photo - Ken Gilbert

FULL TEST: CANON EOS 7D P.82 

NIKON 

D3X 

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JANUARY 2010 

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O U R 

W O R L D 

Julian Olivas 

Born in the Philippines in 1946. Photographer, architect, and helicopter pilot based in New 

York. Fusing these three passions, he is currently running ‘Global Air to Ground’, an aerial 

photography business. His award-winning photographs of landscapes and people working in 

extreme environments are displayed in a wide range of venues, including galleries. 

Photo data: SIGMA 50-200mm F4-5.6 DC OS HSM, 1/160 second exposure at F6.3. 

Julian Olivas shoots the world with a SIGMA lens. 

Aiming to capture the majesty of wild horses from his helicopter, camera shake was 

the last thing on his mind. 

In the Aleutian Islands, Alaska, wild horses gallop across a prairie at a speed of 96 kilometers per hour in 

the blazing summer sun. This stunning aerial shot was captured by Sigma’s new compact, 50-200mm 

F4-5.6 DC OS HSM telephoto zoom lens for digital SLR cameras. It features Sigma’s own Optical 

Stabilizer (OS) function which reduces camera shake, making steady, handheld photography a reality. 

An inner focusing system and SLD (Special Low Dispersion) glass ensures high image quality at any 

distance and the Super Multi-Layer Coating reduces flare and ghosting and provides high contrast images 

throughout the entire zoom range, while HSM (Hyper Sonic Motor) ensures a quiet and high-speed AF. 

Corresponding AF mounts: Sigma, Nikon, Canon, Sony, and Pentax With bayonet-type hood (LH674-01) 

A compact, telephoto zoom lens for digital SLR cameras featuring Optical Stabilization. 

SIGMA CORPORATION OF AMERICA 

15 Fleetwood Court, Ronkonkoma, NY 11779 • 631-585-1144 

In Canada exclusively distributed by Gentec International, Markham, Ontario 

Visit us on the Web at www.sigma-photo.com 

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and other countries. SanDisk Extreme Pro and Power Core are trademarks of SanDisk Corporation. †This image has been stitched in post production. 

www.storemags.com & www.fantamag.com

CONTENTS 

HOW TO MAKE GREAT PICTURES JANUARY 2010 VOLUME 74, NO. 1 

FEATURES 

52 Bright iDeas 

nature photography is no longer off-limits 

at midday—just follow these tips. 

By Arthur Morris 

56 artWork in 

Black anD White 

The essential guide to making perfect 

prints from your digital images. By Guy Tal 

63 reaDers’ photo 

contest 

The results are in: Here are your most 

exceptional pictures in the 16th edition of 

our annual awards. By the Editors 

POPPHOTO.COM 

52 

56 

63 


60 2009 caMera 

of the year 

Why we’ve proclaimed the 

nikon D3x the model that 

best refi ned or redefi ned 

photography in 2009. 

By the Editors 

JAnuARY 2010 POPULAR PHOTOGRAPHY 3

PROFESSIONAL 

Durable, Affordable 

PRO 700 DX 

Max Height: 74.80 in. 

Max Load: 19.80 lbs. 

Weight: 7.05 lbs. 

SUPER 

A.M.T. 

ALLOY 

EXCLUSIVE DISTRIBUTION BY: 

PRO 340 BH 

Max Height: 57.9 in. 

Max Load: 8.8 lbs. 

Weight: 3.48 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 full-sized tripod that will hold up to 

years of use. The PRO 500 DX is a 

slightly smaller and lighter version with 

the same features. 

NEW for 2009, the PRO 340 BH compact 

travel tripod with dual level ball head is 

perfect for traveling and backpacking. 

7642 Woodwind Drive, Huntington Beach, CA 92647 

Visit our website for more information at 

www.thkphoto.com 

next 

15 We Want this 

The eye-catching Olympus E-P2 

16 just out 

A sleek ballhead, zippy card, and more 

20 closer look 

Canon’s speed-demon EOS-1Ds Mark IV 

22 state of the art 

Ricoh brings new flexibility to compacts 

24 the guts 

Where the light bounces inside a DSLR 

share 

29 photo challenge 

How a gray day yielded maximum color 

30 My project 

A naked view of your refrigerator 

32 i, photographer 

Location scouting for the movies 

34 letters 

Ruin-exploring advice from a reader 

36 tech support 

Your photographic mysteries solved 

how 

39 creative thinking 

David Harry Stewart takes on Mike Tyson 

40 fix it fast 

Crop and use Curves for more intensity 

42 tips & tricks 

Play with photography, double-up layers 

44 lighting 

Suburban storytelling cinema-style 

46 softWare Workshop 

Create your own black backgrounds in 

Adobe Photoshop Elements 

50 you can Do it 

Symmetry is key to architecture shots 

lab 

73 printer revieW: 

epson stylus pro 3880 

This 17-incher is made for longevity 

76 caMera test: 

panasonic luMix DMc-gf1 

The latest of Micro Four Thirds shows 

that the compact system is stepping up 

82 Dslr test: canon 

eos 7D We test the new 18MP, APS-C 

workhorse—and find some surprises. 

88 lens test: pentax-Da 

15MM f/4 eD al liMiteD 

A tiny ultrawide that’s solidly built 

90 softWare revieW: 

caMera Bits photo 

Mechanic 4.6 

This photojournalist’s tool is 

handy for any prolific photographer 

Don’t Miss . . . 

8 eDitor’s letter 

10 shoWcase 

93 the guiDe 

114 tiMe exposure 

128 Backstory 

POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), January 2010, Volume 74, Issue 1, 

is published monthly by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage 

paid at New York, NY and additional mailing offices. Authorized periodicals postage by the Post Office 

Department, Ottawa, Canada, and for payment in cash. POSTMASTER: Send address changes to 

Popular Photography, P.O. Box 420235, Palm Coast, FL 32164; www.PopPhoto.com/customerservice. 

If the postal service alerts us that your magazine is undeliverable, we have no further obligation 

unless we receive a corrected address within one year. 

Publications Mail Agreement No. 40052054, Canadian Registration Number 126018209RT0001. 

Return undeliverable Canadian addresses to: P.O. Box 503, RPO West Beaver Creek, Richmond Hill, 

ON L4B 4R6. 

4 popular photography JAnuARY 2010 


16 

29 

50 

POPPHOTO.COM 

COVERS: TOnY CORDOzA (nEWSSTAnD); DEnnIS FRATES (SubSCRIbER). PREVIOuS PAgE (L–R FROM TOP): TOnY CORDOzA; FRED POMPERMAYER; TODD MCVEY; TIMOTHY bAILEY; ARTHuR MORRIS; 

SEAn DEJECACIOn; MARk LOHMAn; CHARLES LInDSEY; guY TAL; kELY nASCIMEnTO-DELuCA; FAISAL ALMALkI; DEnnIS FRATES. THIS PAgE: JESSE ESTES (TREE); PHILIPP kLIngER (InTERIOR).

ULTRA-SPEED, ULTRA-W I D E 

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AF11-16mm f/2.8 

The new Tokina AT-X 116 PRO DX is an ultra-wide angle lens 

with a lightning fast f/2.8 aperture for better photography in 

low-light situations. Many photojournalists consider having an 

f/2.8 apertured lens a must. Based on the award-winning optical 

design of the AT-X 124 PRO DX (12-24mm f/4) lens, the new 

AT-X 116 PRO DX has a short zoom range to maintain optical 

quality at wider apertures. With Tokina the difference is clear. 

AF 12-24mm f/4 

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Visit our website at www.thkphoto.com 


Photograph by: Brett Kennedy 

Taken with Nikon D300 and Tokina AT-X 116 AF PRO DX lens 

Available Mounts: 

Canon and Nikon Digital Cameras 

with APS-C sized sensors 

AF 10-17mm f/3.5-4.5 

Round Your World

Mpix Takes Your Craft to the 

Next Level 

Develop the Relationship 

It always begins with a package. 

You spent the last few days reviewing 

and compiling photos 

from a recent shoot—then it happens! 

The package arrives. Slowly 

you go to the door and cautiously 

lift the box from the doorstep. With 

breathless anticipation, you are 

almost too nervous to open it. 

This shoot was perhaps your 

first paying gig. Or maybe your 

twentieth. And everything went 

perfectly: lighting fell into place, 

the composition was right on, the 

batteries didn’t fail – it was a success…and 

the client was happy. 

And then you reach the one 

step in the process that you have 

no control over. After deciding 

that your printer couldn’t provide 

the quality and service you needed 

to take your craft to the next 

level, you decided to put your 

faith in a proven industry leader. 

And the first difference you notice 

is how fast the package arrives— 

because you placed your order 

with Mpix only 48 hours ago. 

What happens next is how we 

attain lifelong customers. 

A New Relationship 

You may come to Mpix because 

you’re looking for higher-quality 

prints. Or perhaps you want a 


broader selection of professional 

papers or mounting options. But 

once you do—and you see the 

results of our color management, 

finishing services, and retouching—our 

experience is that you’ll 

become a customer for life. 

The quality of our printing is unmatched 

in the industry. Your photos 

will pop with the rich contrast and 

sharpness that only a professional 

lab—in our case, the largest in the 

U.S.—can provide. Whether you’re 

an enthusiast, an advanced amateur, 

or a professional photographer, 

you’ll be blown away by the quality 

of our prints, and the speed of 

our turnaround. 

© Dale Benfield

Dale Benfield 

Benfield 

Photography, 

Fayetteville, 

Arkansas 

Convenience 

At Mpix, we understand that you 

want to spend more time taking 

pictures and less time dealing 

with a lab. That’s why we’re here: 

a one-stop location to handle 

the entire scope of your output 

needs. 

No matter the level of your photography, 

Mpix has the quality of 

output, fast turnaround, and ease 

of ordering that will dazzle you, 

your family, or your clients. 

We know this because we’ve 

been helping photographers like 

you for the last 40 years—and 

as you grow as an amateur or 

professional, we’re able to grow 

with you. 

mpix.com 

“I couldn’t live without Mpix. Their quality is outstanding, 

have insane turn-around times, and are super cost-effective. 

More importantly, though, they understand my needs as a 

photographer; they’re very innovative and continue to develop 

products that fit my clients’ growing wants/needs.” 

Shoot Today. Upload 

Tonight. We Ship Tomorrow. 

The Mpix process is simple. Our online 

tools make it easy to organize 

and share your photos. To order, 

simply select from our wide selection 

of photographic prints, specialty 

products or press products. 

Then let us take care of the rest. 

Some of Our Products 

• Color and B&W Prints 

• Books 

• Greeting Cards 

• Frames 

• Gallery Wraps 

• Standouts 

• Custom-Cover Books 

• Mounting and Canvas 

Some of Our Services 

• Online ordering 

• Professional retouching 

• Sharing images with friends 

and family so they can 

order prints of your photos 

• Drop shipping directly to 

customers or family (with our 

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A New Delivery 

We invite you to let us help you 

take your photography to the 

next level. Get started with Mpix 

after your next shoot. We can 

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package. 

Standouts Framed Prints Gallery Wraps Photo Books Wall Clings 

Shoot Today. Upload Tonight. We Ship Tomorrow. 


editor’s letter 

What does it take to win a photo contest? 

It’s a question that comes up once a month for our editors and art staff, 

as we judge our monthly Your Best Shot competition. And we gained 

new perspective this month, thanks to the three outside judges for our 

16th Annual Readers’ Photo Contest (page 63). 

With more than 4,400 entrants in six categories this year, judging was 

a huge task. And even after we’d cut the roster down to about 500 semifinalists, 

the judges—Jeff Dunas, co-founder and director of the Palm 

Springs Photo Festival (www.palmspringsphotofestival.com); Marti Saltzman, 

editorial director of Lark Photography Books (www.larkbooks.com/ 

digital); and Santa Fe-based photographer and teacher Eddie Soloway 

(www.eddiesoloway.com)—faced some tough choices. 

To see the photos that didn’t win, but could have, take a look at the 

gallery of runners-up on our website at PopPhoto.com/Contests-Events. 

All of the winners have a few characteristics in common. First, they’re 

technically excellent, with exposure, tonality, and focus all under perfect 

control. They have clearly defined subjects that instantly draw you into 

the picture. They inspire an emotional reaction or invoke a mood. They 

offer an element of surprise that piques your interest. And they convey 

all of this in an instant. 

Indeed, that’s one of the crucial lessons I learned from reading Winning 

Digital Photo Contests by Jeff Wignall, recently published by Marti 

Saltzman’s company. (She sent it to me when I asked whether she had 

any advice for photographers.) 

Wignall writes: “The photos that end up winning the contests [are] 

always among those that jumped off the screen (or out of the print pile) 

during their very first viewing. . . First impressions matter.” 

He goes on to describe what makes specific photos in all kinds of 

genres—portraits, wildlife, landscapes, sports, travel, even composite 

images—grab attention and win accolades. 

But Jeff Dunas, himself a photographer, put it most simply. When I 

asked him what makes a “winning” photograph, he replied, “Amaze me!” 

8 popular photography January 2010 


Editor MiriaM Leuchter 

Art dirEctor Jason Beckstead 

SEnior Editor Peter Kolonia 

SEnior Editor Dan richards 

SEnior Editor Debbie Grossman 

tEchnicAl Editor Philip ryan 

tEchnology MAnAgEr Julia Silber 

ASSiStAnt Editor Lori Fredrickson 

Art/Production ASSiStAnt Linzee Karasik 

EditoriAl coordinAtor Jae Segarra 

contributing EditorS tim Fitzharris, 

russell hart, Peter Krause, 

Neal Matthews, arthur Morris, 

tony Nagatomo, Bryan F. Peterson 

PoPPhoto.coM Editor Stan horaczek 

ASSociAtE Editor Patrick Parker 

in MEMoriAM herbert Keppler 

EditoriAl dirEctor MarK JaNNot 

grouP PubliShEr GreGG r. haNo 

ASSociAtE PubliShEr anthony ruotolo, Wendi S. Berger 

ExEcutivE ASSiStAnt christopher Graves 

MArkEting dirEctor Michael Gallic 

FinAnciAl dirEctor tara Bisciello 

conSuMEr MArkEting dirEctor Diane G. Potter 

SvP, corPorAtE SAlES & MArkEting Mark Wildman 

buSinESS dEvEloPMEnt MAnAgEr Phil Mistry 

northEASt AdvErtiSing oFFicE Lauren Brewer, 

Scott constantine, Susan Faggella, taryn Guillermo, 

Sara Schiano Flynn, tara Weedfald 

MidwESt 

MAnAgEr John Marquardt (312-252-2838) 

Ad ASSiStAnt Krissy Van rossum 

loS AngElES 

MAnAgErS robert hoeck (310-227-8958) 

Bob Meth (310-227-8955) 

Ad ASSiStAnt Kate Gregory 

dEtroit 

MAnAgEr edward a. Bartley (248-282-5545) 

Ad ASSiStAnt Diane Pahl 

SouthErn 

MAnAgEr Jason a. albaum (404-892-0760) 

clASSiFiEd AdvErtiSing SAlES chip Parham, Patrick Notaro 

intErActivE SAlES MAnAgEr chris Young 

digitAl SAlES dEvEloPMEnt MAnAgEr Brian Glaser 

SAlES dEvEloPMEnt MAnAgErS 

alexis costa, Michael Kelly, Kerri Levine 

grouP dirEctor, crEAtivE SErvicES/EvEntS Mike iadanza 

dirEctor oF EvEntS Michelle cast 

SPEciAl EvEntS MAnAgEr erica Johnson 

digitAl dAyS coordinAtor athos Kyriakides 

MArkEting Art dirEctorS Shawn Woznicki, Lindsay Krist 

ProMotionS MAnAgEr eshonda caraway 

Ad coordinAtor irene reyes coles 

Publicity MAnAgEr amanda McNally 

huMAn rESourcES MAnAgEr Kim Putman 

Production MAnAgEr Betty Dong 

grouP Production dirEctor Laurel Kurnides 

chAirMAn Jonas Bonnier 

chiEF ExEcutivE oFFicEr terry Snow 

chiEF oPErAting oFFicEr Dan altman 

chiEF FinAnciAl oFFicEr randall Koubek 

vicE PrESidEnt, conSuMEr MArkEting Bruce Miller 

vicE PrESidEnt, Production Lisa earlywine 

vicE PrESidEnt, E-MEdiA Bill allman 

vicE PrESidEnt, digitAl SAlES & MArkEting John haskin 

vicE PrESidEnt, EntErPriSE SyStEMS Shawn Larson 

vicE PrESidEnt, huMAn rESourcES cathy hertz 

vP, corPorAtE coMMunicAtionS Dean turcol 

brAnd dirEctor John Miller 

PubliShing conSultAnt Martin S. Walker 

corPorAtE counSEl Jeremy thompson 

POPPHOTO.COM

Desire. Lust. Interchangeable lenses. 

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but rather a unique focus on all-digital technologies. That focus has enabled LUMIX cameras to not 

only help create a whole new digital photo culture, but to also be on the leading edge of today’s 

digital camera revolution. The LUMIX G1 was the 2008 Popular Photography Camera of the Year 

and the LUMIX GH1 was the American Photo 2009 Entry-Level D-SLR Camera of the Year. 

Our latest innovation is the Panasonic LUMIX GF1, a breakthrough new camera that combines 

state-of-the-art photo and HD video capabilities in a sleek, compact camera design with a range 

of optional lenses. Capture stunning photos with the GF1’s 12MP Live MOS sensor. Explore your 

creativity with the GF1’s AVCHD Lite hi-def recording and movie effects. And with a built-in fl ash and 

advanced intelligent Auto, the GF1 makes taking exceptional photos and videos easy and convenient. 

Check out the entire line of LUMIX G Series innovations at www.Panasonic.com/Lumix 


PHILIP ryan 

showcase 

10 popular photography january 2010 



RISE UP The wide 22mm-equivalent 

field of view Pentax’s 15mm f/4 Limited 

lens provided on the Pentax K20D 

helped Technical Editor Philip Ryan get 

this shot of a stairwell in Berlin’s 

Kunsthaus Tacheles. Shot handheld at 

1/15 sec, f/4, ISO 1600, image 

stabilization enabled. See our test of 

this lens on page 88. 

POPPHOTO.COM popular photography 11

© Jaap Hart © Randy Plett 

REGIStER at www.mEntoRSERIES.com 

For more information, call toll-free 888-676-6468. 


April 28–- May 3, 2010 

© Dave Black

With its rugged terrain and magnificent canyons, Southern Utah 

is an American treasure revered for its natural beauty, rare 

wildlife and otherworldly rock formations. Join the Mentor Series 

and Nikon professional photographers Dave Black, John Reddy and 

Daniel J. Cox as we venture out to navigate the dizzying altitudes 

and vast expanses of Bryce Canyon and Zion National Park. 

Head to the overlook that provides a glorious perspective of lower 

Zion Canyon where steep sandstone cliffs tower in the distance. We 

will take advantage of the changing light as we meander along a strip 

of land between the monstrous cliffs and the Virgin River, and hope 

to catch a glimpse of the canyon tree frog. Discover sunlight streams 

through cottonwood and box elder trees, illuminating these hidden 

tarns, some of which are fed from waterfalls running off looming cliffs. 

Get a jump on the morning to photograph the jaw-dropping 

expansive multicolored natural amphitheater in Bryce Canyon as the 

sunrises. Learn how to best capture the warm light and saturated 

colors at this time of day. Along Queens Garden trail witness the 

majestic hoodoos— massive haunting spires of sedimentary rock carved 

away by eons of erosion and rising over 100 feet from the desert floor. 

We will trek to nearby Inspiration Point, providing spectacular vistas of 

the brown-and-red patterns of the tightly packed rock peaks set against 

the deep blue sky. The late afternoon sun will penetrate the narrow 

gorges and provide a backdrop to capture a sunset like no other. 

SchEdulEd to appEaR 

Limited to 15 Students per Instructor 

John REddy 

Smithsonian 

Men’s Journal 

Workshop fee: $1075 * 

When night falls, mentor Dave Black will conduct a light painting 

class at the base of the infamous Thor’s Hammer, a towering 

rock structure that demonstrates this region’s true capacity 

for beauty, along with a ponderous defiance of gravity. This 

creative lighting technique involves long exposure photography 

illuminating a subject using mobile light sources and can provide 

an ethereal unique mood to your night photography. 

We won’t miss out on some of the other unique gems in this 

gorgeous part of the country as we spend time at Zion Mountain 

Ranch. Utilize the opportunity to view and photograph a herd of 

buffalo roaming on several hundred acres of ranch property. Capture 

the culture of Native Americans when we visit a Paiute Indian Village 

or observe the drumming, dancing, and story telling around the campfire. 

Encounter another of the area’s main draws as adventure 

buffs engage the scenery. Frame the shot using the unparallel 

beauty of the landscape in the background, while mountain 

bikers maneuver the rocks along traversing trails, or 

courageous rock climbers rappel down the majestic cliffs. 

Don’t miss this opportunity to photograph the rich hues and 

harsh terrain of this magnificent geological arcadia while the 

mentors continually offer suggestions and reveal tips for making 

unique images of the natural world as we experience it. 

© Joy Fera © Ben Klaus © Ben Blankenburg 

* includes national park entrance fees, coach transportation to all shooting locations, 

photo ops, in the field training, digital review sessions and an Mpix photo book. 

with additional support from: 

davE Black 

Newsweek 

Sports Illustrated 

danIEl J. cox 

National Geographic 

National Wildlife Federation 


TM 

Special thanks to our premier sponsor: 

Come to Bryce Canyon and Zion National Park and try 

out some of the latest equipment that offers 

including their high-performance digital SLRs, NIKKOR 

lenses and a variety of Coolpix compact digital cameras. 

