear. 

8;M

SPEAKING OF 

PHOTOGRAPHY 

COMPILED BY MATTHEW HOLDEN LEWIS 

QUOTES 

“It’s not how many or what 

kinds of lights you use, but how 

they are placed.” 

HORST P. HORST 

“I believe man must be free, 

both in spirit and society, 

that he must build strength 

into himself, affi rming the 

‘enormous beauty of the world’ 

and acquiring the confi dence 

to see and to express his vision. 

And I believe in photography 

as one means of expressing this 

affi rmation, and of achieving an 

ultimate happiness and faith.” 

ANSEL ADAMS 

“A standard photograph is 

an instant captured, but a 

daguerreotype is an eternal 

return.” JERRY SPAGNOLI 

“One of the most diffi cult 

things to learn in painting is 

what to leave out. How to keep 

things simple enough. The 

same applies to photography. 

The value of composition 

cannot be overestimated: upon 

it depends the harmony and 

the sentiment.” 

GERTRUDE KÄSEBIER 

“For me photography is a 

mirror of life, and every photo 

that is even worth looking at 

must be a refl ection of life—of 

reality, nature, man and his 

activity, from art to war.” 

ANDREAS FEININGER 

“Whether you want it to or 

not, a photo reproduces an 

atmosphere.” 

EDOUARD BOUBAT P 

POP PHOTO MAY 2009 119 




CS770 Lighting Kit Case 

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CASES 

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TAMAR LEVINE & ROB SHERIDAN: 

BROKEN ROBOT GIRL 

“Rob and I thought this would be a fun way to push and pull between our styles. It’s part of a planned series—we’re going to do fi ve 

in all. First, I photographed the model in the set-up environment, then the environment without the model. Then I photographed the 

mechanical parts (we went to Home Depot) in the environment, so that the lighting was consistent. I shot with a Canon EOS 5D and 

50mm f/1.4 Canon lens on a tripod—it’s important that the camera not move. For lighting I used Calumet’s monoblock strobe kit for 

a fi ll and key light. I put all three images in Adobe Photoshop CS3, did the color correcting, and gave them to Rob, who’s a graphic 

designer, to work his magic in CS4. We wanted the result to look as natural as possible, so, although considerable work was done 

in post to create the girl’s seams and mechanical parts, much of the photo was left untouched.” —Tamar Levine p 


TAMAR LEVINE, WWW.TAMARLEVINE.COM; ROB SHERIDAN, WWW.ROB-SHERIDAN.COM

Catch every hit in HD. 

Record all the hits in stunning 1920x1080 Full HD with the new HD Everio GZ-HM200 camera. 

Slim and lightweight, this new hotshot features a Dual SD Card so you never run out of recording 

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*Installation of bundled software required. iTunes is a trademark of Apple, Inc., registered in the U.S. and other countries. 

[ REC ]

Truly breakthrough photographs require a truly breakthrough camera. The Canon EOS 50D, a leap forward in photographic innovation. The EOS 50D 

features an APS-C-sized 15.1-megapixel CMOS sensor for huge images, a DIGIC 4 Image Processor for staggering detail and color r eproduction, 

and ISO capabilities up to 12800 to go along with improved noise reduction. So if you’re looking to take your photography to th e next 

breathtaking level, to create photographs as inspiring as this shot by Canon Explorer of Light Tyler Stableford, the EOS 50D is the place to start. 

To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc 

©2009 Canon U.S.A., Inc. Canon, EOS and DIGIC are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a tra demark of Canon. All rights reserved. 

©2008 Tyler Stableford, Canon Explorer of Light

NEW - Ken Gilbert

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