You’ll capture Bryce and Zion as never before! 

®

HOW DOES 

BEAUTY 

COME INTO THE WORLD? 

THROUGH YOU. 

With the new Intuos ® 

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Intuos4. Bring Your Vision Into the World. 

www.Wacom.com/i4 

© 2010 Wacom. Wacom and Intuos are registered trademarks of Wacom Company, Ltd. 

Image © Zhang Jingna. www.zemotion.net Wacom user since 2007. 


PETER KOLONIA 

THE HOTTEST NEW STUFF AND THE TECHNOLOGY TRENDS BEHIND IT 

WE WANT THIS 

A BEAUTIFUL UPGRADE 

AF tracking and new accessories take this looker up a notch 

MERE MONTHS after Olympus 

announced its game-changing 

and gorgeous E-P1 Micro Four 

Thirds camera, here comes a 

successor, the E-P2. It shares 

the E-P1’s sensor and imageprocessing 

engine, but adds 

some cool features. The silvery 

fi nish is gone, though—the E-P2 

comes exclusively in black. 

Chief among the improvements: 

The accessory port. This 

powers an articulating accessory 

electronic viewfi nder (in- 

The E-P2 has a 

new hot-shoe 

EVF and, for 

video shooters, 

an optional 

microphone 

adapter and 

full manual 

control—you can 

change aperture 

and shutter 

speed while 

recording. 

POPPHOTO.COM 

OLYMPUS 

E-P2 

12.3MP 

Micro Four 

Thirds format 

720p HD 

video 

$1,100, 

street, with 

14–42mm 

f/3.5–5.6 

or 17mm 

f/2.8 lens 


A SLEEK, TWISTY BALLHEAD FOR DSLRS 

16 

CANON’S TOUGH YET SENSITIVE PRO CAM 

20 

TOUR THE HIDDEN WORKS OF A NIKON D3 

24 

cluded), which is useful for the 

extra steadiness you get from 

holding the camera to your 

eye. This will come in handy, 

because there’s still no onboard 

fl ash and, with the EVF in the 

hot-shoe, no room to add one. 

The new autofocus tracking 

for both photos and video is designed 

to lock onto and follow 

a subject, whether it’s moving 

or you are. Given the slowish AF 

on the E-P1, we hope the E-P2 

focuses fast enough to keep up. 

JANUARY 2010 POPULAR PHOTOGRAPHY 15

next * juSt out 

The Arca- 

Swiss p0 tripod 

head has a 

minimalist 

design allowing 

easy and 

precise control. 

At $300, it's a 

relative 

bargain. 

speed two ways 

A super-fast card and a reader that shows it off 

SPeedy memory cards are 

fantastic, but, as we often warn, 

you'll only enjoy as much speed 

as your camera and card reader 

can handle. Lexar guarantees 

that its new Professional 

600X CompactFlash card 

reads and writes at 

a minimum of 

90MB/s. 

16 PoPular PhotograPhy January 2010 

Owners of the latest higher-end 

DSLRs will likely notice it when 

shooting in burst mode. 

On the road? Offload at robust 

speeds with the new Express- 

Card CF reader, shown here. It 

tucks right into your laptop’s 

ExpressCard slot, and can, 

says Lexar, transfer files 

at up to 133MB/s. 

A bonus: All of 

Lexar’s Pro memory cards 

come with the latest version of 

its Image Rescue software. 

tilt master 

A knobless ballhead 

makes adjustments easy 

arca-Swiss p0 ballhead 

$300, street 

lexar expressCard reader and Cf card 

$45, list, for reader; $500, 32gB card 

www.lexar.com 

www.precisioncameraworks.com 

news 

feed 

>Lensbaby 

lovers take 

note: The 

lens company 

has two 

new optics. 

Swap in the 

Fisheye Optic 

and shoot at 

12mm for a 

160-degree 

angle of view, 

or try the Soft 

Focus Optic 

for all-over 

dreaminess. 

Both will 

work wth 

your Creative 

Effects SLR 

lenses. 


Plenty of photographers rely 

on ballheads to change camera 

angles quickly, but it can get 

truly frustrating when you want 

to tilt fast but can’t get at the 

locking knob. 

The Arca-Swiss p0 ballhead 

solves this—it has no knob. To 

move your camera, you loosen 

the ball by turning the knurled 

ring near the release plate, and 

tighten it by turning again. 

Because the camera rests 

directly on the ball and not on 

its neck, movement should be 

smoother. This also makes it 

possible to pan the camera 360 

degrees around the vertical axis. 

The new head, a relatively 

light (9.9 oz) younger sibling of 

the Arca-Swiss p1, is meant for 

average-sized DSLRs with midsized 

lenses, rather than view 

cameras or super teles. 

inSidE tECh 

Fast Card 

Lexar guarantees 

that each one of its 

Professional 600X 

CompactFlash cards 

reaches a minimum 

write speed of 90MB 

per sec. Each flash chip 

cut from a given silicon 

wafer will produce a 

CF card of a different 

speed. So after the 

cards are assembled, 

Lexar uses a bus analyzer 

to individually 

clock each one.

In this family, 

everyone is photogenic. 

The Sony ® Series DSLR Cameras 

Whether you’re looking to step up to the world of higher-end photography or you’re already a 

professional photographer, Sony has the DSLR camera for you. With features like Quick Auto 

Focus Live View on the 330 and professional-level 35mm full frame 24.6 Megapixel CMOS Sensor 

on the 900, the Sony Series DSLR cameras have every feature you need to get the best shot. 

Learn more at sony.com/alpha 

© 2010 Sony Electronics Inc. All rights reserved. Reproduction in part or whole is prohibited without prior written consent of Sony. Sony, the 

Sony logo, alpha, and the HDNA logo are trademarks of Sony. 


next * juSt out 

Among the perks of 

Flip Video’s MinoHD: 

simple, touch-sensitive, 

and backlit controls; 

a stereo mic; a 

built-in speaker, 

and HDMI video 

out (cable 

optional). 

poCKet Hd 

Push red button, make hi-def video. Repeat. 

PeeKIng out of your shirt 

pocket, the Flip Gen 2 MinoHD 

video recorder looks more like 

a brushed chrome cell phone: 

compact, svelte, and—with no 

tapes, memory cards, connecting 

cables or software CDs— 

completely self contained. 

What’s new in the second 

generation of this mini cam- 

PortaBle VIeWerS have been 

around a while, but the mega 

storage space and fairly fast 

offl oad time (up to 40MB/s) 

makes the MemoryKick Si 

especially appealing. It will play 

MP3s, videos, and RAW fi les as 

well as the usual JPEGs. It also 

reads most common memory 

cards—simultaneously for 

card-to-card transfer. But the 

real bonus comes with its USB 

corder? The LCD preview screen 

is about one-third wider, and 

the internal fl ash memory has 

doubled to 8GB for 120 minutes 

of 720p video. Like the fi rst 

MinoHD, all the connecting and 

editing software is built in. 

Who needs speed-dial-simple 

HD video? When it’s as cute as 

the Flip, who doesn’t? 

flip generation 2 minohd camcorder $229, street www.thefl ip.com 

BaCKUp to Go 

View and store your photos on the road, sans laptop 

memoryKick Si 

160–500gB, $300–$430, street 

www.argraph.com 

18 PoPular PhotograPhy January 2010 

port. When you’re on the road, 

you can copy images from your 

MemoryKick to another hard 

drive, making doubly sure it’s 

safe to format your memory 

cards and continue shooting. 

>Shooters 

who use 

touchscreen 

cameras now 

have two glove 

options for 

wintertime: 

Etre’s Touchy 

gloves, which 

lack tips on 

the thumb and 

forefinger, and 

Dots Gloves, 

which have 

conductive 

spots on their 

fingertips. 

>Intended for 

Alzheimer’s 

patients, the 

wearable Vicon 

Revue camera 

will take a 

photo every 30 

seconds. Great 

for those who 

have trouble 

remembering, 

or just want to 

record their 

entire lives. 

>If you hate 

wearing a 

camera strap 

around your 

neck, try a 

holster: The 

SpiderPro 

system lets you 

hang your 

camera from 

your belt. 

>Wacky 

iPhone app 

alert: 3D 

Camera helps 

you shoot 3-D 

photos with 

your phone. 

View them with 

3-D glasses or 

let the app 

switch rapidly 

between the 

two images to 

simulate a 3-D 

effect. 


New 

Software 

OnOne FocalPoint 2 

Adding realistic lens 

blur is a complicated 

project in Adobe Photoshop, 

so we loved 

the original version of 

onone’s FocalPoint 

plug-in—it let us add 

blur and create shots 

that we couldn’t have 

made in the camera. 

But its blur wasn’t 

always fl exible enough. 

the second iteration 

should fi x that. More 

realistic, FocalPoint 2 

lets you control highlight 

bloom and even 

has a lens simulator 

that imitates the 

bokeh of optics you 

didn’t, or couldn’t, use 

when shooting. ($160, 

direct; www.onone 

software.com) 

thE LoWdoWn 

lightroom 3 in Beta last 

october, adobe put a beta version 

of lightroom 3 up on its labs site. 

the free software doesn’t expire 

until april 30, 2010 , and features 

an upgraded raW processor, a 

much more useful import dialog, 

and plenty of organizing and exporting 

improvements. don’t miss the 

chance to tell adobe how to make 

the program better, and enjoy an 

extended free trial in the meantime.

MY FRIENDS. 

MY LIFE. 

MY IMAGES. 

M-Y MANFROTTO 

The M-Y tripod is ideal for: 

· self portrait 

· low light shots 

· long distance shots (zoom) 

· video recording 

· traveling (light and compact) 

For more information visit 

www.manfrotto.us 


Great nights out, 

great holidays, great memories! 

Manfrotto’s M-Y tripod lets you capture 

the moments you want to remember. 

7322CY Tripod 

w/494RC4 Head

next * ClOser lOOK 

A rAce to the top 

Canon’s latest takes on Nikon 

in speed and sensitivity 

Just four days after Nikon 

announced its new pro-level 

speed-demon, the D3S ($5,200, 

street, body only), Canon stole its 

thunder with an announcement 

of its own: the EOS-1D Mark IV 

($5,000, street, body only). 

Both of these DSLRs reach ISO 

104,200 in their expanded ISO 

ranges. But the Canon extends 

down to ISO 50 for more flexible 

shooting in bright light. An even 

bigger difference: The Canon’s 

16.1MP CMOS sensor sports 

about 4 million pixels more than 

the Nikon’s 12.1MP CMOS. While 

Like the rest 

of Canon’s 

EOS-1D line 

of pro-level 

DSLRs, the 

Mark IV has 

a sensor 

that’s 

smaller than 

full-frame, 

for a 1.3X 

lens factor 

that makes 

the 50mm 

f/1.4 shown 

here mimic 

the field of 

view of a 

65mm lens. 

this should mean slightly more 

resolving power, it might also 

mean more noise. 

Why? Canon uses a smaller 

APS-H sensor, while the Nikon’s 

sensor is the size of a full frame 

of 35mm film. To fit more pixels 

in less space, Canon uses pixels 

that measure 5.7 microns, compared 

with 8.45 microns on the 

Nikon. Usually, the smaller the 

pixels, the noisier the pictures. 

Canon claims that its new 

sensor design helps to keep noise 

down compared with its predecessor: 

The Mark IV’s new deeper 

AMATeur PrO 

Canon Eos-1d Mark IV $5,000, street 

16.1Mp aps-h-sized CMos sensor 

www.canoneos.com 

pixel wells can gather more light, 

and its gapless microlenses are 

closer to those pixel wells and 

direct more light into them. 

Also, the color filter array atop 

the sensor is made of more transparent 

material, again to let more 

light through, and the amplifier 

that pushes the signal out of the 

chip and through to the camera’s 

buffer is more powerful, according 

to Canon. We’ll find out when 

we get a testable model in the 

Pop Photo Lab. 

The Mark IV’s two Digic 4 processors 

simultaneously process 

the mass of data generated by 

the camera’s 10-frames-persecond 

bursts. Canon says that, 

using a UDMA card, you can 

capture up to 121 Large JPEGs, 

28 RAW files, or 20 RAW + JPEGs 

before the buffer fills. 

Video capture is very similar 

to the Canon’s EOS 7D (tested on 

page 82): a choice of 1920x1080, 

1280x720, or VGA pixel resolution 

at 30 or 24 frames per second 

and, at 1280x720 or below, 

options for 60 fps. 

Metering is the same as on the 

Mark III, but the new 45-point 

autofocus system has 39 individually 

selectable high-precision 

cross-type points. The AI Servo 

II mode aims to improve focus 

tracking over the Mark III, with 

new logic that should help the 

camera make better decisions. 

Between the Mark IV and 

the Nikon D3S, the competition 

among high-end DSLRs has never 

been tougher. We can’t wait to 

see how they fare against each 

other in our tests. —Philip Ryan 

20 popular photography January 2010 POPPHOTO.COM 



next * state of the art 

wild CompaCt 

Swap out your lens, sensor, and processor all at once 

Thanks, perhaps, to Micro Four 

Thirds, the concept of interchangeable 

lenses on compact cameras is 

catching on. And Ricoh has taken 

interchangeable to a new level with 

its GXR—making the entire lens, 

sensor, and image processor portion 

of the camera swappable as a single 

module. Each is sold individually, to 

plug into a single body ($550, street). 

The benefit? Ricoh claims this 

creates the best lens/sensor/ 

processor combos. Since macro 

shooting may require a high ISO to 

get fast shutter speeds, the macro 

module ($830, street) pairs a 33mm 

(50mm equivalent) f/2.5 close-up 

lens with an APS-C-sized 12.3MP 

CMOS sensor to keep noise down. 

There’s a 24–72mm (equivalent) 

f/2.5–4.4 VC module ($440, street), 

with a smaller 10MP CCD sensor. 

A 300mm (equivalent) module 

planned for 2010 will have an even 

smaller sensor, with a higher crop 

factor for added reach. 

Drawback? The unique system 

seems pricey to us. —Philip Ryan 

ricoh gXr body with swappable macro and zoom modules 

22 popular phoTography January 2010 

400, 

000 

Number of unique book 

titles self-publisher Blurb 

estimates it will have 

published in 2009 

28 

Number of titles, 

including six limited 

editions, published by 

Aperture in 2009 

news 

feed 

>Want more 

accurate color 

in your Firefox 

browser? 

Download 

the Color 

Management 

add-on to 

make sure it 

displays JPEGs 

correctly. 

>Mac users 

who want to 

try highdynamic-range 

imaging have 

a new option 

to try out with 

Ohanaware’s 

HDRtist 

software. 

>Having a 

hard time 

getting those 

old 4x6 prints 

digitized? 

Jobo’s new 

ScanViewer is 

both a digital 

photo frame 

and a print 

scanner. And 

it can send 

files to your 

PC via USB 

cable. 


toolbox 

drive by 

How to really take your 

photography on the road 

shooTing while sticking your 

camera out the window of a 

moving vehicle is not the smartest 

idea—trust us, we’ve done 

it. Instead, why not mount your 

video camera or sub-8-pound 

DSLR to Delkin’s Fat Gecko 

dual-suction camera mount 

($70, street; www.fat-gecko. 

com)? With its double-knuckle 

design, Delkin says the mount 

will attach securely to your car, 

airplane, or motorcycle helmet—as 

long as it’s affixed to a 

smooth, flat surface. For smaller 

cameras, opt for the single-cup 

Mini Camera Mount. 

POPPHOTO.COM


next * THE guTS 

crooked path 

Light takes a bouncy journey through a DSLR 

autoexposure module 

The D3’s AE module is a CCD sensor 

with 1,005 pixels that analyze 

data including color, contrast, and 

distance. Nikon’s 3D Color Matrix 

Metering II compares the image to 

a database of more than 30,000 

images to evaluate exposure settings. 

focusing screen and 

condenser lens 

The focusing screen is a 

flat ground-glass on which 

the still-reversed image is 

formed. The condenser lens 

above it guides the image 

into the pentaprism. 

image 

sensor 

pentaprism 

Full name: pentagonal roof 

prism. Made of optical glass 

encased in mirrors, the prism 

bounces the image around 

three times to send it to the 

viewfinder eyepiece, unreversing 

it in the process. 

a dslr’s “through-the-lens” viewing is anything but. It’s more like 

through-the-lens, off-a-mirror, through-another-lens, projected-onto-ascreen, 

bounced-around-a-prism, and through-yet-another-lens viewing. 

The system requires precision. The Nikon D3’s viewfinder, which shows 

the image exactly as it reaches the sensor, requires even greater precision. 

The Nikon 

D3’s viewfinder 

system, here 

with the 

14–24mm 

f/2.8G AF-S 

Nikkor lens, is 

carried over 

to its replacement, 

the 

D3s ($5,200, 

street, body 

only). 

secondary mirror 

A portion of the reflex mirror is 

semi-silvered (a beamsplitter) to 

allow some light to pass through it. 

A second mirror behind the reflex mirror 

directs this image down to a lens 

that guides it into the AF module. 

reflex mirror 

Set at 45 degrees to the light path, 

this reflects the image from the 

lens upward to the pentaprism 

assembly. The image is reversed 

at this point. The mirror quickly 

pivots up just before exposure to 

allow the image to reach the 

sensor, then drops back down. 

autofocus module 

Here, the image is divided in two 

and the pair compared electronically, 

something like an optical 

rangefinder. Info from the two images 

is analyzed to determine which way 

the lens should be focused, and how 

much. The D3 can do this at any of 

51 points in the frame. 

24 popular photography January 2010 PoPPHoto.coM 


In 2010, Study at Home And Take Your 

Photography to a New Level 

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As we celebrate our 100th Anniversary, we’ve integrated all that’s new in the world of 

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top professional photographers explain how to take great pictures. Best of all—every 

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with today’s equipment, join NYI. We’re much more than just an online photography 

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Isn’t it time to follow your dream and join NYI? 

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April 8–16, 2010 

RegisteR online at www.mentoRseRies.com 

For more information, call toll-free at 888-676-6468. 


© NourElRefai 

© Athos Kyriakides © Athos Kyriakides

Morocco undoubtedly teems with rich history, fascinating culture, and 

spectacular natural attractions. Join the Mentor Series with Nikon 

professional photographers Layne Kennedy and Steve Simon as we take 

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The trek begins at the foot of the Atlas Mountains in Marrakech, the 

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here. Navigate the streets of the medina; capture endless color and 

bustling locals at Djemaa el Fna Square —Morocco’s oldest and busiest 

marketplace—where snake charmers and dancers entertain. As evening falls, 

enjoy a special vantage point overlooking this crowded and productive main 

square. Find tranquility and perfect your macro skills while wandering the 

Majorelle Gardens. Stop for tea at an open air café, or consider architectural 

perspective and depth of field when we stop to capture the decorative 

Koutoubia Mosque. 

We’ll make our way across the Atlas Mountains to the enchanting 

fortified hillside village of Ait Benhaddou, which sits along the Ouarzazate 

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in a traditional adobe home and see firsthand how these beautiful manmade 

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The adventure continues along the fabled “Road to 1000 Kasbahs.” 

Enjoy the ride as we stop to photograph the breathtaking rock formations, 

unique sandscapes , various rose plantations and the volcanic lake at 

Merzouga. As the sun descends, we will board camels and ride into the 

Sahara to witness the dramatic evening light transform the dunes into 

infinite shades of gold. En route to Fes, enjoy the change in terrain as we 

explore the lush Cedar Forest abundant with evergreen pines, tall cedar trees 

on the peaks and poplars on the foothills. 

We won’t miss Fes, the world’s largest intact medieval city. Venture out 

to explore the majestic mosques, historic architecture, and lively medina. 

Learn how to best capture the kaleidoscope of this imperial treasure: from 

peddlers of brilliant spices to determined tanners soaking skins in vats of dye. 

On every turn of the journey our mentors will provide invaluable tips for 

photographing the distinct allure and exceptional subjects that surround 

us. From sunrise to sunset, landscape to locals, Kasbahs to camel caravans 

—don’t miss this rare opportunity to travel to Morocco with the Mentor 

Series and experience the expansive beauty, ancient traditions and exotic 

mysticism of one of the most interesting places in the world. 

steve simon 

New York Times 

Life 

*includes workshop fee, roundtrip economy airfare from JFK to Marrakech, Fez to 

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SHARE 

CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED 

JESSE ESTES 

PHOTO CHALLENGE 

STILL 

LIFE 

Misty weather is a nature 

shooter’s best friend 

WHEN 34-YEAR-OLD Jesse Estes 

(www.jesse-estes.com; featured 

in our December 2009 Software 

Workshop) learned that trees in 

Portland’s Japanese Gardens had 

reached peak fall color, he didn’t 

let the misty weather deter him. 

The Troutdale, OR-based systems 

administrator knew, as Stan 

POPPHOTO.COM 

Jesse Estes 

entered our 

monthly Your 

Best Shot 

contest, but 

our annual 

competition 

(page 63) 

bumped it 

this month. 

Trzoniec explained in October’s 

Nature column, gray days can be 

a foliage shooter’s best friend. 

Estes says, “Wind stirring the 

leaves can be an issue. But it was 

perfectly calm, still wet from 

a storm.” This allowed a 3-sec 

exposure (at f/14, ISO 200) while 

keeping sharpness in the leaves. 


AN INTIMATE LOOK AT FREEZERS 

30 

SHOOTING SITES FOR HOLLYWOOD 

32 

READERS JOIN THE URBEX CLUB 

34 

NEXT PHOTO 

CHALLENGE 

Whether you 

shoot 

buildings 

(page 50), 

landscapes 

(page 56), or 

action (page 

64), send your 

amazing, printworthyblack-andwhite 

to Photo 

Challenge@ 

bonniercorp. 

com by 

January 31. If 

we publish 

yours, we’ll 

pay you $100. 

He also got a fresh take on a 

favorite subject of local photographers. 

“Most images I’ve seen 

don’t include much of the upper 

part of the tree, with its branches 

snaking around,” Estes says. A 

Sigma 10–20mm f/4–5.6 lens on 

his Nikon D300 helped pack all 

the color in. —Lori Fredrickson 


Mark Menjivar (8) The 

share * my project 

Cold Facts 

A photographer portrays what sustains us 

San antonio-baSed Mark 

Menjivar thinks of his project, 

“You Are What You Eat,” as a 

series of intimate portraits. “One 

person mentioned that ‘asking to 

photograph my refrigerator is like 

asking me to pose nude,’” he says. 

Menjivar, 29, a professional 

photographer with a degree in 

social work, came up with the 

idea while working on a documentary 

film about hunger. “I was 

thinking about how ‘you are what 

you eat’ is a cultural cliché, but is 

also very relevant.” 

He began by making portraits 

of people with their refrigerators. 


“But then I realized the viewer 

would compare how a person 

looks with what they eat.” He 

decided that an image of the 

fridge, captioned by a few details 

of the person’s life, told more. 

Menjivar contacted a few 

friends, but the majority of the 

fridges belong to strangers, some 

of whom he approached, and 

others who offered when they 

learned about the project. “A lot of 

people were hesitant or anxious— 

but in the end, trusted me enough 

to invite me into their homes.” 

Using a Keith Canham 4x5 field 

camera and Lowel Tota lights 

Here's how 

photographer 

Mark Menjivar 

captions his 

refrigerator 

portraits: 

1. Street 

Advertiser, 

lives on $432 

fixed monthly 

income. 

2. Disabled, 

weighed 390 

lb earlier this 

year. 

3. Short Order 

Cook, she can 

bench press 

over 300 lb. 

4. Documentary 

Filmmakers, 

efforts have 

helped send 

millions of 

dollars to 

children in 

Uganda. 

5. Carpenter/ 

Photographer, 

12-point buck. 

6. Community 

Volunteer, 

completely 

blind and 

lives alone. 

7. Red Cross 

Board 

Member, 

sleeps with a 

loaded .45 

pistol on 

nightstand. 

See more of 

Menjivar's 

work at 

www.mark 

menjivar.com. 


positioned on either side of the 

fridge to fill in backlit interiors, 

he’s shot about 50 altogether. 

Each tells a story. A freezer 

packed with meat belongs to 

a couple who raise their own 

livestock. The interior crammed 

with takeout containers, to a 

waitress who works the night 

shift. The one with a frozen dead 

rattlesnake? A short-order cook 

brought this desert find home “to 

make a walking stick.” 

Menjivar explains, “There’s both 

a humor and seriousness to [this 

project]. I want it to spark people’s 

imagination.” —Lori Fredrickson 

POPPHOTO.COM

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share * I, PHOTOGRAPHER 

Location Scout 

Nick Carr helps Hollywood on the mean streets 

an urban explorer’s dream: 

I get to go to places most people 

don’t get to go to, and I get to 

see things most people don’t 

get to see. When I worked on 

Spider-Man 3, my job for 2 or 3 

months was going to the highest 

rooftops to figure out where 

Spider-Man would jump off. For 

Pelham 1 2 3, I got to go all sorts 

of places underground on train 

tracks that are no longer used. 

Finding sites: Day one, you get 

the script and read it. Then you 

make a list of locations you have 

to find—some are obvious, like 

Central Park or Grand Central 

Terminal, and it’s just a matter 

of logistics and permission. 


Some, like “college student’s 

apartment” or “dank alleyway,” 

are more abstract. Screenwriters 

and directors often have a vision 

of New York City that doesn’t 

exist, so you have to offer a lot of 

options. I have to draw on experience, 

knock on every door on 

the block, leave flyers, and hope 

people call me back. 

getting started: I went to 

Columbia University for film 

studies—I learned a lot about 

appreciating films, but not as 

much about making films. Then I 

worked as a production assistant 

for a year and a half, and a big 

part of the job was finding things 

the stars wanted—such as a 

Freelancer 

Nick Carr, 

27, scours 

New York 

City for 

locations 

for movie 

producers, 

then works 

on-site 

throughout 

the shoot. 

Among the 

films he’s 

worked on: 

Munich, 

Spider-Man 

3, The 

Taking of 

Pelham 

1 2 3, 

and The 

Sorcerer’s 

Apprentice 

(due out in 

July 2010). 

Check out 

his photo 

blog, www. 

scoutingny. 

com. 


basketball court at every location 

for Adam Sandler. Learning how 

to do this is how I later switched 

to location scouting. 

the photography: I learned 

it on the job. I’ve upgraded to 

a Canon EOS Rebel XT with a 

17–85mm f/4–5.6 Canon EF-S IS 

lens, but most location scouts 

use point-and-shoots. You don’t 

have to be a great photographer, 

but it helps if you put a little 

more work into it. Directors need 

to get a good sense of a place. 

going above and beyond: 

I shoot a lot of panoramas— 

rooftops, rooms from different 

angles and corners—and stitch 

them together in Canon’s Photo- 

Stitch. Then I try to think like a 

director and take singles that 

could be actual movie shots. 

available light: I try for 

consistent lighting and a steady 

hand, since I don’t use a tripod. 

Low light is a problem, but 

sometimes directors want dark 

pictures—I shot Bryant Park at 

night recently, and they wanted 

it as dark as possible so they 

would know how to light it. 

you need stamina: I work 

11- to 12-hour days before the 

movie starts shooting, and 15- 

to 16-hour days when it does. 

There’s no cutting corners. Even 

if I’ve scouted and photographed 

a location several times in the 

past, I have to do it again to get 

the most up-to-date shots. And 

sometimes I never find what 

they need, and they have to 

build the set on a sound stage. 

—As told to Kathleen Davis 

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SHARE * LETTERS 

Ruin Rules 

I ENJOYED “The Explorers’ Club” (November 2009) 

very much. In 2004 I went to the now-defunct Fort 

Ord, on the Monterey Coast, for my fi nal project for 

my photography class. I was using b&w fi lm and a 

venerable Pentax K1000. Yes, I trespassed like crazy 

(keeping an eye out for security) and got some great 

shots. It wasn’t until later that I learned from a 

classmate, a former Monterey County deputy sheriff, 

that Fort Ord was used by drug abusers and burglars 

to stash loot! When exploring abandoned sites: 

Note the weather, especially if it may turn bad. Too 

hot can be as bad as too cold or too wet. 

Have a current tetanus shot. Presume everything in 

the abandoned location is chock full of nasty bugs. 

Carry a small fi rst-aid kit. You may cut yourself. 

Take work gloves. Useful when you want to push 

something out of the way or crawl for that special shot. 

Program your cell phone to speed-dial the local 

police and fi re departments in an emergency. 

Always carry a fl ashlight. Besides serving as a tool for 

light painting, it can help you see where you’re walking. 

Pay attention to signs warning you of hazards such 

as rotting stairs. 

Take food and water. You’d be surprised how fast 

time goes by when you’re snapping away. 

Always be aware of your surroundings. I would have 

been more careful if I had known who used the place I 

was photographing. Sal Murillo 

Gilroy, CA 

34 POPULAR PHOTOGRAPHY JANUARY 2010 


WRITE TO US: POPPHOTO@BONNIERCORP.COM 

TWO RECENT ISSUES mentioned 

Singh-Ray’s variable ND fi lter. 

I’ve found that, despite its high 

quality and ease of use, it has 

two disadvantages: the price 

($390, street) and the size (only 

77mm and 82mm). It consists 

of a linear polarizer in front of a 

circular one. Nearly every halfserious 

photographer these days 

has a circular polarizer, so the 

only thing you might need to buy 

is a good linear the same size. 

Getting a homemade system to 

work reliably requires maybe 

an hour of practice, but it saves 

money and for many eliminates 

the inconvenience of carrying a 

step-up ring. Barton Milligan 

Asheville, NC 

NOTE: While this should work, 

you risk vignetting if the fi lters are 

small and your lens wide-angle. 

NOVEMBER’S Tech Support (page 

32) had a question from reader 

Tom Boyd on options when 

Adobe Camera Raw can’t read 

the RAW fi les from his Canon 

EOS Rebel T1i. Your response did 

not include arguably the best 

solution, which is to use Canon’s 

Digital Photo Professional (DPP) 

software, which should have 

come free with his camera. Not 

only does it convert Canon’s RAW 

fi les, but generally provides suffi 

cient editing tools to complete 

the postprocessing task. If not, 

Photoshop CS3 is but a keystroke 

away to further manipulate the 

converted image. Michael Cohn 

Los Angeles, CA 

HERE’S A HELPFUL tip for those 

who want to do street/candid 

photography of people but 

are uneasy about approaching 

strangers. Volunteer your 

photography skills for a local 

organization that you have interest 

in. I’m a volunteer photographer 

with my city’s Metro Parks 

System and feel much more 

confi dent approaching people 

in the parks when I am wearing 

my park volunteer identifi cation 

badge and can explain 

that the images are to be used 

for the Park System’s website 

and magazine. This is helping 

me to gain a relaxed attitude in 

approaching interesting people 

elsewhere. Frank D. Kozarich 

Columbus, OH 

CONGRATULATIONS and thanks 

for your new design! Reading 

through the November issue 

was like taking a drink from a 

fi re hose. Lots and lots of useful 

information in a very readable 

format and font. John Donovan 

Via e-mail 

REGARDING YOUR new format: 

I hate those 3/4-inch-wide 

columns sandwiched in between 

the regular columns. They are 

very irritating and annoying. My 

eyes don’t like to bounce from 

line to line every word or two. 

Get rid of them! Phil Andrade 

Lexington, MA 

HOW TO CONTACT US: Address your questions or 

comments on editorial content to Popular 

Photography, 2 Park Avenue, New York, NY 10016; 

e-mail, PopPhoto@bonniercorp.com. Published 

letters may be edited for length and clarity. We regret 

that we cannot answer all letters. Editorial 

contributions sent by mail must include return 

postage and will be handled with reasonable care; 

however, we assume no responsibility for return or 

safety of photographs, disks, or manuscripts. 

SUBSCRIPTIONS: Visit PopPhoto.com/ 

customerservice for all subscription inquiries. Please 

allow at least 8 weeks for a change of address; 

include both your old and new addresses, and if 

possible an address label from a recent issue. 

Subscription prices: U.S.: 1 year, $14, 2 years, $28; 

3 years, $42. Canada (includes 5% GST) and all 

other foreign: 1 year, $31.93; 2 years, $55.94; 3 

years, $77.94. Occasionally we share our information 

with other reputable companies whose products and 

services might interest you. If you prefer not to 

participate, please contact us through PopPhoto. 

com/customerservice. 

REPRINTS AND EPRINTS: Please contact 

Brian Kolb at Wright’s Reprints, 877-652-5295, 

bkolb@wrightsreprints.com. 

The paper used for this magazine 

comes from certifi ed forests 

that are managed in 

a sustainable way to meet 

the social, economic and 

environmental needs of present 

and future generations. 

POPPHOTO.COM 


share * tech support 

Lost in Color 

Q 

I shoot in the Adobe 

RGB color space. 

When I look at an image 

in Microsoft Windows Pic- 

ture and Fax Viewer (Windows 

XP), the colors are 

vibrant and contrasty— 

the way I intended them. 

Got a 

question? 

E-mail us at 

PopPhoto@ 

bonnier 

corp.com 

or visit the 

Tech Support 

forum at 

forums.Pop 

Photo.com. 


But when I open the same 

Adobe RGB files in Adobe 

Photoshop CS2, the colors 

look flat and drab. This 

has happened on several 

computers with different 

monitors. How can I get 

CS2 to render color like 

Windows’ XP Viewer? 

M. Rick Richards 

Elk Grove, CA 

You have color space issues. 

A Windows Picture and Fax 

Viewer is automatically color managed, 

rendering your color correctly 

according to its profile (in your case, 

Adobe RGB). But Photoshop gives 

you color management options, and 

it sounds like yours are set incorrectly. 

To fix the problem, in Photoshop 

go to Edit > Color Settings. In 

the Settings presets (the first dropdown 

menu) select “North America 

Prepress 2” and make sure all the 

boxes are checked to alert you to 

profile mismatches and missing 

profiles. Plan to post images online? 

Many web browsers and photosharing 

sites lack support for color 

management, so convert to sRGB 

before posting: In Photoshop, go to 

Edit > Convert to Profile. 

PowerShot Power Source Q I’d like to use lithium AA 

cells in my Canon PowerShot 

SX120 IS digital compact for their 

greater capacity compared to 

alkalines. My previous compact 

(the Fujifilm FinePix A820) 

warned against lithiums, and 

I’ve read they can overheat and 

aren’t allowed on some airlines. 

The Canon SX120’s manual 

doesn’t address this. Jim Somberg 

Via e-mail 

Canon doesn’t recommend 

A lithium AAs in PowerShot 

cameras. A spokesperson described 

in-house tests that, over time, 

uncovered significant variations in 

quality and performance for different 

36 PoPular PhotograPhy January 2010

ands, making it hard to generalize 

about their suitability. They will 

probably not hurt your camera in 

normal use. But abnormal use, such 

as rapidly and repeatedly shooting 

with the onboard fiash, could 

lead to dangerous overheating. The 

preferred power source is AA-size 

rechargeable NiMH’s, even though 

they can lose a charge over time. 

Finder Bind 

Q I have a Nikon DR-3 rightangle 

finder. Is there an adapter 

that will allow its use on my 

Nikon D300? Allan de Sousa 

Via e-mail 

We couldn’t flnd one. The 

A DR-3, built for round eyepieces, 

came out some 20 years ago. 

But the D300, with its square eyepiece, 

needs the DR-6 ($200, street). 

For more info, search the Nikon support 

database (support.nikontech. 

com) for “right-angle flnder.” 

nikon-to-canon adaPter Q I own a group of mintcondition 

Nikkor lenses. I also 

now own a Canon EOS Rebel XTi. 

I understand there are adapters 

that will let me use the Nikkors 

on my Rebel. Who makes them, 

and could they damage either 

camera or lens? Paul Castenholz 

Colorado Springs, CO 

Both the German adapter spe- 

A cialist Novofiex and the British 

flrm 16:9 market such adapters. 

Check them out at www.novofiex. 

com and www.16-9.net, respectively. 

Prices start at less than $300. While 

we haven’t heard of them causing 

damage to lenses or cameras, we 

have not tested them. But one of our 

regular contributors, nature photographer 

Ian Plant, is a big fan of 

the V2 Nikkor-to-EOS adapter from 

16:9. Not every adapter, however, 

will necessarily work with all your 

Nikkors or offer the same degree of 

AE dedication from lens to lens. 

POPPHOTO.COM 

What should i Buy? 

reader Don Angle wants to upgrade his lenses for a canon eos 

rebel (model unspecified) for a once-in-a-lifetime trip to hawaii. 

(he owns canon’s 18–55mm f/3.5–5.6 Is and 70–200mm f/4 Is 

zooms.) his problem? cash. he wants a wide and fast (or imagestabilized) 

zoom for less than $500. For us, the answer is clear: 

tamron’s sp 10–24mm f/3.5–4.5 ($480, street). While those 

extra 8 millimeters at the wide end may not seem like much, he’ll 

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HOW 

EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS 

DAVID HARRY STEWART 

CREATIVE THINKING 

MOOD 

LIGHT 

Underlighting can draw 

out a subject’s dark side 

IMAGINE BEING asked to shoot a 

portrait of a heavyweight boxing 

champ . . . who’d been to prison 

. . . and who once bit off part of 

an opponent’s ear. Nervous? 

Commercial photographer 

David Harry Stewart sure was 

when he took this photo of Mike 

Tyson for the New York Times 

Magazine, using simple lighting 

to capture the power and pathos 

of his notorious subject. He had 

to muster up his courage to 

tease Tyson into relaxing. 

A New Yorker currently living 

in Los Angeles , Stewart (www. 

dhstewart.com) takes his inspiration—and 

technique—from 

the history of art, photography, 

and cinema. “It’s very important 

to see what has happened before 

us and where things are now,” he 

advises. “Look at as much photography 

as you possibly can. It’s 

part of your consciousness.” 

He draws heavily from cinema 

lighting, with its emotional and 

historical suggestiveness. “Light 

and color have meaning, but you 

must be able to see it fi rst,” he 

POPPHOTO.COM 

Mike Tyson 

got the 

classic 

Rembrandt 

treatment 

in this 

portrait by 

David Harry 

Stewart. 

GET HOLLYWOOD RESULTS FROM SELECTIVE LIGHTING AND EDITING 

44 


46 

CAPTURE PATTERNS IN ARCHITECTURE 

50 


how * Creative thinking 

Sky Light fix it fast 

Intensify dramatic clouds 

says. “Knowing how to see is 

much more important than what 

kind of camera or lights you have.” 

With this portrait, he turned to 

the 17th-century Dutch painter 

Rembrandt, whose chiaroscuro 

(contrasting light and dark) 

technique lends an austerity and 

authority that refiects Tyson’s 

story. “He has a kind of tragedy 

about him,” Stewart says. 

For the soft yet directional 

light, he placed a small Photek 

umbrella about 4 feet from Tyson, 

angled down from about 45 

degrees above and to the right. 

This deflned the shape of his face 

and put a little catchlight in his 

eye. A white bounce card far off to 

the left put a touch of light on the 

dark side to deflne his head. 

Although Stewart used highend 

Profoto 7 lighting gear, you 

can easily get the same effect 

with an off-camera fiash or even 

a lamp. And while Stewart shot a 

single roll of Kodak Portra 160NC 

print fllm using a Mamiya RZ67 

with 140mm f/4.5 lens at f/11, a 

DSLR with an 80mm or 100mm 

lens can achieve a similar look. 

The darkness in this portrait is 

just as important as the light. For 

the darkest, least-refiective background 

possible, Stewart recommends 

a fiame-retardant black 

fabric called duvetyne. (Velvet 

may work, too, if it’s thick enough 

to block any light from coming 

through.) Still, you may need to 

flne-tune in postprocessing. 

The most crucial factor? Rapport. 

Stewart showed Tyson a 

Polaroid of his initial shot, but 

the flghter remained aloof and 

boasted of being a “bad man.” 

After a few minutes, Stewart took 

a chance: He slapped him on 

the shoulder, saying, “Come on, 

Mike, you don’t mean that! You’re 

not that bad!” Tyson suddenly 

relaxed, smiled slyly, and the real 

shooting began. —Laurence Chen 

Ramunas WieRzbicki 

befOre 

With more 

detail 

visible in 

the hills, 

these 

become a 

distinct 

diagonal 

element. 

whenever we receive a good 

photo that we think could be better, 

we ask ourselves a question: 

What is the picture about? 

In this scene of Burrard Inlet in 

British Columbia, Canada, taken 

by Vancouver resident Ramunas 

Wierzbicki, the answer is the 

sky—the clouds looming over the 

mountains, dwarflng the tankers 

on the horizon. While the water 

presents a textural counterpoint 

to the sky, the two elements flght 

after 

each other for attention for the 

same reason. The composition 

is also a little too evenly divided 

top to bottom. 

Our flrst, and most dramatic, 

alteration was to crop out most 

of the water, concentrating 

the composition more on the 

mountains and sky. To improve 

the detail, we made separate 

adjustment layers for both top 

and bottom, then used Curves 

in Adobe Photoshop CS4 to 

tone down hot highlights in the 

clouds and darken the mountains. 

Finally, we shifted the color 

balance more toward blue. Time 

spent: 15 minutes. 

Shot with a Canon EOS Digital 

Rebel and 28–75mm f/2.8 Tamron 

lens; 1/2000 sec at f/8, ISO 

100. Color channel and Curves 

adjustments in Photoshop CS3. 

—Dan Richards 

and Debbie Grossman 

fake it OverCOMe POsing blOCk 

Just as writers are vulnerable to writer’s block, portrait photographers can suffer posing block. 

Your subject is waiting to be directed, but you’re drawing a blank. You could refer to a posing guide, 

such as Doug gordon’s popular Get Sexy ($135, direct from www.douggordonworkshops.com). but 

these are expensive, and your stopping to consult a reference book won’t inspire confidence in your 

model. instead, find 10 or 15 photos of poses you like, convert them to low-res JPegs, and put them 

in the same folder you’re saving images to on your memory card. by using your camera’s grid-view 

image playback, you can quickly refer to this secret cheat sheet for your next pose. 

40 POPular PhOtOgraPhY JanuaRy 2010 POPPhOtO.COM 


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RODRiGO aLVaRez 

QUiCk tiP 

Spin City 

Play time is twice the fun with a camera 

this PiCture I took of my 

daughter Pia looks like it might 

have been diffi cult or even 

dangerous to take, but it was 

actually just plain fun. 

I started by spinning her without 

a camera, just to get in practice. 

Then, I tried spinning (and 

photographing) a doll to fi nd the 

perfect exposure and manualfocusing 

distance. Finally, it was 

Pia’s turn to model, and I think 

30-seCOnD PhOtOshOP 

DOuble uP On laYers 

When creating an adjustment layer 

to alter, say, brightness or contrast, 

you can quickly double the effect 

if the adjustment doesn’t go far 

enough (as in the photo at near 

right). simply press control + J (command 

+ J on a mac) with the layer 

selected. it instantly duplicates the 

layer, doubling the effect of the fi rst 

adjustment (at far right). if it’s too 

much, dial down your new layer’s 

opacity to achieve a look you like. 

you can tell by her expression 

that she enjoyed the role. 

If you want to give this a try, 

shoot in evenly diffused light, 

preset your exposure and focus, 

and do it on a soft surface. 

(With a toddler in one hand 

and a camera in the other, you 

probably won’t be able to break 

a fall.) I used a Canon EOS Rebel 

XTi and 17–85mm f/4–5.6 Canon 

EF IS lens. —Rodrigo Alvarez 

Alvarez 

found that 

in normal 

light and at 

ISO 400, a 

shutter 

speed of 

1/60 sec 

blurred the 

background 

nicely but 

assured a 

sharp 

subject. 

befOre after 

The original image was overexposed, so we added 

an adjustment layer in Photoshop CS4 to darken it 

(detail, left). It still seemed too light, so we doubled 

the effect (right) with a quick keyboard shortcut. 

What’s 

This? 

JPeg profi les 

this relatively new icon 

appears on the Pentax 

k-7 body and lets you 

choose JPeg presets 

that can adjust overall 

image characteristics. 

Where it is: On the k-7’s 

four-Way controller 

switch. Press to invoke 

what Pentax calls image 

finishing tones. (Other 

makers have different 

names, such as Canon’s 

Picture 

styles and 

nikon’s 

Picture 

Control.) 

how it 

works: 

the tool lets 

you process your JPegs 

for a variety of looks 

similar to those of 

different fi lms. 

how to use it: select 

an image finishing 

tone before you begin 

shooting. the range of 

presets include Bright, 

natural, Portrait, Landscape, 

Muted, and 

Monochrome. each 

preset is adjustable, so 

you can tweak the settings—e.g., 

saturation, 

contrast, sharpness—to 

your liking. 

42 POPular PhOtOgraPhY JanuaRy 2010 POPPhOtO.COM 


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how * lighting 

Fright 

Light 

To tell a story, light your scene like a cinematographer 

Several yearS back, Harold Lee 

Miller, an advertising photographer 

from Indianapolis, started 

a personal project—a series of 

staged photos that explored the 

quirkier aspects of suburban 

existence. The series, “Modern 

Living,” told a story about a fictional 

family and its complicated 

relationship with television. (See 

it at www.haroldleemiller.com.) 

Straight location shots of his 

props and cast, lit mostly by flat, 

44 PoPular PhotograPhy january 2010 

ambient light could never have 

created the drama, dimension, and 

narrative drive that the pictures 

required. For that, Miller chose to 

light his scenes almost as if they 

were movie sets. 

Ironically, to help suggest the 

darkly complex relationship 

between family members, Miller 

employed a battery of very bright 

Speedotron and Dynalite strobes. 

For the image above, which 

depicts the climax of a family 

Harold Lee 

Miller used 

a total of 

five studio 

and location 

lights to 

bring his 

sinister 

tableau 

to life. 


feud involving that TV, Miller took 

about an hour to set up his lights 

with the help of two assistants. 

“The hard part,” he says, “was finetuning 

the power and position of 

each light to draw proper attention 

to the models and props.” 

Some of the other visual and 

narrative challenges that he overcame 

by lighting like a cinematographer 

included: 

Putting a glow in the sky. 

By balancing the strength of his 

lights to that of the sky beyond the

house, Miller assured that the 

twilit background would have an 

electric blue cast. “That little bit 

of blue in the distance gives this 

shot its surreal quality,” he adds. 

Dramatizing the models. 

Rimlighting the girls from two 

sides allowed their figures to 

separate from the bland, brown 

background behind them. It 

also shaped them three-dimensionally 

and assured that their 

expressive body language would 

register. The soft frontlighting 

HarOLD LEE MILLEr 

how to set up your lights 

SimPle ComPlex 

First, avoid dead zones of dense shadows or featureless highlights. Plan to shoot when (and 

where) ambient light will fill shadows without blowing out the highlights. to light the players and 

props, Miller used three Dynalite SP2000 power packs and Dynalite roadmax 2050 heads—two 

with standard reflectors (A) and one softboxed (B). to tease out detail in the background, he 

used two Speedotron 2403CX units ($1,675, street) with Speedotron Universal reflectors (C). 

tHe geAr 

Miller’s rig? 

A Hasselblad 

H2, Imacon 

Ixpress 132c 

digital back, 

and 

50–110mm 

f/3.5–4 HC 

Hasselblad 

lens set to 

55mm. 

C 

Dynalite 

SP2000 

power 

pack ($1,990, 

street) 

made sure their important facial 

expressions had presence. 

highlighting the props. 

The TV (seemingly thrown out a 

window) and the water shooting 

from the pistol-like hose are both 

carefully lit to elevate them to 

distinctive narrative elements. 

Creating a shadowy landscape. 

Carefully shaped and placed, the 

foreboding shadows underscore 

and sustain the menacing ambience. 

They’re dark, but like most 


A 

Speedotron 

Universal 

20-inch 

reflector 

($75, street) 

C 

B 

Dynalite 

Roadmax 

2050 strobe 

heads ($500, 

street) 

A 

stage shadows, are not completely 

black, which would have 

robbed Miller’s scene of dimension 

and visual texture. 

adding depth to the set. 

By selectively lighting background 

walls, Miller created a sense of 

cinematic depth and dimension. 

It gives all areas of the scene narrative 

potential, including inside 

the home, where one of Miller’s 

Dynalites invites you to wonder 

at the dramas being played out 

within. —Peter Kolonia 

POPPHOTO.COM PoPular PhotograPhy 45 

KrIs HOLLanD/MafIC sTuDIOs

Fade to Black 

Use Adobe Photoshop Elements to make a normal background completely dark 

Cheryl Molennor 

how * software workshop 

After we awarded Cheryl 

Molennor’s photo of an egret 

against a black background 1st 

Place in our October 2009 Your 

Best Shot competition, we got a 

rush of letters. So many of our 

readers wanted to know how she 

got the background in her image 

that we decided to find out, and 

46 populAr photogrAphy january 2010 

asked Molennor if we could use 

another of her egret photographs 

to teach her technique. 

When she shoots a white bird, 

Molennor exposes it to preserve 

its highlights and allows the 

background to go dark. Then she 

uses a combination of selections, 

Curves, and dodging and burning 


in Adobe Photoshop CS3 to make 

the background appear black. 

But, since we want as many of 

you as possible to try it at home, 

here’s a Photoshop Elementsbased 

technique that will achieve 

the same result. It’ll work in 

Photoshop CS3 or CS4, too. 

—Debbie Grossman

f.y.i. 

elements vs. photoshop: you 

may wonder what the difference is. 

why spend money on photoshop cs4 

when elements seems perfectly fine? 

the technique we used here 

highlights elements’ constraints. 

photoshop users have three or four 

more agile selection methods at 

their disposal. photoshop also offers 

more options for darkening the background 

or eliminating excess edge 

color using a wider variety of Adjustment 

layer types. 

finally, photoshop users can add 

masks to normal layers, and can also 

choose to isolate the bird by simply 

masking off the background itself. 

For more 

details and 

tips on 

making 

selections 

using the 

Quick 

Selection 

tool, 

especially 

in Photo- 

shop, 

revisit 

September 

2009’s 

"Digital 

Toolbox," 

page 34. 

Photoshop 

CS3 or CS4 

users 

frustrated 

with the 

Quick 

Selection 

tool in Step 

2 have 

other 

options: Try 

typing Q to 

head into 

Quick Mask 

mode, and 

use your 

Brush tool 

to paint in 

your 

selection. 

simple complex 

Step 1 

To darken the background but leave the subject alone, we’ll have to 

begin by making a selection of the bird. We’ll use the Quick 

Selection tool to do this. Type the A key to get the tool. Then 

start painting on the bird until it is nearly all selected. This first 

go-round is rough, so don’t worry about doing it perfectly. 

Step 2 

now zoom in to the edges of the subject and start honing your selection. 

Stay in the Quick Selection tool, and hold down the Alt (Option 

on a Mac) key to get the Subtract from Selection tool. This time, 

paint in areas where you want to remove the selection. If you 

need a smaller brush, tap the left bracket key ([) on your keyboard. To 

make it bigger, tap the right bracket (]). In this case, the most difficult 

parts to get with the Quick Selection tool are the bird’s feet and wispy 

feathers. We’ll fix those later, so just do the best you can in this step. 


PoPPhoTo.CoM populAr photogrAphy 47

how * software workshop 

Step 3 

now that you have a good selection, 

go to Select > Inverse, switching it 

from enclosing the subject to 

enclosing everything else—that is, the 

background. Create a Brightness/ 

Contrast Adjustment Layer by 

going to Layer > New Adjustment 

Layer > Brightness/Contrast. This 

makes a mask in the shape of your 

selection, so your adjustments will 

apply only to the background. 

Then bring the Brightness down 

and Contrast up until the 

background goes black. 

Step 4 

you’ll immediately see where your 

selection looks good and where it 

doesn’t. Delicate feathers are hard 

to select with the blunt force of the 

Quick Selection tool. and since 

they should look as if they are 

against black, any color from the 

original background looks glaringly 

fake. To fix it, right-click on the 

Background Layer and choose 

Duplicate Layer. Then hit o on 

your keyboard to get the Sponge 

tool. In the options bar, choose 

Mode: Desaturate, and Flow: 

100%. Zoom in, and with a 

large brush, paint away the 

distracting color. 

Final Step 

Getting rid of errant color helps, 

but it doesn’t solve the problem of 

having a hard edge around soft 

feathers. So click on your mask 

again and hit B to get the Brush 

tool. In the options Bar, set the 

opacity to 50%. Set your 

foreground color to black (hit 

D, then X on your keyboard to 

do so), then paint on the 

feathery areas to bring them 

back in. If you go too far, hit X to 

switch to painting with white, and 

repaint to cover up your mistakes. 

48 populAr photogrAphy january 2010 

If Brightness 

/Contrast 

doesn’t 

make 

your back- 

ground dark 

enough, 

try using 

a Levels 

Adjustment 

Layer 

instead. 

If you 

accidentally 

desaturate 

your bird, 

go to the 

Options Bar 

and choose 

Saturate to 

bring back 

the color. 

When you’re 

making your 

final adjustments 

to the 

feathers, 

don’t 

spend too 

much time 

zoomed 

in beyond 

100%. Sure, 

it’s easier 

to work very 

closely, but 

you may not 

be able to 

make out 

such fine 

details in 

your final 

print. 


PoPPhoTo.CoM

Flash. 

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

flash, but it lacks the power to take great 

David Ritz 

Chairman, CEO 

When it comes to your pictures, 

flashier is better. 

pictures in any situation. That’s where the 

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More power for you means greater flash 

range for your pictures and more versatility 

for your digital camera. With the XLF-50, 

you’ll capture the shots you couldn’t before. 

It’s small and lightweight for portability, 

and at only $99 it’s a must-have accessory 

for your digital camera. Its name is the 

Quantaray XLF-50. But we like to call it 

the flashier flash. 


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digital SLR cameras. 

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PHiliPP klinger 

how * You can do it 



Render Architecture 

For buildings, where you stand is what you get 

PHiliPP klinger 

aN arDENt admirer of starkly 

futuristic architecture, Philipp 

Klinger spent much of the past 

decade following the design 

and construction of Santiago 

Calatrava’s breathtaking 

Liège-Guillemins train station 

in eastern Belgium. Located 

about 190 miles from Klinger’s 

home near Frankfurt, Germany, 

the building opened to the 

public in the late summer of 

2009—and Klinger was on hand 

to photograph it. 

How to capture such complexly 

designed, highly linear 

subjects? The 25-year-old 

computer-science student 

suggests taking a very exacting 

camera position, for starters. 

For a symmetrical shot like his 

image of the station’s ceiling 

(left), if the camera position is 

off just a tad, the lines go 

askew and ruin the photo. 

Sharpness is also an absolute 

must, so Klinger shoots at low 

ISOs, works from a tripod, and 

uses only midrange apertures 

such as f/8 or f/11—the sharpest 

openings for most lenses. 

Using a lens that controls 

linear distortion well is equally 

important, he says. 

To see more of Klinger’s 

architectural images, visit 

www.klinger-photography.com. 

—Peter Kolonia 

Klinger 

captured 

Calatrava’s 

Belgian 

train station 

using a 

Nikon D700, 

Sigma 

12–24mm 

f/4.5–5.6 

lens, and 

Benro C-258 

tripod. 

Exposure: 

1/125 sec 

at f/9, 

ISO 200. 

Think 

monochrome. 

In this view 

inside the 

British 

Museum, 

b&w’s 

abstracting 

powers 

convey the 

building’s 

volume, 

form, and 

sweep 

better than 

color would. 


SimplE complEx 

Step 1 

Search online. To locate exciting 

architecture, klinger uses 

searchable photo resources such 

as Flickr. He looks for buildings 

he feels passionate about and 

confirms that other photographers 

have gained access to a variety 

of compelling angles—and that 

tripods are permitted. 

Step 2 

plan when to shoot. Determine 

what time of day and what type 

of lighting will work best. For 

example, klinger knew that if he 

shot this train station’s ceiling on 

a clear day, the blue sky would 

have been tonally too similar 

to the roofing struts once he 

converted to monochrome, so he 

waited for an overcast, white sky. 

Step 3 

Slow down. “When i arrive at a 

building, i walk around without 

my camera—it forces me to 

focus on the whole site without 

distraction,” klinger says. “Once 

i pull out the camera, i obsess 

about individual pictures and 

don’t really take in the whole.” 

Final Step 

Set up carefully. “i’d rather 

work methodically and get 50 

shots that i can work with than 

rush to get 200 that i ultimately 

discard,” he says. To build 

sharp, precise compositions, 

klinger uses a tripod. and if your 

camera has an lCD grid overlay, 

he advises using it to ensure 

that your lines are level. 




Arthur 

Morris knew 

that the 

highlights 

on this 

Galápagos 

hawk would 

be too hot, 

so he 

reduced 

exposure by 

1/3 EV from 

the reading 

on his tripodmounted 

Canon 

EOS-1D Mark 

III. Exposure 

through an 

800mm 

f/5.6L 

Canon IS 

lens with 

Canon EF 

1.4X II 

teleconverter: 

1/250 sec at 

f/13, ISO 

400. 


Text and photos by Arthur Morris 

YOU CAN STILL 

SHOOT GREAT 

IMAGES DURING 

THE “HARSH HOUR” 

to the Galápagos Islands, my 

group and I had just fi nished 

a long walk at Urbina Bay on a 

successful search for big, yellow 

land iguanas to photograph. 

Just before 11 a.m., the sun had 

broken through the light clouds, 

and it was obvious that we were 

fi nished shooting—the light was 

simply too harsh. 

Or was it? 

It’s taken as an article of faith 

that midday sun is simply no 

good for photography—you might 

as well use that time for a nap. 

But I don’t accept that, and neither 

should you. Had I adhered 

to this “rule,” I would have never 

captured the image of the Galápagos 

hawk on this spread. 

Here are several strategies 

for getting good pictures in 

harsh midday light, all of which 

can be used for a variety of 

wildlife—not just birds—and 

other nature subjects. 

Shortly after my traveling 

companions and I returned from 



our iguana shoot, several young 

hawks began hovering over the 

white sand beach, some landing 

on driftwood a good distance 

away. But with that area closed to 

protect sea turtle nests, we could 

not get into decent position—we 

had the sun directly in our faces. 

In this case I followed a basic 

strategy—when the sun is bright, 

shoot tight—and went with my 

longest lens plus a teleconverter. 

By cropping tightly, you can 

eliminate many of the harsh and 

distracting shadows in the scene. 

Morris 

shot this 

spoonbill 

with a tripodmounted 

Canon 

EOS-1D 

Mark III 

and 800mm 

f/5.6L Canon 

EF IS lens 

with 1.4X 

EF II teleconverter; 

1/1000 sec 

at f/10 (+0.3 

EV), ISO 400. 


Get low, try to move as close 

to your subject as possible (while 

always mindful of the welfare of 

the animal and your own safety 

as well), and try for as clean a 

background as possible. If you can 

get nearer to your subject than 

the minimum focusing distance 

of your lens, adding an extension 

tube will let you focus closer. 

use Strong Backlight 

Another strategy for shooting 

during the harsh hour is to exploit 

backlight. Keep in mind that on

ight, sunny days, a subject 

backlit by the sun is very evenly 

illuminated from the front by diffuse 

ambient light. In the case of 

the Galápagos hawk photo above, 

the backlit bird is illuminated by 

refiection from the white sandy 

beach below. 

The simple rule is to keep your 

subject on the line between you 

and the sun to minimize direct 

sunlight entering the lens. You will 

almost always need to overexpose 

from the meter reading to get 

good detail in your subject: In the 

Galápagos 

hawk 

captured with 

a handheld 

Canon EOS- 

1D Mark III 

and 70– 

200mm f/4L 

Canon EF IS 

lens; 1/400 

sec at f/7.1 

(+1.7 EV over 

the meter), 

ISO 400. 

Swallowtailed 

gull 

chick, 

cropped, shot 

handheld with 

EOS 50D and 

70–200mm 

f/4L Canon EF 

IS lens; 1/400 

sec at f/8, 

ISO 400. 


hawk photo, I added nearly 2 stops 

of exposure over the camera’s 

evaluative meter reading. 

When working with backlighting, 

there will always be some 

small parts of your subject that 

will be lit directly by the sun. To 

make sure you’re not overexposing 

important detail, enable the 

highlight warning on your DSLR, 

generally found in a setup menu. 

On playback on the LCD, this 

warning will fiash “blinkies” on 

highlights that are blown out. 

Remember, though, that some 

loss of highlight detail may be 

unavoidable in backlit photos. 

After shooting, you can lighten 

shaded areas in a variety of 

ways in numerous image-editing 

programs. A Curves adjustment 

in Adobe Photoshop is the one I 

use most frequently. A simpler 

Photoshop tool for this task is 

the Shadow/Highlight slider set. 

It’s easy to overdo fllling with the 

Shadow slider, so be careful. 

Work right on Frontlight 

Backlight not working for you? Try 

the exact opposite strategy: direct 

frontlight. Even at midday in 

summer, the sun is almost never 

directly overhead. Look for your 

shadow, and position yourself 

so that the shadow is pointing 

directly at your subject. This puts 

the sun precisely behind you. 

Now position yourself low, or 

level with your subject, and move 

in or zoom in for good framing. 

Watch for the perfect head 

angle—when the subject’s face is 

fully lit, flre the shutter. I used this 

technique for both the spoonbill 

in Alafla Banks Bird Sanctuary 

in Tampa Bay (far left) and the 

northern gannet on Bonaventure 

Island in Percé, Québec, shown on 

page 124. (For the spoonbill, I was 

sitting chest-deep in water.) 

When working frontlit, especially 

with light-colored subjects, 

Continues on page 124 


Artwork 

Text and photos by Guy Tal 

SHOOTING AND PRINTING SECRETS OF A MONOCHROME MASTER 

AFTER NEARLY a century of color 

photography, black-and-white 

imaging is still revered for its 

classic, pared-down rendition of 

form and composition, especially 

in fi nely crafted prints. And 

today, digital imaging can give 

you monochrome quality once 


reserved for the wet darkroom. 

Before you print, though, you 

have to shoot. Don’t decide to 

render a scene in b&w as an 

afterthought. Learn to predict 

what the fi nal monochrome 

image will look like: Look for 

variations in tone and contrast, 

Anasazi ruin 

in Utah shot 

with a Canon 

EOS 5D and 

17–40mm 

f/4L Canon 

EF lens; 0.6 

sec at f/16, 

ISO 100. 


as well as elements such as 

lines, curves, and patterns. 

The above Anasazi cliff-dwelling, 

for example, is comprised 

almost entirely of red earth hues 

lit by refl ected late-morning sunlight, 

which created a full range of 

tones from almost pure white to

pure black. Curves in the sandstone 

layers and patterns in the 

masonry offered the makings of a 

great b&w print. 

Ignore your camera’s b&w mode 

and shoot in color, and, preferably, 

in RAW. You’ll need the original 

color data to create tonal separation 

and other effects, such as 

darkening of a blue sky or soften- 

ing of skin tones. RAW fi les let 

you—not the camera—make decisions 

about brightness, contrast, 

and color that are better judged 

when viewing the image on a 

color-calibrated desktop monitor 

rather than a little LCD. 

Here’s a step-by-step guide to 

turning a captured image into a 

gorgeous monochrome print. 

STEP 1 

Metering is crucial. In shooting the ruin, 

I realized the full range of tones wouldn’t fi t 

in a single exposure. I decided to sacrifi ce 

shadow detail rather than lose the highlights—the 

deepest shadows in the doorways 

and cracks needed to be pure black, but the 

highlights in the masonry held important 

detail. So I kept my histogram bunched to the 

right without clipping it off. Though the image 

appeared very bright, it gave me the most 

detail possible. I also checked the RGB color 

histograms to avoid clipping in all channels, 

paying special attention to the green channel. 

STEP 2 

Start in color. While Adobe Photoshop and 

other imaging programs let you simply convert 

an image into grayscale, it’s far better to keep the 

image in RGB color mode and use better tools . 

My fi rst step was to convert my RAW fi le to 

a color TIFF, using Adobe Camera RAW. (You 

can also use your camera maker’s proprietary 

software or the RAW converters in Adobe 

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POPPHOTO.COM POPULAR PHOTOGRAPHY 57 


STEP 2 CONTINUED 

Lightroom and Apple Aperture.) In ACR, I reduced 

my overly bright exposure by 1.2 stops 

to regain natural-looking tones. 

I also used the Highlight Recovery and Fill 

Light sliders for better detail in highlights and 

shadows before going into Photoshop. 

I set the color temperature toward the 

warm/yellow end of the scale and bumped up 

the Tint toward the red to enhance the red and 

orange tones that would be emphasized later. 

STEP 3 

Convert to b&w. I then used a Black + 

White Adjustment Layer in Photoshop CS4 

to convert the TIFF fi le to monochrome, 

selecting the Green fi lter from the panel’s 

drop-down menu. A fi lter effect will brighten 

hues closest to its own color and darken 

those closest to its complementary color. 

For example, a red fi lter will brighten red or 

orange areas while darkening blue and green. 

In this image, the green fi lter darkened 

the deepest reds more than the lighter ones, 

yielding nice separation between the illuminated 

and shadowed areas. (See the monochrome 

version, below.) A red fi lter would 

have rendered the entire scene very bright, 

while a blue one would have darkened all 

shadow areas to almost black. 


This 

Photoshop 

layer shows 

the pattern 

of dodging 

and burning 

used in the 

image below. 

The image 

with dodging 

and burning 

in Photoshop 

to tone down 

highlights 

and bring up 

shadows. A 

Curves 

adjustment 

to increase 

contrast in 

the midtones 

is next. 

WWW.POPPHOTO.COM 


STEP 4 

Dodge and burn. Now you’re where a 

fi lm photographer would be after developing 

the negative, and need to make the image 

appear onscreen as you want it to look on 

paper. You’re not bound by the sensibilities 

associated with color, and can make adjustments 

to contrast and tonality that might 

look garish outside of b&w. Harden or soften 

transitions and borders by changing the 

brightness of individual objects and areas in 

the scene. Isolate and separate by selectively 

dodging (brightening) or burning (darkening). 

My image had good tonal separation, but the 

shaded areas were still signifi cantly darker than 

the highlights. So I used the Dodge tool on the 

upper portions of the image to brighten them, 

and Burn on the areas to the right and below 

the center to darken brighter portions. 

Photoshop’s Dodge and Burn are destructive 

editing tools that can permanently alter pixels 

when applied to a background image layer, so I 

made these changes on a new layer using a Soft 

Light blending mode, which allows more gradual 

application of the effect. CONTINUES ON PAGE 126 

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TONY CORDOZA 

WHY IT WON 

24.5MP full-frame sensor for super res 

Excellent image quality at ISO 50–3200 

Incredibly sensitive, tracking autofocus 

Blazingly fast AF in low light 

Tech trickling down to less-pricey models 



THE CAMERA 

THAT BEST 

REFINED OR 

REDEFINED 

PHOTOGRAPHY 

IN 2009 

By the Editors 

IN THE END, it came down to a 

hypothetical question. We asked 

ourselves, If we were stuck on a 

desert island with only one camera— 

the Canon EOS 7D, Nikon D3x, or 

Olympus E-P1—which would it be? 

That settled it: Only the Nikon 

D3x could be Popular Photography’s 

Camera of the Year, the 

model that best refi ned or redefi 

ned photography in 2009. (For 

more on the other fi nalists, see 

the sidebar on page 120.) 

Mind you, our imaginary desert 

island has an Formula One race 

track, an active soccer club, colorful 

and swift-moving wildlife, vast 

panoramic landscapes, photogenic 

residents, and, of course, a 

fully equipped pro photo studio. 

Because that’s the point of the 

D3x—name a photographic task, 

and this camera can do it. 

Certainly its league-leading 

imaging appeals most strongly 

to studio shooters, portraitists, 

and landscape photographers, 

but it can handle high-speed 

assignments, too. While its 

It may be 

designed 

(and priced) 

for pros, but 

this smart, 

tough DSLR 

offers 

something 

for every 

shooter: 

fast AF, 

intuitive 

metering, 

and 

amazing 

resolution 

and image 

quality. 

5-frames-per-second burst rate 

is surpassed by many a rig today 

(including Nikon’s own 9-fps D3s), 

its tracking autofocus is so fast 

and smart that you’re likely to get 

a higher percentage of keepers. 

And those keepers will be of 

great quality, as the D3x scored 

Excellent overall image quality in 

our Pop Photo Lab tests, including 

awesome resolution of 3180 lines. 

Put simply, the D3x redefi nes 

the concept of the fl agship model. 

As Senior Editor Peter Kolonia 

said when the editors met to 

debate our options, “This is a 

camera that is, in fact, revolu- 


tionary—it’s a medium-format 

camera in a 35mm DSLR body.” 

Complaints we have a few. Lack 

of a self-cleaning sensor is an odd 

omission. At more than 3 pounds, 

without a lens, the D3x is made 

for a tripod, not a neckstrap. ISO 

goes only to 6400, while many 

cameras now bust that barrier. 

The biggest criticism of the D3x 

is economic: For $7,600 (street, 

body only) this camera had better 

be great. But note that much of 

the D3x’s technology, such as the 

metering and autofocus systems, 

has already migrated to lower- 

POPPHOTO.COM POPULAR PHOTOGRAPHY 61

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OUR YEARLY CONTEST HAD 

EXCEPTIONAL ENTRIES FROM 

BOTH PROS AND AMATEURS 

NOW IN ITS 16th year, our 

annual Readers’ Photo Contest 

gives you the opportunity 

to present exceptional 

work in six categories: 

Action/Sports, Architecture, 

Candid/Humor, Nature, 

People, and Travel/Places. 

With more than 4,400 

submissions, it took our editors 

and, in the fi nal round, 

a panel of outside judges— 

Palm Springs Photo Festival 

Director Jeff Dunas, Lark 

Photography Books Editorial 

Director Marti Saltzman, 

and photographer/teacher 

Eddie Soloway—a lot of 

time and effort to pick the 

best images you sent us. 

On the pages that follow 

you’ll fi nd the winning images 

in each category, plus 

our Grand Prize winner— 

and, on this page, some 

very honorable mentions 

(credited on the next page). 

For a gallery of all winners 

and runners-up , visit Pop 

Photo.com/Contests-Events. 


Action/SportS 

Timothy Bailey, 22, Photographer, Phoenix, AZ 

“I shot this for a project I’m doing with natural disasters and extreme sports. It’s a composite of 

four different pieces: the background, the sky, the biker, and the tornadoes. The first two were 

photographed in Northern California in late afternoon. The biker I shot in my studio. It’s my friend 

Ashley on her bike, which was on a stand; she was pretending to ride it, but it wasn’t actually 

moving. I created the tornados by manipulating cloud images. I like to use a lot of special effects in 

my photography, and I like having a challenge.” See more at www.timothybaileyphotography.com. 

tech specs: Mamiya 645aFD with 17Mp leaf aptus digital back and 55–110mm lens. Composite made in 

adobe photoshop CS3. 

Architecture 

George Hatzipantelis, 48, IT Consultant, Toronto, Ontario, Canada 

“I made my first visit to the Art Gallery of Ontario during lunch one day with a friend. When I saw this 

Frank Gehry-designed staircase, I fell in love with it, so I brought out my camera and began climbing 

up and down, trying to find the best perspective. I ended up near the bottom, hanging backwards over 

the banister and looking straight up.” See more of his photos at www.shuttered-dreams.com. 

tech specs: Canon EoS rebel Xti with a Sigma 10–20mm f/4–5.6 hSM lens. Exposure, 1/30 sec at f/8, ISo 400. 



Honorable mentions, previous page (l–r from top): fred pompermayer, 

sean dejecacion, adam lerner, tim grimsHaw, cHarles lindsey, 

konrad brattke, ron painter, martin ruebelt, byron yu, faisal almalki


poppHoto.com popular photography 65

cAndid/humor 

Mark Lohman, 55, Photographer, Los Angeles, CA 

“I shot this at my mom’s house on her 92nd birthday. She’s an artist, and she 

had just finished this painting of her pug, Bella, a few weeks earlier. When she 

was out of the house, I posed Bella—I thought that including the painting would 

make a striking composition. Bella is easy to photograph because she holds her 

pose quite steady. I positioned my camera with zoom on a tripod with available 

light. Then later I surprised Mom with a 16x20 print. I’m also working on a book 

of dog portraits.” See more of his work at www.marklohmanphoto.com. 

tech specs: tripod-mounted Canon EoS 5D Mark II with Canon 24–105mm f/4 lens. Exposure, 

1/25 sec, f/4, ISo 400. 



nAture 

Peter Lik, 49, Photographer, Las Vegas, NV 

“I had made multiple trips to Hawaii hoping to capture volcanoes. Kilauea 

Volcano, on Kalapana, The Big Island, I found following some rumors down dirt 

roads. I shot it at 5:54 a.m., under moonlight. It reminded me of the legend of 

Pele, Goddess of Fire in Hawaiian folklore—legend has it that she and her sister 

Na-maka-o-Kaha’i, Goddess of Sea and Water sabotaged each other. You can 

visualize Pele in the upper left, blowing steam from the volcano into the ocean.” 

Visit www.peterlik.com. tech specs: tripod-mounted hasselblad h2 with 50mm lens 

and Fujichrome Velvia 50. Exposure, 2 sec at f/11. 




people 

Kely Nascimento-DeLuca, 42, Photojournalist, Douglaston, NY 

“This photograph is of Pamella Allen, a painter in New York City. She’s part of a 

project I’ve been working on titled ‘Artists Spaces,’ which focuses on how the lives 

of fine artists is changing in today’s world. Stereotypically portrayed as reclusive, 

artists are now being asked to be their own publicists, managers, agents. In this 

photo, Pamella is looking at one of her finished works and talking about it. I used 

available light. I was motivated in composition by light and shape—these always 

help me capture a mood.” See the full series at www.kn-dphotographic.com. 

tech specs: Nikon D300 with 20mm f/2.8 Nikkor lens. Exposure, 1/30 sec at f/5.6, ISo 400. 



trAvel/plAceS 

Todd McVey, 51, Advertising Art Director, 

Jersey City, NJ 

“This shot was half planned and half happy accident. I 

was on vacation in Cape May, NJ, last July, and found this 

lighthouse while exploring the beach. I knew I had to 

shoot it— just didn’t know what I wanted it to look like. 

Then the idea of a composite came to me. I captured 

just the lighthouse one day, shooting close-ups and 

from a distance to cover enough angles to choose from. 

Then I went back the next day at roughly the same time 

to photograph the seagulls. The sun wasn’t as much of 

a difficulty as you would expect—framing it behind the 

lighthouse, I bracketed all my shots so I knew I would 

get the look I wanted. The main problem was the mosquitos. 

They were pretty terrible, so I had to work fast. I 

think I lost about a pint of blood on this shoot.” 

tech specs: Canon EoS 5D Mark II, with Canon 35mm f/2.8 

(lighthouse) and 70–200mm f/4 (seagulls) lenses. Exposures, 

1/125 sec at f/11, ISo 100. Composited in adobe photoshop CS4. 





GRAND 

PRIZE 

WINNER 

Dennis 

Frates, 62, 

Photographer, 

Wilsonville, OR 

“This was taken in 

January 2009 on a 

remote beach in 

Samuel H. Boardman 

State Scenic 

Corridor, OR, during 

a rare dry, clear 

spell. Access to this 

corridor is limited 

to a few sandy 

beaches down 

steep slopes. I was 

photographing 

just before sunset 

when fog started 

to form and the 

tide was at its 

lowest, revealing 

these tide pools. 

Everything seemed 

to come together. I 

made three vertical 

images and 

then stitched them 

together, for a 

quality similar 

to that of a 4x5 

camera.” See more 

images at www. 

fratesphoto.com. 

tech specs: 

tripod-mounted 

Canon EoS-1Ds 

Mark III with Canon 

24–105mm f/4l IS 

lens and polarizing 

filter. Exposure, 

1 sec at f/16, ISo 

100. three images 

stitched into one 

using photomerge in 

photoshop CS4. p 

PoPPHoto.com popular photography 71

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© Athos Kyriakides

lab 

auThoRITaTIvE TESTS, REvIEwS, and BuyIng advICE 

peter kolonia 

PrinTer review 

running the gamut 

Epson’s new 17-incher prints more colors and is built to last 

SErIouS hoME printing 

demands a serious printer. 

With its new Stylus Pro 3880, 

a long-awaited follow-up to 

the well-received Stylus Pro 

3800, Epson refines some of the 

innovations it introduced in 

that model, while adding some 

features that trickled down from 

its more expensive large-format 

printers over the past year. 

The main boost: Epson’s 

reformulated magenta inks. It 

still uses Epson’s UltraChrome 

K3 pigment-based ink set, but it 

has replaced its old Magenta and 

Light Magenta cartridges with 

Vivid Magenta and Vivid Light 

Magenta. These join Cyan, Light 

Cyan, Yellow, Light Black, Light 

Light Black, Photo Black, and 

Matte Black. That’s a total of nine 

inks, though the printer uses 

The Epson Stylus Pro 3880 is 

no small printer. It measures 

2.3x1.9x3.2 feet with all parts 

extended, and it weighs 

43.2 pounds. 

POPPHOTO.COM 

EPSON 

STYLUS 

PRO 3880 

2880x1440 dpi 

17-inch wide 

$1,295, street 

$1,495 with 

ColorBurst 

RIP software 

82 

only eight at any given time. 

Through the printer’s menu 

you tell it to switch between 

Photo and Matte Black depend- 

tEStS: panaSonIc luMIx dMc-gf1 and pEntax 15MM f/4 lEnS 

76 

canon’S nEw 18Mp apS-c EoS 7d 


88 

ing on the paper you’re using. 

That’s one benefit of the 3880 

over Epson’s Stylus Photo R2880 

($800, street), which makes you 

physically switch the Photo and 

Matte Black cartridges. 

Epson says that the Vivid 

Magentas should provide more 

intense blues and violets, 

and we did see a wider range 

of those colors in the test 

prints we made. These 

colors have long been difficult 

for inkjet printers to 

reproduce and are usually 

one of the biggest color 

january 2010 popular photography 73

Lab * PrinTer review 

shifts you’ll see when trying to 

print an image of fiowers—if the 

African violets in your prints 

don’t look purple, you might 

want to try the 3880. 

Another trickle-down technology 

is the ink-repellent coating 

on the MicroPiezo AMC print 

head. This helps to keep ink 

away when the head’s not in 

use, so there’s less chance of it 

drying up and causing clogs. 

It’s generally a good idea to 

turn your printer off when it’s 

not in use so it will park the print 

head and let it cool down, again, 

to avoid drying. Ink can be expensive. 

You don’t want to waste any 

by running cleaning cycles that 

could’ve been avoided. 

When it introduced the 3800, 

Epson debuted a new set of 

screening and color-lookup 

table algorithms created in 

ePsOn sTylus PrO 3880 

conjunction with the Munsell 

Color Science Laboratory at the 

Rochester Institute of Technology. 

Now called AccuPhoto HD2 

technology, it’s responsible for 

how the printer maps the colors 

in a photo to the colors it is able 

to create and how it lays them 

down on the paper. 

The main beneflt? Smoother 

gradations in areas that transition 

subtly from one color to 

another, or from light to dark— 

often in the out-of-focus areas of 

photos, such as the backgrounds 

of portraits or macro shots. You 

may have encountered banding 

problems in such areas before, 

where some printers create too 

big a step in brightness. Not so 

with the 3880. 

Photographers who work in 

black-and-white will appreciate 

the Advanced Black and White 

The 3880 

isn’t the 

fastest 

printer, but 

it’s not 

exactly 

slow. we 

printed a 

16-bit, 

17x22-inch 

borderless 

photo in 

7 minutes 

and 14 

seconds, 

and an 8-bit 

borderless 

8.5x11 in 

2 minutes 

and 43 

seconds, 

with the 

printer set 

to a very 

high 1440 

dpi. 


EPSon STyluS PRo 3880 

whaT’S hoT 

new vivid Magenta inks 

whaT’S noT 

it’s big, heavy, and expensive 

who IT’S foR 

Photographers who print a lot 

Anyone considering selling prints 

mode, which makes converting 

to a neutral or lightly toned 

switch for memory cards 

monochrome really easy. Annoyingly, 

years after its introduction, 

this part of Epson’s driver still 

doesn’t show an actual preview 

of your image. Instead, it always 

shows the same portrait of a 

woman to preview the relative 

effects of your settings. 

Another beneflt of a highend 

printer like this one: It can 

handle thicker paper. The 3880 

accepts media up to 1.5mm thick 

and up to 17x22 inches in size. 

Compare that to the 1.3mm

thick, 13x19 cut sheets the Stylus 

Photo R2880 limits you to. 

There are three paper paths: a 

standard feeder, a straighter rear 

feed, and an absolutely straight 

front feed. Strangely, though, 

the 3880 doesn’t have a roll-feed 

option—you’ll need the R2880 or 

Stylus Pro 4880 for this. 

Certain papers, such as 

Epson’s new Hot Press and Cold 

Press matte papers, require 

you to choose the proper path 

when you select the paper size 

in the page-setup portion of the 

driver. So, if the driver doesn’t 

let you select your paper, check 

that you’ve selected one of the 

manual feed options. 

You might balk at the fact that 

each ink cartridge costs $50 (not 

a typo!), but each cartridge holds 

80 milliliters of ink compared 

with 10 to 14 ml in similar-sized 

cartridges from other makers. 

The price per milliliter is on par 

with what you’d pay using a 

printer with smaller tanks. 

The 3880 is built to stand up 

to the needs of pros. It also has 

an Ethernet port on back, so you 

can set it up on a network. Plus, 

it’s offered as a package with 

ColorBurst RIP software ($200 

extra), for a level of control that 

most people don’t need. 

Overall, the Stylus Pro 3880 is 

a worthy follow-up to the 3800. 

If you have the earlier model, 

you probably don’t need to 

upgrade, unless you feel the new 

Vivid Magenta ink will make a 

major difference to you. 

But if you want to get serious 

about printing photos at home or 

need to replace another serious 

photo printer, the 3880 is almost 

a no-brainer. —Philip Ryan 

Fisheye joins the Lensbaby Optic Swap System. And another door opens. 

photo by chris hornbecker 

Replacing 

the Stylus 

Pro 3880’s 

inks gets 

pricey at 

$50 per 

cartridge, 

but they 

hold about 

six times 

the normal 

amount of 

ink and 

combine for 

a very wide 

range of 

colors and 

stunning 

dynamic 

range for 

b&w prints. 


lab pANASONIC luMIx DMC-GF1 

amateur pro 

* CAMerA TeST 

Stepping Stone 

pop-up flash 


The laTesT Micro Four 

Thirds caMera is a sTep 

in The righT direcTion 

accessory 

port 


PHiliP ryan (lCD iMage) 

With any new technology, it 

takes time to work out the 

kinks. And while the flurry 

of coverage—and humanity’s 

ever-shrinking attention 

span—might make it seem as 

though Micro Four Thirds has 

been around awhile, it’s still 

quite new. Panasonic’s Lumix 

DMC-GF1 is only the fourth 

camera we’ve seen in this new 

format. It does a lot of things 

right, but its images are also 

noisier than its predecessors. 

Of course, Micro Four Thirds 

cameras are in large part aimed 

at shooters who are less persnickety 

about noise than are 

advanced DSLR users. The main 

draw is their portability and 

greater functionality compared 

with compacts. And this 

Panasonic scores on both counts. 

The GF1’s body (without a 

lens) measures only 4.7x2.8x1.4 

inches and weighs just over 

half a pound—about half 

the weight of the Canon EOS 

Rebel XS, for instance. Even 

with the 20mm f/1.7 kit lens, the 

GF1 is still less than 1 pound, 

while the 14–45mm f/3.5–5.6 kit 

zoom brings it up to 1.2 pounds. 

And the GF1 autofocuses 

faster than most compact cameras. 

Plus, you can switch lenses. 

panasonic lumix Dmc-GF1 

what’s hot 

Speediest AF of any Micro Four Thirds 

what’s not 

Noisy at higher ISOs 

who it’s For 

Compact shooters craving lens choice 

POPPHOTO.COM

There aren’t many dedicated 

lenses to choose from yet, 

but since both Panasonic and 

Olympus are making Micro Four 

Thirds gear, new optics may 

come quicker than you’d expect. 

In the meantime, your glass 

options are commendable. For 

example, the 20mm kit lens 

offers a pleasingly large maximum 

aperture to allow limited 

depth of fleld and low-light capture 

that’s hard to accomplish 

with most compacts. 

And you can expand the 

system’s fiexibility with lens 

adapters. Both Panasonic and 

Olympus make ones that enable 

regular Four Thirds lenses to 

be placed on Micro Four Thirds 

bodies, allowing you to use 

autofocus and control aperture 

from the camera body. 

We even mounted a Pentax 

28mm f/3.5 Auto-Takumar lens 

on this Panasonic, using one of 

Novofiex’s Micro Four Thirds 

adapters. These let you mount 

any lens on the GF1—just turn 

on the Shoot Without Lens 

option in the advanced menu 

and you’re all set. Of course, 

you’ll have to focus manually 

and change the aperture with 

the ring on the lens. 

Improved by Design 

Given how different the GF1 

looks compared with Panasonic’s 

earlier Micro Four Thirds 

models, it’s tempting to wonder 

how much the design was 

infiuenced by the more svelte 

Olympus E-P1—and how much 

the new E-P2 (see page 15) was 

infiuenced in turn by the GF1. 

(The answer to both is probably 

“Not much,” since all of these 

models have come out in such 

rapid succession.) 

Soft Focus for the Lensbaby Optic Swap System. The classic portrait 

lens reborn at 50mm. 

photo by john panian 

the GF1 is 

the first 

truly 

compact 

micro Four 

thirds 

camera to 

accept an 

optional 

EVF, thanks 

to the data 

port on the 

back of the 

camera just 

below the 

hot-shoe. 


But while the GF1 has less 

fiair, it does have a built-in 

fiash—score one for practicality 

over beauty. You shouldn’t 

expect a whole lot of light from 

this small pop-up, though. 

The guide number is 20 (ISO 

100, feet). Using the 14–45mm 

lens at 14mm (at f/3.5 and with 

ISO on auto), you can expect the 

GF1’s fiash to provide about the 

same range as a good compact—a 

little more than 11 feet. 

Compare that with the GN 36 

fiash in Panasonic’s earlier GH1 

($1,500, street, with 14–140mm 

f/4–5.8 lens), which gives you a 

range of about 20 feet. 

The GF1 records video, but 

it gives you more options than 

compacts generally do, and its 

Four Thirds-sized 12.1MP Live 

MOS sensor delivers higherquality 

clips. This sensor, while 

still much smaller than the type

lab * CAMerA TeST 

on a full-frame DSLR, is large 

enough to let you limit depth 

of fl eld while shooting video— 

impossible even with a reasonably 

priced HD camcorder. 

The GF1 doesn’t let you record 

at 1920x1080-pixel resolution 

the way the GH1 does, but the 

high-def 1280x720 footage 

we shot was quite good, with 

accurate-looking colors and no 

major image fi aws to speak of. 

File formats? You have a 

choice of Motion JPEG (better 

for extracting still frames) and 

AVCHD Lite, which compresses 

more heavily for smaller fl les 

and can be played back through 

the SD-card slot in Panasonic 

HDTVs and other devices that 

play the AVCHD format. 

Handling and controls 

Holding the GF1, it can be hard 

to remember that it’s not a 

regular compact. But dig into the 

controls and you’ll know you’re 

holding a powerful instrument. 

The Quick Menu, which you 

access via a dedicated button on 

the back, lets you scroll through 

most major settings as they’re 

displayed across the top of the 

same 3-inch 460,000-dot LCD 

you use to frame your images. 

About the only major setting 

you can’t change through the 

Quick Menu is the drive mode, 

controlled by a four-way switch 

next to the shutter button. 

As with Panasonic’s G1 and 

GH1 cameras, the command 

wheel on the back can be 

pressed to swap between aperture 

and shutter speed in 

manual mode, or exposure 

compensation and aperture 

or shutter speed in 

the aperture- or shutterpriority 

shooting modes. 

If you don’t like framing 

your shots in the LCD, 

Panasonic offers the optional 


pANASONIC luMIx DMC-GF1 

with the 

20mm f/1.7 

lens 

attached, 

the GF1 is 

so easy to 

bring along 

that it can 

fit in a 

jacket 

pocket— 

though 

street 

shooters 

would likely 

prefer a 

wider field 

of view 

than the 

full-frame 

equivalent 

of 40mm 

this lens 

provides. 

Built-in 

mono mic 

DMW-LVF1 electronic viewfl nder 

($200, street) that mounts in the 

hot-shoe. It’s a better solution 

than the accessory fl nder for 

the Olympus E-P1. Without a 

data port near its hot-shoe, the 

E-P1 offers only a static optical 

fl nder for use with the 17mm 

lens, while this EVF gives you an 

accurately framed view with any 

lens you put on the camera. 

Lab and field testing 

In our tests in the Pop Photo Lab, 

the GF1 outresolved the E-P1 

and essentially tied it in color 

accuracy, but yielded more noise 

at higher ISOs. 

The GF1 just barely stayed out 

of Unacceptable range at ISO 

800, while the E-P1 scored better 

than that at ISO 1600. And the 

GF1 tops out at ISO 3200, while 

the E-P1 extends up to ISO 6400. 

Both are quite noisy at their 

respective top sensitivities, but 

the GF1, more so. 

“noise issues 

aside, the Gf1 

was a pleasure 

to use.” 


test ResULts 

imaGE QualitY ISO 100–200 

pOOr exCelleNT 

rEsolution ISO 100 

1500 2000 2500 3000 3500 4000 

pOOr exCelleNT 

color accuracY 

HIGH exCelleNT 

noisE AT ISO 

3.0 2.5 2.0 1.5 1.0 0.5 

uNACCepTABle exTreMelY lOW 

hiGhliGht/shaDow DEtail 

lOW exTreMelY HIGH 

contrast 

2300 

EXTREMELY HIGH 


EXCELLENT 6.7 

EXTREMELY LOW 1.1 

VERY LOW 1.5 

MODERATELY LOW 2.1 

MODERATE 2.9 

UNACCEPTABLE 5.9 


SLIGHTLY LOW 

HIGH 

100 

200 

400 

800 

1600 

3200 

lOW exTreMelY HIGH 

Drive mode switch 

POPPHOTO.COM

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®

lab * CAMerA TeST 

Due to the way Micro Four 

Thirds cameras achieve 

autofocus, we cannot test their 

AF speed in our lab, only in 

the fleld. But, the GF1 focuses 

noticeably faster than the 

E-P1 and was able to focus in 

dimmer conditions in our fleld 

testing than the E-P1 could. 

pANASONIC luMIx DMC-GF1 

Noise issues aside, the GF1 

was a pleasure to use and 

small enough to flt in a small 

messenger bag or backpack 

instead of a large camera bag. 

With the 20mm lens attached, 

it might flt in a midsized purse. 

So if a DSLR is too big, and 

you want better image quality 

Velocity 9x 

model 5769 

Carry Like a Backpack, 

Access Like a Shoulder Bag 

with Tamrac’s Velocity Series 

Tamrac’s photo sling packs combine the comfort 

of a backpack with the fast access of a shoulder 

bag. Quick-Flip Tops open away from the body 

for super fast access to photo gear. The front pockets 

feature Tamrac’s patented Memory & Battery Management 

System that identifies available memory 

cards and batteries. 

Velocity 6x model 5766 Velocity 7x model 5767 Velocity 8x model 5768 Velocity 10x model 5770 

Available in five sizes for every photographer from enthusiast to professional. 

For a free 80 page color catalog, call toll-free: 1-800-662-0717 

See the Velocity Series VIDEO 

and over 170 other products at 

www.tamrac.com 

Velocity 9x 

model 5769 

PHOTO, LUGGAGE & COMPUTER CASES 

one hour of 

the GF1’s 

highestquality 

hD 

video will 

fill up an 

8GB sDhc 

card. 


® 

specIfIcatIons 

imaGinG: 12.1MP effective, live 

MOS Four Thirds sensor captures 

images at 4000x3000 pixels with 

12 bits/color in raW mode. 

storaGE: SD/SDHC cards. 

Stores jPeg, raW, raW + jPeg. 

Burst ratE: Full-sized jPegs (extra 

Fine mode), up to card capacity at 

3 fps; raW, up to 7 shots at 3 fps. 

aF sYstEm: TTl contrast detection 

with 23 focus areas and adjustable size 

single-area focusing. Face detection, 

single-shot, and continuous aF. 

shuttEr spEEDs: 1/4000 to 

60 sec plus B (1/3-eV increments). 

mEtErinG: TTl metering with 

144-zone intelligent Multiple (a.k.a., 

evaluative), centerweighted, and 

spotmetering. eV 0–18 (at iSO 100). 

iso ranGE: iSO 100–3200 

(in 1/3-, 1/2-, or 1-eV increments). 

ViDEo: records up to 1280x720 pixels 

at up to 60 fps in aVCHD lite format or 

up to 30 fps in Motion jPeg format; 

built-in mono microphone; stereo 

minijack input. 

Flash: Built-in pop-up flash gn 20 

(in feet at iSO 100). Supports TTl 

autoflash with Panasonic lumix 

flashes; X-sync at 1/160 sec. 

lcD: Fixed 3-in. TFT screen 

with 460,000-dot resolution. 

output: Hi-Speed uSB 2.0, 

HDMi (mini-type) video, nTSC/Pal 

composite. PictBridge compatible. 

BattErY: rechargeable DMW- 

BlB13e li-ion; CiPa rating, 350 shots. 

siZE/wEiGht: 4.7x2.8x1.4 in., 

0.65 lb with card and battery. 

strEEt pricE: $900 with lumix g Vario 

14–45mm f/3.5–5.6 Mega O.i.S. lens or 

with lumix g 20mm f/1.7 lens. 

For inFo: www.panasonic.com 

and higher-end controls than 

you can get in a compact, the 

Panasonic GF1 may be for you. 

But up against the Olympus 

E-P1, it’s tough to declare a winner. 

If you don’t mind the E-P1’s 

sluggish focus, you’ll get less 

noise, plus sensor-shift image 

stabilization (Panasonic puts it 

in the lens). If you don’t mind 

cranking up noise reduction and 

sacriflcing some of its higher 

resolving power, the GF1 will 

provide a more seamless shooting 

experience. —Philip Ryan 

80 popular photography january 2010


PHiliP ryan (lCD iMage) 

lab CAnOn eOS 7D 

amateur pro 

* DSLR teSt 

Solid Shooter News 

A tough contender 

in A tough 

cAmerA clAss 

Quick 

Control 

button 


still image/ 

video switch 


that Canon would be making 

a direct competitor to Nikon’s 

APS-C workhorse, the D300s 

($1,600, street, body only) made 

many Canonites optimistic. 

Optimism became excitement 

with the unveiling of the EOS 7D 

($1,700 street, body only; $1,900 

with 28–135mm f/3.5–5.6 IS USM 

lens). Its impressive specs include 

18MP resolution, a 100-percent 

accurate viewfinder, sensitivity up 

to ISO 12,800, blazing burst rate, 

and—a first for Canon—built-in 

wireless flash control. 

Its performance in our lab and 

field tests proved as impressive as 

its specs, besting its Nikon rival 

on several indicators—but trailing 

on a few others. 

In the Pop Photo Lab 

As expected, thanks to its 18MP 

CMOS sensor, the EOS 7D scored an 

Excellent rating in resolution, easily 

outgunning the Nikon’s 12.3 MP 

CMOS sensor. Even at ISO 12,800—a 

stop more than the Nikon’s highest 

sensitivity—the Canon outresolved 

the Nikon at ISO 100, though we 

deem the noise Unacceptable at 

that high sensitivity. 

The noise performance was of 

particular interest. With nearly 

6 million more pixels than the 

Nikon, the 7D’s pixels are smaller 

than those of the D300s—which 

means, nearly always, more noise 

at higher ISOs. The surprise: The 

7D produced less noise than the 

D300s at its highest ISOs, 3200 

and 6400, although the Nikon produced 

comparable or less noise 

from ISO 100 through ISO 1600. If 

you’re not a low-light shooter, the 

canon eos 7d 

what’s hot 

High-res images with low noise at high ISOs 

what’s not 

Low-light AF not as fast as the competition 

who it’s for 

Canonites looking for the best APS-C DSLR 

Pros wanting a second, smaller-sensor body 

POPPHOTO.COM

Advertorial 

The New Model 320A Monolight 

By Jason Schneider 

Flashpoint Monolights by Adorama are held in high esteem by 

many working pros and serious enthusiasts because they provide 

pro-caliber lighting performance, an array of useful features, and 

outstanding reliability at a fraction of the cost of comparable units. 

Now these rugged portable electronic flashes have been upgraded 

for greater flexibility and convenience starting with the new compact, 

lightweight, metal-bodied Model 320A. This dependable 

150 Watt-Second strobe now has a user-replaceable Flash Tube 

and Modeling Lamp, plus a faster recycling time of 1 to 1-1/2 

seconds—great when you’re covering fast-paced events or trying 

to capture the fleeting expressions of kids or special moments. 

Happily, the new 320A retains all the other useful features that 

made its predecessor a best-seller, including Stepless Power Output 

Control from full power down to 1/32 power, action-freezing 

flash duration from 1/600-1/1000 sec, a built-in slave trigger with 

on-off switch, and a low sync voltage of only 6 volts that’s safe for 

all film and digital cameras. It’s boxed with an efficient reflector, a 

flashtube protector, plus power and sync cords. Incredibly it’s still 

priced at only $99.95, making it a best buy in its class. 

The self-contained Flashpoint Model 320A is the most compact 

and economical monolight in the extensive Flashpoint line. Nevertheless, 

this feather-light 3-pound unit provides a lot of pop for 

the buck, delivering an impressive ISO 100 guide number of 118, 

so you can stop down to get the extended depth of field you need 

for product shots. Even more important, with the standard reflector, 

its daylight-equivalent output provides an excellent balance 

between pleasant diffusion and high definition—the perfect illumination 

for a wide variety of professional shooting applications. If 

you need more diffuse lighting for professional looking portraits of 

brides and babies, or detailed close-ups of coins or other shiny objects, 

just snap on the Flashpoint 16-inch Soft Reflector. Indeed, 

the 320A, like all the units in the line, accepts a host of pro quality 

Flashpoint accessories that let you build a system precisely configured 

to your needs at modest cost. Or, if you prefer to start off 

with a coordinated lighting outfit custom tailored to your shooting 

requirements, check out the entire Flashpoint Monolight line of 

enticingly priced kits that include heavy-duty light stands, umbrellas, 

extra heads, and more. 

Whichever way you go, it’s easy to achieve precise lighting 

control and sophisticated studio effects with the Flashpoint 

Monolight Model 320A, or any other Flashpoint model listed 

on this page. Simply snap on the Flashpoint Four-Leaf Barndoors 

to feather the light for a natural look, attach the Snoot, 

to achieve portraits that look like they were shot in a highend 

studio, or choose one of seven Flashpoint Soft Boxes. 

Factor in the new, more robust, Flashpoint light stands and add 

compatible reflectors, umbrellas, modeling lights, and flash tubes 

to the mix and it becomes clear that Flashpoint is nothing less than 

a fully articulated, high-value system of lighting that provides all the 

performance, flexibility, and back-up support serious shooters want 

and need. Take it from someone who has actually used it professionally, 

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Three Flashpoint monolights were used and the model was posed against a Belle Drape muslin backdrop. 

The main light, a Flashpoint 620A with a square soft box was placed at camera right; fill at camera left was 

provided by a Flashpoint 320A with an umbrella attached. A third Flashpoint 320A with snoot was placed 

behind the model and to the left. 

Flashpoint Monolight Guide 

Full-featured, higher-output, fan cooled models 

Model 620A, Output: 300 Watt/Sec, GN, 192. 

Model 1220A, Output: 600 Watt/Sec, GN, 252. 

©Mary Farace 

Model 1820A, Output: 900 Watt/Sec. GN, 282. 

Model 2420, Output: 1200 Watt/Sec. GN, 320. 

All Flashpoint monolights are also available in kit form for further savings. 


lab * DSLR teSt 

Canon’s higher sensitivity might 

not make a huge difference. But 

the ISO cushion comes in handy 

when you’re shooting handheld 

with a long, nonstabilized lens on 

overcast day. 

Both cameras earned Excellent 

ratings in color accuracy 

and capture admirable detail in 

highlights and shadows, thanks 

to 14-bit RAW image capture. 

Performance in the field 

The 7D’s extra resolution lets you 

make prints larger than 13x19 

inches. We made pleasing 17x22inch 

prints of images from the 

EOS 7D with the Epson Stylus Pro 


CAnOn eOS 7D 

on the top, 

the 7d’s 

four tiny 

buttons 

above the 

Lcd let you 

get to eight 

different 

settings. 

3880 (reviewed on page 73) after 

cropping the originals down from 

their native 17x25.5-inch size. 

And with the help of a program 

such as OnOne’s Genuine Fractals 

or Alien Skin’s Blow Up, you could 

make even larger prints. 

The 7D’s autofocus was fast 

and precise in our tests, but 

couldn’t beat the Nikon, especially 

in extremely low light. 

The gap between the two is very 

slight, though, until you sink 

down to moonlight-level dimness . 

AF tracking is where the real 

difference shows up. The 7D is 

the fi rst Canon camera to use 

the metering and AF systems 

together to track subjects by 

shape and color. Called Intelligent 

Focus Color Luminosity , it gave us 

good results, but wasn’t as consistent 

as Nikon’s 3D Focus Tracking, 

which uses a similar approach. 

We were still able to track a 

subject moving toward or away 

“the most 

solid aPs-c 

body canon 

has made yet.” 

m-Fn button is one 

of nine customizable 

controls 


eXt. SLOW tIMe (SeCOnDS) eXt. FASt 

test ResULts 

iMaGe QUaLitY ISO 100–400 

af sPeed 

0.2 

0.4 

0.6 

0.8 

1.0 

1.2 

1.4 

1.6 

1.8 

2.0 

0.37 

12 

0.45 0.47 0.51 

EXCELLENT 

POOR eXCeLLent 

resoLUtion ISO 100 

2610 

1500 2000 2500 3000 3500 4000 

POOR eXCeLLent 

coLor accUracY 

EXCELLENT 

EXCELLENT 7.0 

HIGH eXCeLLent 

noise At ISO 

hiGhLiGht/shadow detaiL 

LOW eXtReMeLY HIGH 

contrast 

VERY LOW 1.3 

VERY LOW 1.5 

LOW 1.8 



MODERATE 2.4 

MODERATE 2.8 


3.0 2.5 2.0 1.5 1.0 0.5 

UnACCePtABLe eXtReMeLY LOW 


SLIGHTLY HIGH 

LOW eXtReMeLY HIGH 

0.54 

0.63 

0.71 

1.03 

1.27 

100 

200 

400 

800 

1600 

3200 

6400 

12800 

0.91 

9 6 3 0 –3 

BRIGHt (LIGHt LeVeL) DIM 

POPPHOTO.COM

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lab * DSLR teSt 

from the 7D and even recompose 

while panning with a moving 

subject. Yet we ended up with a 

higher percentage of usable photos 

when using AF tracking with 

the D300s. For professional sports 

shooters this may be critical, but 

they’ll probably be using higherend 

models. Amateur action 

enthusiasts should be pleased. 

They’ll also like its burst rate. 

The first EOS outside Canon’s 1D 

and 1Ds lines to use dual Digic 

processors, the 7D delivers on its 

promise of 8 frames per second, 

up to 126 Large Fine JPEGs, 15 

RAW, or 6 RAW + JPEG when using 

a UDMA card. With one of SanDisk’s 

new Extreme Pro or Lexar’s 

new 600X Professional CF cards, 

you may be able to eke out a few 

more shots in a burst, since the 

camera’s buffer will clear faster. 

However, as Lexar photographer 

Jeff Cable demonstrated at a 

recent event—and we duplicated 

in our field testing—a better 

strategy might be to shoot shorter 

bursts. For example, if you keep 

a single burst to about 40 shots 

with one of these new cards, and 

pause about a second between 

each burst, you’ll maintain that 

8-fps speed much longer and 

capture more of the decisive 

moments you ultimately want. 

Video builds on what Canon 

put into the EOS 5D Mark II, with 

a wider choice of frame rates 

for the various pixel resolutions 

(see the Specifications sidebar 

for a full list). Nikon still hasn’t 

included full 1920x1080-pixel 

capture in any of its DSLRs, so 

Canon wins here—and this resolution 

at a frame rate of 30 fps 

matches the rate of most HDTVs. 

form and functions 

The camera has the most solid 

APS-C body Canon has made yet, 

with magnesium-alloy body panels 

and more weathersealing than 

CAnOn eOS 7D 

the EOS 50D, though not quite the 

same level as the 5D Mark II. 

The control layout is similar 

to the 50D’s, though most buttons 

are to the left of the 3-inch 

920,000-dot LCD. The on/off 

switch also moved up to behind 

the mode dial, and a useful new 

switch moves between still and 

video capture. The new RAW + 

JPEG button lets you grab a RAW 

shot even in JPEG-only mode. 

Custom functions let you 

change the role of some buttons, 

and a new interface makes it 

easier to do so, showing where on 

the body you’ll find the buttons 

being assigned. The new Q (Quick 

Control) button brings up a screen 

that shows you the most essential 

settings and lets you navigate 

through them with the small joystick 

on the camera back. 

neck-and-neck Race 

All of these new features and 

design approaches are great, 

but it feels as though Canon is 

playing catch-up. Nikon was first 

to couple its AF and metering 

systems for tracking purposes, 

and Olympus and Sony offered 

navigable quick menus many 

models ago. Likewise, Nikon was 

the first to offer a rock-solid 

APS-C format camera. 

That said, Canon has indeed 

caught up, if not with a definitive 

lead over Nikon in this category. 

The 7D wins on resolution, 

but loses on low-light AF speed. 

It wins on low noise at high 

ISOs, but can’t match the 3D AF 

tracking on the D300s. 

Canon’s main edge comes 

in burst rates. The 7D can grab 

14-bit RAW images at 8 fps, while 

the D300s slows to 2.5 fps and 

must be dialed down to 12-bit to 

reach its native 7 fps rate. 

The DSLRs wars continue, but 

Canon has served this category 

of camera well. —Philip Ryan 

even though 

it’s the first 

canon with 

wireless 

flash control 

via the 

pop-up flash, 

the 7d’s 

implementation 

is solid. 

You have a 

choice of 

four channels 

and control 

of up to 

three groups 

of off-camera 

units, 

with flash 

compensation 

and the 

ability to 

set lighting 

ratios. 

for info 

on how we 

test dsLrs, 

go to 

PopPhoto. 

com/reviews. 

sPecIfIcatIons 

iMaGinG: 18MP effective, aPS-C 

sized CMOS sensor captures images 

at 5184x3456 pixels with 14 bits/ 

color in raW mode. 

storaGe: CompactFlash stores JPeg, Cr2 

raW, and raW + JPeg files. 

BUrst rate: Full-sized JPegs (Fine mode), 

up to 126 shots at 8 fps using a uDMa card; 

raW, up to 15 shots at 8 fps; raW + JPeg, 

up to 6 shots at 8 fps. 

af sYsteM: TTl phase detection 

with 19 illuminated focus points 

(all cross-type); single-shot and continuous 

aF with Predictive ai Servo focus tracking. 

Tested sensitivity down to eV –2 

(at iSO 100, f/1.4). 

LiVe View: TTl phase detection 

or contrast detection autofocus. 

shUtter sPeeds: 1/8000 to 30 sec, 

plus B (1/3-, 1/2-, or 1-eV increments); 

150,000-cycle rating. 

MeterinG: 63-zone TTl metering, 

evaluative, centerweighted, partial (approx. 

9.4% of viewfinder), and spot (approx. 2.3% 

of viewfinder). eV 1–20 (iSO 100). 

iso ranGe: normal, iSO 100–6400 

(in 1/3-eV increments); 

expanded, iSO 12,800. 

Video: records at 1920x1080 at 

30/25/24 fps; 1280x720 at 60/50 fps; 

640x480 at 60/50 fps in MPeg-4 aVC MOV 

format; built-in mono microphone; stereo 

minijack input. 

fLash: Built-in pop-up with e-TTl ii 

autoflash and wireless control of optional 

flash units, gn 39 (iSO 100, feet); flash sync 

to 1/250 sec; dedicated Canon hot-shoe. 

Viewfinder: Fixed eye-level pentaprism. 

Lcd: 3-in. TFT with 920,000-dot resolution. 

oUtPUt: Hi-speed uSB 2.0, mini HDMi 

video, composite video and analog audio, 

n3-type remote control. 

BatterY: rechargeable lP-e6 li-ion, CiPa 

rating 800 shots (with optical viewfinder) or 

220 shots (live-view). 

siZe/weiGht: 5.8x4.4x2.9 in., 1.81 lb 

with a card and battery. 

street Price: $1,700, body only; $1,900 

with 28–135mm f/3.5–5.6 iS uSM lens. 

info: www.canoneos.com 

Viewfinder test: accuracy, 100% 

(excellent); Magnification, 1.0X (excellent). 

86 popular photography January 2010 POPPHOTO.COM 


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lab * LenS teSt 

pentAx-DA 15mm F/4 eD AL LimiteD AF 

Pro Vision 

pentax 

2.44 in. 

makes big 

waves with 

a very little 

ultrawide 

0.22 in. 

1.56 in. 

the widest of Pentax’s 

Limited series, this 

22.5mm equivalent 

has the Extra-low 

Dispersion glass, highgrade 

aluminum construction, 

nonrotating front lens 

barrel, and quick-shift focus 

system typical of this top-tier 

group. Another highlight: a 

built-in, petal-shaped, telescoping 

lenshood that’s velvet-lined. 

Even the lenscap sports a 

velvet lining, although neither 

we nor the folks we spoke 

with at Pentax USA could figure 

out why. Perhaps it’s meant 

simply to denote luxury—or to 

reassure photographers that the 

metal cap won’t scratch the lens. 

As with all Limited optics, this 

one is almost pancake-thin and, 

amazingly for a 15mm, throws 

no shadow when used with the 

Pentax K-7’s built-in flash, even 

with the hood fully extended. 

Beautifully designed—with 

highly legible engraved barrel 

markings (feet in blue, 

meters in yellow), an extensive 

depth-of-field scale, and an 

exquisitely-ribbed focusing 

ring seemingly machined by a 

jeweler—the lens offers quick 

and accurate (though slightly 

noisy) autofocus, and smooth 

but somewhat underdamped 

manual-focus action. 

Other optical perks: a hybrid 

aspheric element and Pentax’s 

88 PoPulAr PhotogrAPhy JAnuAry 2010 


AmAteur Pro 

relatively new SP (Super Protectant) 

coating that allows easy 

cleaning of fingerprints and 

water marks. 

Optically the lens is no slouch: 

SQF tests found sharpness and 

contrast in the low Excellent 

Continues on page 116 

SPECIFICATIONS 

15mm (15.54mm tested), f/4 (f/3.80 

tested), 8 elements in 6 groups. Focusing 

turns 80 degrees. 

diaGonaL View anGLe: 86 degrees 

weiGht: 0.44 lb fiLteR siZe: 49mm 

moUnt: Pentax KAF2 

inCLUded: Built-in hood, case 

stReet pRiCe: $550 

TEST RESULTS 

distoRtion: 0.17% (Slight) barrel 

LiGht faLLoff: Gone by f/6.7 

CLose-foCUsinG 

distanCe: 6.75 inches 

maximUm maGnifiCation 

Ratio: 1:6.33 

pentax-da 15mm f/4 ed aL Limited 

what’s hot 

Solid construction and compact size 

what’s not 

Underdamped manual focus, noisy AF 

POPPHOTO.COM


lab * SoftwAre review 

CAmerA BitS PHoto meCHAniC 4.6 

Stock Pick 

What the organizer used by 

the associated Press offers you 

ASK PhotojournAliStS what 

software they can’t live without, 

and they may name Camera 

Bits Photo Mechanic even before 

Adobe Photoshop. Now in version 

4.6, Photo Mechanic lets you 

offload, add metadata, backup, 

browse, pick the best, and upload 

or e-mail pictures incredibly fast. 

It’s strictly a viewer and organizer, 

so plan to do image correction 

elsewhere. But preview time 

is quick, and you can rate your 

photos while you offload. Unlike, 

say, Adobe Photoshop Lightroom 

2, it catalogs videos, too, though 

it doesn’t play them. 

When you “ingest” pictures, 

you can add detailed information 

to each image’s metadata, 

noting who shot it and where, 

plus keywords, contact info, and 

captions. Using Photo Mechanic’s 

Variables, you can automatically 

add info specific to each image. 

So put aperture or ISO info in the 

caption. Or, if you like, note the 

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If you primarily use Photoshop, 

Photo Mechanic beats 

AmAteur Pro 

Photo 

mechanic 

does a few 

things and it 

does them 

well, 

helping you 

add meta- 

data, back- 

up, and pick 

the best 

photos at 

warp speed. 

Bridge because of the extent to 

which you can control metadata 

and the speed at which it previews 

RAW files. Photo Mechanic 

also has a leg up on the organizing 

functions in Lightroom and 

Apple’s Aperture, which use 

proprietary databases. 

But with this software, all of 

the information you add to your 

photos stays with them, written 

into the file. That means it’s 

visible in Photoshop, searchable 

by the newest Mac or Windows 

OS, and accessible if you’re selling 

your pics to a stock agency. 

—Debbie Grossman 

specifications 

minimum system requirements 

Mac: OS 10.2 and G3 processor or OS 

10.3 and G4. Windows: XP or 2000, 

Pentium 3 processor. PriCe: $150, 

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Camera Bits Photo meChaniC 4.6 

what’s hot 

Unparalleled metadata editing 

what’s not 

Some reading of the manual required 

who it’s for 

Heavy shooters with a lot of files 

Anyone selling pictures to stock 

90 PoPulAr PhotogrAPhy january 2010 POPPhOtO.cOM 



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guide 

the 

our opinionated take on the cameras and lenses we’ve tested 

canon eos-1d mark iii 

canon eos-1ds mark iii 

 

1/2 canon eos 5d mark ii 

1/2 APS-h 

fuLL-frAME PRICEY 

fuLL-frAME 

amateur pro amateur pro amateur pro 

$3,700, street, body 

only the emphasis is on 

speed over megapixels in 

the 1D mark III, an ideal tool 

for shooters of fast action. 

read about its soon-to-be 

replacement, the EoS 1D 

mark IV, in this issue. 

standout spec 

Demonic speed in auto- 

focusing, subject tracking, 

and, notably, burst rate: 

10 fps for full-res JPEGs. 

canon eos 7d 

APS-C 

amateur pro 

sensor 10.1mP cmoS, 

14-bit raW capture 

imaGe staBiliZation 

Lens-based 

video none 

lcd 3-in., 230,000-dot 

$1,700, street, body only 

canon’s new top aPS-c body is 

also its first with wireless flash 

control through the pop-up. 

Solid, weathersealed build is nEw ModEL 

bolstered by high-res images 

with low noise at high ISos. raW capture 

standout spec Its 8-fps imaGe staBiliZation 

native burst rate is the fastest Lens-based 

of any aPS-c format body, just video rES/FramE ratE 

beating out nikon’s D300s. 1080p/30 fps, 720p/60 fps 

sensor 18mP cmoS, 14-bit lcd 3-in., 920,000-dot 

canon eos reBel Xs 

1/2 APS-C 

amateur pro 

$500, street, with 18–55mm 

f/3.5 –5.6 eF-s is lens 

Inheriting the sensor of the 

former “top rebel” Xti, the 

XS adds live view to round 

out canon’s most economical 

DSLr. and it comes with 

an IS kit lens, standard. 

standout spec the XS, 

for an “entry-level” model, 

autofocuses faster than 

many a pricier camera. 

gEtting oLd 

sensor 10mP cmoS, 12-bit 

raW capture 


Lens-based 

video none 

lcd 2.5-in., 230,000-dot 

Our Star ratingS 

2001: a space odyssey 

star wars 

star trek 

Flash Gordon 

spaceBalls 

cameras and lenses—tested and rated 

For Full test reports and inFo 

on how we test and rate cameras and 

lenses, visit popphoto.com/reviews. 


only once canon’s 

megapixel king, it now 

shares that throne with 

the newer EoS 5D mark II. 

awesome image quality in a 

bulletproof body—at a high 

cost in both weight and 

dollars. a favorite of nature 

and studio shooters both. 

standout spec 

medium-format imaging from 

a (sort of) 35mm body. 

canon eos 50d 

APS-C 

amateur pro 

$980, street, body only 

now second banana in canon 

aPS-c models, it offers near 

class-leading image quality, a 

great build, and very speedy 

shooting—but no video. For 

that, you’ll need to move up to 

a 7D—or down to a rebel t1i. 

standout spec 6.3-fps 

burst rate still a standout in 

this class—but no longer the 

fastest of the fast. 

canon eos reBel Xsi 

1/2 APS-C 

amateur pro 



While it lacks video, the 

XSi’s well-designed package 

of fine imaging, fast-for- 

any-class aF, and excellent 

viewfinder make it a hit in 

its class. If you don’t need 

video, this may be your reb. 

standout spec relentless 

consistency of image quality 

throughout the ISo range. 

nikon d3X 

fuLL-frAME 

amateur pro 




Lens-based 

video none 

lcd 3-in., 230,000-dot 




Lens-based 

video none 

lcd 3-in., 920,000-dot 




Lens-based 

video none 

lcd 3-in., 230,000-dot 

Guide to the Guide 

In these three pages, we rate all of the current 

DSLRs (and one rangefinder), plus all of the 

current lenses within a given focal range, that 

we’ve tested. The star ratings reflect: 

CamERaS 

image quality: Includes resolution, noise, 

and color accuracy 

performance/capabilities: Includes 

autofocus, metering, and burst rate 

usability: Includes ergonomics, controls, 

and customization LEnSES 

optics: Such as sharpness, distortion, light falloff 

Barrel design: Includes focus and zoom 

rings, markings, and aF motor 

To match cameras and lenses, look for the labels. 

APS-C 

four thirdS 

bESt in CLASS 

gEtting oLd 

Is it worth the 

dough? Look for: 

fuLL-frAME nEw ModEL STEaL PRICEY 


Long-awaited update of 

the original full-frame 

workhorse, the mark II 

impressed us with stellar image 

quality, hD video, rugged 

construction—but not the 

older aF system recycled from 

the mark I. Film students have 

taken to its video big time. 

standout spec Excellent 

image quality to ISo 

3200—’nuff said. 

canon eos reBel t1i 

APS-C 

amateur pro 

nikon d90 

1/2 APS-C 

amateur pro 




Lens-based 

video rES/FramE ratE 

1080p/30 fps, 720p/30 fps 

lcd 3-in., 920,000-dot 



as far from a “starter” camera 

as any rebel has ever come, 

the t1i has the same sensor bESt in CLASS 

and nearly the same 

processing power as pricier raW capture 

big brother EoS 50D. imaGe staBiliZation 

standout spec Sheer Lens-based 

imaging power—both still and video rES/FramE ratE 

video—ranks best for this price. 1080i/20 fps, 720p/30 fps 

sensor 15.1mP cmoS, 14-bit lcd 3-in., 920,000-dot 


the first DSLr with video, 

it remains nikon’s main 

midlevel model, with great 

resolution, hD movie-making, 

and near-perfect layout. unlike sensor 12.3mP cmoS, 

lesser nikons, it accepts 12-bit raW capture 

lenses without aF motors. imaGe staBiliZation 

standout spec the pop-up Lens-based 

flash that supports wireless video rES/FramE ratE 

flash control. you won’t find 720p/24 fps 

that on the D5000. 

lcd 3-in., 920,000-dot 

PoPPhoto.com January 2010 popular photography 93 

PRICEY 


Without question, the overall 

image quality champ of 

current DSLrs—and should 

be for a while. Built like a tank, 

it’s heavy and expensive, but bESt in CLASS 

those who love it don’t care. 

has the fastest aF in low light. 14-bit raW capture 

standout spec the imaGe staBiliZation 

absolute, breathtaking Lens-based 

state-of-the-artness of it. video none 

sensor 24.5mP cmoS, lcd 3-in., 920,000-dot 


leica m9 

1/2 fuLL-frAME 

amateur pro 


Leica finally serves up a 

full-frame m body, and it 

produced Excellent image 

quality through ISo 800. 

outside the lab, we loved the 

classic Leica style and good 

old-fashioned simplicity of 

operation. But what’s with the 

max ISo of 2500? 

standout spec a sensor 

that delivers all the quality 

PRICEY 

nEw ModEL 

Leica lenses can provide. 

sensor 18mP ccD, 14-bit 

raW capture 

imaGe staBiliZation none 

video none 

lcd 2.5-in., 230,000-dot 

STEaL

the guide * dSLrs 

nikon d300s 

APS-C 

amateur pro 


thoughtful major tweak of 

the well-regarded D300 

adds video (though we wish 

it did 1080p at 30 fps) and 

increases native burst rate 

to 7 fps. Very competitive 

with the current state of the 

midrange art, but that battle 

keeps on smokin'. 

standout spec color-andshape-sensing 

aF tracking a 

standout shooting tool. 

olympus e-3 

1/2 four thirdS 

amateur pro 


Pros cotton to olympus’ 

flagship for its super-rugged 

construction and its superior 

lens line. also nice: Fast aF, a 

small but swiveling LcD, and 

built-in image stabilization. 

standout spec alloy 

chassis fully encases the 

innards—including the back, a 

weak area on many 

DSLrs—and allows you to fold 

the LcD inward to protect it 

olympus e-620 

four thirdS 

amateur pro 

$700, street, with 

14–42mm f/3.5–5.6 

Zuiko digital lens 

For arty amateurs, the E-620 

offers the still-new seeming art 

Filters, special effects that 

invite experimentation. Plus: 

small, light build, and bodybased, 

sensor-shift IS. 

standout spec 

the super-articulated 

swiveling/tilting LcD that 

siGma sd14 

APS-C 

amateur pro 


unique 3-layer rGB sensor 

distinguishes the cultish 

SD14, an aging design 

that has fallen well behind 

the current state of the 

art in imaging, aF, and 

shooting speed. 

standout spec Imaging 

with a creamy, subtle, almost 

filmlike quality. 

sensor 4.7mPx3-layer 

sony alpha 700 

1/2 APS-C 

amateur pro 


the camera that put Sony 

on the map as a maker 

of enthusiast DSLrs may 

be an oldie, but it’s still a 

goodie for its rugged build, 

fine imaging, and thoughtful 

design. We still haven’t heard 

of a replacement, but it should 

be any day now. 

standout spec one of 

the most intuitive control 

nEw ModEL 




Lens-based 


720p/24 fps 

lcd 3-in., 921,000-dot 

gEtting oLd 

from scratches—or worse. 

sensor 10.1mP LivemoS, 



2.5–3 stops 

video none 

lcd 2.5-in., 230,000-dot 

the E-520 lacks. 

sensor 12.3mP 

LivemoS, 12-bit raW capture 


2 stops 

video none 

lcd 2.7-in., 230,000-dot 

gEtting oLd 

Foveon X3 sensor, 12-bit 

raW capture 


Lens-based 

video none 

lcd 2.5-in., 230,000-dot 

gEtting oLd 

and menu interfaces yet. 




2.5–3 stops 

video none 

lcd 3-in., 920,000-dot 


In these three pages, we rate all of 

the current DSLRs, plus all of the 

current lenses within a given focal 

length range, that we’ve tested. 

The star ratings reflect: 

nikon d700 

fuLL-frAME 

amateur pro 


only For the enthusiast 

craving pro-grade features, 

the D700 offers a full-frame 

sensor borrowed from the 

D3 supercamera, sensitivity 

to ISo 25,600, 51-zone aF, 

and a pop-up flash with 

wireless flash control. 

standout spec that big, 

juicy full-frame sensor in an 

enthusiast’s $2,700 body, for 

great low-noise shooting from 

olympus e-30 

four thirdS 

amateur pro 


olympus’ less-expensive 

companion to the prograde 

E-3 boasts more 

megapixels, an impressive for 

its class 5-fps burst rate, 

comparable handling, and an 

assortment of fun filters—pop 

art, anyone? 

standout spec the 

fully-articulating LcD screen 

makes live view much more 

useful while also protecting 

pentaX k-7 

APS-C 

amateur pro 


Built like a tank, Pentax’s 

flagship DSLr has a 

well-designed body and records 

pleasing video, but its image 

quality and aF speed fall short 

of similarly-priced competitors. 

standout spec 77 

weather seals let you shoot 

in 14°F temperatures. 




1/2 APS-C 

amateur pro 


18–55mm f/3.5–5.6 sony 

dt sam lens an entry-level 

DSLr with a flexible LcD, 

the alpha 330 has speedy 

autofocus, the best live view 

in town, and a price fit for 

the thriftiest photographers. 

standout spec 

the live view uses the 

conventional (and fast) aF 

system, fires with no delay. 


fuLL-frAME 

amateur pro 


minor change of the a900 

drops viewfinder accuracy to 

98%, slows burst rate to 3 fps, 

and forgoes a wireless remote 

control. It kept the impressive 

image quality, top ergonomics, 

and superfast aF, though—so 

much so that it achieved an 

equal rating to the a900. 

standout spec the most 

full-frame bang for the buck 

ISo 100 through 6400. 




Lens-based 

video none 

lcd 3-in., 921,000-dot 

the screen from harm if you 

turn it inward. 

sensor 12.3mP LivemoS, 



2.5–3 stops 

video none 

lcd 2.7-in., 230,000-dot 

nEw ModEL 

CamERaS 

image quality: Includes resolution, noise, 

and color accuracy 

performance/capabilities: Includes 

autofocus, metering, and burst rate 

usability: Includes ergonomics, controls, 

and customization 

APS-C four thirdS fuLL-frAME bESt in CLASS gEtting oLd nEw ModEL 


2.5–3 stops 


1536x1024/30 fps, 

720p/30 fps 

lcd 3-in., 921,000-dot 

sensor 10.2mP ccD, 12-bit 

raW capture 


2.5 stops 

video none 

lcd 2.7-in, 230,400-dot 

you can get today. 




2–2.5 stops 

video none 

lcd 3-in., 921,000-dot 


nikon d5000 

APS-C 

amateur pro 


18–55mm f/3.5 –5.6 dX 

nikkor vr lens 

For nikonians who want a 

hinged and tilting LcD, the 

D5000 is the only option. 

Plus you get video, 4-fps burst 

shooting, speedy aF, and 

sensitivity out to ISo 6400. 

standout spec the 

price—it offers (almost) 

everything the D90 has but 

costs $80 less. 

olympus e-520 

four thirdS 

amateur pro 


14–42mm f/3.5–5.6 

Zuiko digital lens 

Its live view previews 

exposure settings (albeit 

on a non-swiveling LcD), 

and overall ergonomics are 

very user-friendly—all for 

$450, with a lens. Paired with 

its housing, you'll have a 

diving rig for under $1,200. 

standout spec the built-in 

image stabilization fared 

pentaX k2000 

1/2 APS-C 

amateur pro 


18–55mm f/3.5–5.6 

pentax da lens 

nice-handling beginner’s 

DSLr, with image quality 

and aF speed that can’t 

keep up with more expensive 

cameras. Still way ahead 

of any compact, though. 

standout spec With 

adapters, this camera can use 

any lens Pentax has ever made. 


APS-C 

amateur pro 


18–55mm f/3.5–5.6 sony 

dt sam lens 

With its made-for-beginners 

display interface and great 

live view, the alpha 380 

would be perfect for those 

new to DSLrs. 

standout spec one of 

the best live-view systems 

yet, works without delay in 

aF or firing. But we do wish it 


fuLL-frAME 

amateur pro 


only Sony’s blockbuster 

full-framer puts up top 

resolution numbers at ISo 

100 but has some catchup 

to do in noise and color 

accuracy. Speedy aF and 

great ergonomics almost 

make us forget that it doesn’t 

have live view or pop-up flash. 

standout spec that big, 

bright viewfinder makes you 

LEnSES 

optics: Includes sharpness, distortion, 

and light falloff 

Barrel design: Includes focus and zoom 

rings, markings, and aF motor 

To match cameras and lenses, look for 

the labels below. 




Lens-based 


720p/24 fps 

lcd 2.7-in., 230,000-dot 

STEaL 

extremely well in our field tests 

and can be used with any lens 

you put on the camera. 

sensor 10mP LivemoS, 



2–3 stops 

video none 

lcd 2.7-in., 230,000-dot 

STEaL 

STEaL PRICEY 

sensor 10.2mP ccD, 12-bit 

raW capture 


2.5 stops 

video none 

lcd 2.7-in, 230,000-dot 

showed 100% of the scene. 

sensor 14.2mP ccD, 



2–3 stops 

video none 

lcd 2.7-in., 230,400-dot 

realize why you prefer SLrs . 




2–2.5 stops 

video none 

lcd 3-in., 921,600-dot 

PoPPhoto.com

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the guide * widE-AngLE PriMES 

canon eF 14mm 

F/2.8l ii usm fuLL-frAME 

 

amateur pro 

$2,150, street, with built-in 

hood the widest canon L-series 

prime, version II upgraded the 

optics, added new coatings, and 

more gaskets and seals. the 

result? a heartier lens with better 

distortion control, close-focusing, 

and magnifying power. 

standout spec close-focusing 

leica tri-elmar-m 

16–18–21mm F/4 asph 

fuLL-frAME 

amateur pro 

$4,995, street, with hood 

and case not a zoom, this 

lens offers three discrete focal 

lengths that each click-stop 

into place. among its other 

unusual amenities: red barrel 

threading that alerts you to 

screw on the hood. 

standout spec three sharp 

leica summicron-m 

28mm F/2 

1/2 

fuLL-frAME 

amateur pro 

$3,995, street, with hood and 

case Faster by a stop than the 

“bargain-priced” Elmarit-m 28mm, 

it’s slightly heavier, but otherwise 

similar in dimensions. Superbly 

finished and constructed. 

standout spec Its f/2 speed 

lets you take handheld shots 

without flash at dusk or in other 

nikon aF nikkor 28mm 

F/2.8d 

1/2 

fuLL-frAME 

amateur pro 

$270, street Back in 1998, 

when we tested this lens, we 

called it one of the best of its 

type. Sharp, with a 10-inch 

close-focusing distance, its 

magnification came in at a 

notable 1:5.7. 

standout spec that 

price—it’s an f/2.8, after all. 

pentaX 21mm F/3.2 

da al limited APS-C 

1/2 

amateur pro 

$510, street, with hood and 

case all-metal construction, 

engraved markings, and excellent 

optics. ultra-compact, it’s perfect 

for travelers. the close-focusing 

distance of 7.25 inches and 

magnification of 1:5.7 promise 

great vacation close-ups. 

standout spec Size—it’s 

PRICEY 

improved to 7.5 inches. 

mounts canon EF 

weiGht 1.4 pounds 

lenGth 3.7 inches 

Filter siZe rear slot 

staBiliZation no 

PRICEY 

lenses in one housing. 

mounts Leica m 

weiGht 0.7 pound 


Filter siZe 49mm 


PRICEY 

low-light situations. 






STEaL 

mounts nikon aF 





1-inch deep and under 5 ounces. 

mounts Pentax KaF2 


lenGth 1.0 inch 


staBiliZation In the camera 


bESt in CLASS 

In these pages, we rate all of the current DSLRs (and one 

rangefinder), plus all of the current lenses within a given 

focal range, that we’ve tested. The star ratings reflect: 

LEnSES 

optics: Includes sharpness, 

distortion, and light falloff 

Barrel design: Includes 

focus and zoom rings, 

markings, and aF motor 

To match cameras and lenses, 

look for the labels below. 

APS-C four thirdS fuLL-frAME bESt in CLASS 

gEtting oLd nEw ModEL STEaL PRICEY 

canon eF 24mm 

canon eF 28mm 

F/1.4l ii usm fuLL-frAME 

1/2 

F/2.8 

 

fuLL-frAME 

amateur pro amateur pro 

$1,700, street, with hood 

and case Sharpness improved 

considerably compared to 

Version I due to new antireflective 

coating. Light falloff to f/4.5 

was a minor disappointment. 

standout spec SQF 

performance leapt to 93.4% 

from 74.1% (at f/1.4) compared 

leica elmarit-m 21mm 

gEtting oLd leica elmarit-m 28mm 

F/2.8 asph fuLL-frAME PRICEY 

F/2.8 

1/2 

fuLL-frAME 



case Light and compact, the 

lens offers Leica-perfect optics. 

crescent-shaped focusing knob 

(Leica calls it a thumb tab) 

makes manual focusing 

user-friendly. If only we could say 

the same about the price. 

standout spec outstanding 



F/2.8d ed fuLL-frAME F/2.8d fuLL-frAME 

 

$1,720, street, with case 

and built-in hood the perfect 

nikkor for architectural photo- 

graphy because of its ultrawide 

view and relatively strong 

distortion control that keeps lines 

straight. Well-constructed, with 

attractive matte-black surfacing. 

standout spec the 8-inch 

pentaX 14mm F/2.8 

pentaX 15mm F/4 da 

da ed APS-C 

1/2 

ed al limited 

1/2 

APS-C 


$715, street, with hood all-metal 

barrel and lensmount, wide 

aperture, and excellent SQF deem 

this lens pro-ready without the pro at 1/3-stop down from wide open. 

price. close-focusing distance of mounts Pentax KaF2 

6.7 inches and magnification of weiGht 1.1 pounds 

1:4.6 reinforce the claim. lenGth 2.7 inches 

standout spec Excellent Filter siZe 77mm 

light-falloff control—vignetting gone staBiliZation In the camera 

siGma 20mm F/1.8 eX dG 

fuLL-frAME 

amateur pro 

$570, street, with hood 

and case Favored by pros 

for its speed, this 20mm lens 

was considered a “super” 

ultrawide back in 2002 when 

we tested it. not so much, now. 

standout spec Speed, 

its f/1.8 aperture is very fast 

for this focal length. 

mounts canon, nikon, Pentax, 

with the first version of this lens. 






SQF, minimal barrel distortion. 






close-focusing distance and 

bright f/2.8 maximum aperture. 




Filter siZe rear slot 


Sigma, Sony 





$260, street this lens has 

been around for more than 15 

years and is still as useful and 

affordable as the day it 

appeared. the SQF table 

shows excellent sharpness, 

and you can’t beat that weight. 

standout spec Price, low 

for a wide-angle with little 


case this traditional, manual- 

focus lens has an all-metal barrel 

with engraved scales and six 

elliptical contacts on its mount to 

engage the advanced features of 

the new m9 digital rangefinder, 

though it works on older bodies. 

standout spec Practically 

 



macro fuLL-frAME 

1/2 

amateur pro 


case With all the good qualities 

of the 24mm f/1.8, this offers 

an even lower price and better 

distortion numbers. aF was 

slightly noisy, but a newer 

(untested) version fixes that. 

standout spec Price—less 

than $400 for an f/1.8. 

STEaL 

mounts canon, nikon, 

Pentax, Sigma, Sony 

weiGht 1 pound 





$565, street If you can’t 

afford the nikon 14mm, or 

want something lighter and 

more compact, the next best 

thing is the nikon 20mm. It still 

covers a fairly wide angle and 

its performance is pro-worthy. 

standout spec Small size 

and 94-degree angle of view. 

$550, street, with built-in hood 

and case tested in this issue (see 

page 88), this lens boasts the 

elegant design and durable 

nEw ModEL 

construction that distinguish all mounts Pentax KaF2 

of Pentax’s Limited series lenses. weiGht 0.4 pound 

standout spec Its distortion lenGth 2.4 inches 

control—only 0.17% barreling— Filter siZe 49mm 

in a 22.5mm equivalent staBiliZation In the camera 


macro fuLL-frAME 

1/2 

amateur pro 


case Fast, wide, close-focusing, 

sharp, and inexpensive —what 

more do you want in a 

wide-angle? only distortion 

control (0.63% barrel) is lacking. 

standout spec 

magnification: 1:2.7, cool. real 

macro in a wide angle! 

STEaL 

distortion and lots of sharpness. 






distortion-free (in our tests, 

Imperceptible 0.05% pincushion). 











STEaL 

mounts canon, nikon, olympus 

four-thirds, Pentax, Sigma, Sony 





Our Star ratingS 

summa cum laude 

phi Beta kappa 

dean’s list 

Gentleman’s c 

attendance medal 

gEtting oLd 

cameras and lenses—tested and rated 

For Full test reports and inFo 

on how we test and rate cameras and 

lenses, visit popphoto.com/reviews.

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61 

12 Mega 

Pixels 

10 Mega 

Pixels 

10 Mega 

Pixels 

10 Mega 

Pixels 

12 Mega 

Pixels 

12 Mega 

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12 Mega 

Pixels 

Memory Cards 

Powershot A1100 IS 

• Optical Image Stabilizer System 

• 12.1 MegaPixels • 2.5" LCD Monitor 

• 4x Optical Zoom • 4x Digital Zoom 

• 6.2-24.8mm f/2.7-5.6 (35mm equiv. 

35-140mm) • SD/SDHC Card Slot 

• Dimensions 3.76 x 2.46 x 1.22" 

• Weight 5.47 oz 

Blue, Green, Grey, Pink #CAPSA1100* 

Powershot S90 IS 

• Optical Image Stabilization • RAW File 

Capture • Compact and Pocket-friendly 

• 10 MegaPixels • 3.0" LCD Monitor 

• 3.8x Optical Zoom • 4x Digital Zoom 

• 6-22.5mm f/2.0-4. (35mm equiv. 28-105mm) 

• SD/SDHC Card Slot • Face Detection 

• Dim. 3.94 x 2.30 x 1.22" 

• Weight 6.17 oz #CAPSS90 

Powershot SD1200 IS 

• Optical Image Stabilizer System 



• 6.2-18.6mm f/2.8-4.9 (35mm equiv. 

35-105mm) • SD/SDHC Card Slot 

• Dim. 3.48 x 2.16 x 0.86" • Weight 4.23 oz 

Blue, Dark Grey, Light Grey, 

Green, Orange, Pink #CAPSSD1200* 

Powershot G11 

Optical Image Stabilizer System 

• 10 MegaPixels • 2.8" Vari-Angle LCD 

• RAW File Mode • E-TTL Flash Hot Shoe 


• 6.1-30.5mm f/2.8-4.5 (35 equiv. 28-140mm) 

• SD/SDHC (High Capacity) Card Slot 

• Dimensions 4.41 x 3 x 1.9" 

• Weight 12.5 oz #CAPSG11* 

FinePix F200EXR 

• Super CCD EXR Sensor 

• 12 MegaPixels • 3" LCD Monitor 

• 5x Optical Zoom • Dual Image Stabilization 

• 6.4-32mm f/3.3-5.1 (35 Equiv. 28-140mm) 

• xD & SD/SDHC Card Slot • HD Video Out 

• 48MB Built-in Memory • ISO 100-12800 

• Dimensions 3.8 x 2.3 x 0.9" 

• Weight 6.2 oz #FUFPF200EXR 

Coolpix S1000pj 

with Built-in Projector 

• Projects 40" Images up to 5.5' Away 

• 12.1 MegaPixels • 2.7" Wide-View TFT LCD 

• 5x Optical Zoom • SD/SDHC Card Slot 

• 5-25mm f/3.9-5.8 (35mm Equiv. 28-140mm) 

• Dimensions 2.5 x 4 x 0.9" 

• Weight 5.5 oz #NICPS1000* 

Coolpix P90 

• 4-Way VR Image Stabilization 

• 12.1 MegaPixels • 3" Vari-Angle LCD 

• 24x Optical Zoom 

• 4.6-110.4mm f/2.8-5 (35mm Equiv. 24-624mm) 

• SD/SDHC Card Slot • 47MB Built-in Memory 

• Dimensions 3.3 x 4.53 x 3.9" 

• Weight 16.2 oz #NICPP90* 

CF Compact Flash 

Delkin Kingston Lexar Sandisk 

Std Pro Std 

Elite Pro 

133x 

Ultimate Platinum 

266x II 80x 

233x 300x 600x 

Ultra 

II 

Extreme Extreme Extreme Extreme Pro 

III IV 60 MB/s 90 MB/s 

2GB 17.50 28.95 — — — — — — — 14.95 — — — — 

4GB 19.50 46.95 18.95 — 49.95 24.95 32.95 58.95 — 29.95 34.99 59.95 — — 

8GB 29.95 76.95 24.95 23.50 73.50 33.50 59.95 104.95 149.50 — — 129.00 119.95 — 

16GB 48.95 149.50 — 39.95 93.50 54.95 — 197.95 223.95 — 114.95 219.95 179.95 259.99 

32GB 106.50 — — 74.50 — — — — — — 199.00 — 299.95 439.99 

64GB New! — — — — — — — — — — — — — 699.95 

SD Secure Digital 

12 Mega 

Pixels 

12 Mega 

Pixels 

12 Mega 

Pixels 

12 Mega 

Pixels 

10 Mega 

Pixels 

10 Mega 

Pixels 

9 Mega 

Pixels 

Delkin Kingston Sandisk Panasonic 

Std Pro Micro Std Micro Std Micro 

Micro 

Ultra 

20MBs 

Class 4 

22MBs 

Class 6 

Micro 

1GB 9.95 — 9.95 — — — — 9.95 — — 8.95 

2GB 12.95 23.95 9.95 9.95 9.95 7.95 12.50 — 7.95 13.50 — 

SD HC Secure Digital High Capacity 

Stylus Tough-8000 

• Shockproof, Waterproof, Freeze proof 

• Image Stabilization 

• 12 Megapixels • 2.7" LCD Monitor 

• 3.6x Optical Zoom • 5x Digital Zoom 

• 5-18.2mm f/3.5-5.1 (35 Equiv. 28-102mm) 

• xD card slot • 45MB Internal Memory 


Black, Silver #OLST8000* 

Stylus 7010 

• Dual Image Stabilization • Magic Filters 

• 12 Megapixels • In-Camera Panorama Mode 

• 2.7" LCD with Backlight Boost 


• 5-35mm f/3-5.9 (35mm Equiv. 28-196mm) 

• xD card slot • 36MB Internal Memory 

• Dimensions 3.8 x 2.2 x 1" • Weight 4.4 oz 

Grey, Pink, Silver #OLS7010* 

Lumix DMC-ZR1 

• POWER Optical Image Stabilization 

• 12.1 Megapixels • 2.7" LCD Monitor 


• 4.5-36mm f/3.3-5.9 (35 equiv. 25-200mm) 

Leica DC Vario-Elmarit lens • 

• SD/SDHC Card Slot • 40MB built-in Memory 


Blue, Red, Silver #PADMCZR1* 

Optio W80 

• Waterproof • Shockproof • Coldproof 

• HD Movie HD Video Recording 


• 5x Optical Zoom • 6.25x Digital Zoom 

• 5-25mm f/3.5-5.5 (35 Equiv. 28-140mm) Lens 

• Shake Reduction Technology • SD/SDHC 

Card Slot • Dim. 3.9 x 2.2 x 1.0" • Wt. 4.4 oz 

Blue, Grey, Red #PEOW80* 

CyberShot DSC-W180 



• 6.2-18.6mm f/2.5-5.1 (35 Equiv. 35-105mm) 

Lens • MS Duo/Pro Duo Card Slot 

• Smile Shutter Technology • SteadyShot 

Image Stabilization • In-camera Retouching 

• Dimensions 3.62 x 2.25 x 0.75" 

• Weight 3.8 oz #SODSCW180 

CyberShot DSC-TX1 

• Anti-Shake/Anti-Blur • HD Movies 

• 10.1 MegaPixels • Sweep Panorama • 3" Touch 

LCD • 4x Optical Zoom • 4x Digital Zoom 

• 6.18-24.7mm f/3.5-4.6 (35 Equiv. 35-140mm) 

Carl Zeiss Vario-Tessar Lens • High Speed 

Shooting 10fps • MS Pro Duo/Pro HG Card Slot 


Blue, Grey, Pink, Silver #SODSCTX1* 

CyberShot DSC-HX1 

• 9.1 MegaPixels • 3" LCD Monitor 


• 5-100mm f/2.5-5.6 (35 Equiv. 28-260mm) 

G-Lens • MS Duo/Pro Duo Card Slot 

• HD Video Recording • Sweep Panorama 

Mode • Handheld Twilight Mode 

• Dimensions 4.63 x 3.38 x 3.63" 

• Weight 18 oz #SODSCHX1 

MSDUO Memory Stick Pro Duo 

Lexar Sandisk Sony 

Platinum 

Standard Ultra II 

II 

Gaming Mark II 

1GB — — — 16.95 — 

2GB 19.50 18.50 24.50 — 14.95 

4GB 24.95 29.95 33.95 29.95 22.95 

8GB 42.95 42.95 49.95 — 34.99 

16GB — 76.50 98.95 — 73.50 

XD xD Memory 

Type M 1GB 2GB 

Fuji 17.95 — 

Olympus M+ 14.99 14.95 

Delkin Kingston Lexar Panasonic Sandisk 

Class 2 

Pro 

Class 4 Class 6 

Micro 

Class 2 

Standard 

Class 4 Class 6 

Micro 

Class 4 

Standard Platinum II 133x 

Class 2 60x Class 4 Class 6 

20 MBs 

Class 4 

22 MBs 

Class 10 

Standard 

Class 2 

Ultra 

Class 4 

Extreme III – Class 6 

20MBs 30MBs 

Micro 

4 GB 18.50 — 16.95 16.50 12.95 13.50 14.50 14.50 — 14.95 31.95 12.95 22.50 11.95 19.95 34.95 44.00 21.95 

8GB 27.50 — 23.95 24.95 19.95 21.95 23.50 22.50 — 24.50 59.95 23.95 44.50 19.95 34.95 54.95 74.00 29.95 

16 GB 44.95 — 47.95 88.50 — 33.95 — — 62.50 44.95 — 47.95 84.95 — 59.95 — 122.00 59.95 

32 GB — 113.50 148.95 — — 79.50 — — — — — — 298.95 124.95 114.50 — — — 


Evolt EP1 

“D-SLR” Digital SLR Camera 

12 MegaPixels 

Evolt E30 


12 MegaPixels 

Lumix DMC-GF1 


12 MegaPixels 

SLR Lenses & Flashes 

50mm f/2 Macro ED Zuiko 

Digital Lens 

• Exclusively designed for 

use with Digital SLRs 

• ED glass element 

• Ideal for not only macro 

photography but also as a 

portrait lens 

• Minimum focus 9.45" 

• 52mm fi lter diameter 


Flash System 

FL-20 Flash............................................................$149.95 

FL-36R Flash .........................................................$229.95 

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

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

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

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

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

Zuiko 4/3 System Digital Lenses 

for E-1 & Evolt Cameras 

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

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

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

150/2.0 ED (82ø) .......................................... $2,499.95 

300/2.8 ED ....................................................... $6,999.95 

7-14/4.0 ED (72ø) ........................................ $1,799.95 

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

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

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

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

35-100/2.0 ED (77ø) ................................... $2,499.99 

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

50-200/2.8-3.2 ED SWD (67ø) .............. $1,199.95 

90-250/2.8 ED (105ø) ................................ $5,999.95 

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

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

MF-1 OM Lens Adapter ...................................$99.95 

• Capture in JPEG or RAW 

• HD Stills and Video with Live View 

• 12.3 MP Live MOS Imaging Sensor 

• 3" HyperCrystal LCD 

• In-Camera Image Stabilization 

• 4/3 Full Frame Zuiko Specifi c Lenses 

• Advanced Shooting and 

Post-Capture Editing Modes 

• SD/SDHC Card Slot 

• ISO 100-6400 

• Advanced Dust Reduction 

• Advanced Shooting & Editing Tools 

• Aluminum & Stainless-Steel Constructio 

EP1 Body Only .....................................#OLEP1* 


• In-Body Image Stabilization 

• 12.3 MegaPixels • 2.7" Live View LCD 

• 4/3 Full Frame Zuiko Specifi c Lenses 

• CF & XD Dual Card Slots 

• ISO 200-3200 • USB 2.0 

• Shadow Adjustment 

• 5 fps Burst • Face Detection 

• Supersonic Wave Filter Anti-dust 

System • Scene Select Modes 

• Art Filters & Multiple Exposure 

E30 Body Only ........................................#OLE30 

Kit with 14-42mm 

Zuiko Lens ............................. #OLE301442 

• Advanced Dust Reduction Technology 

• HD Video Recording 

• 12.1 MegaPixels 

• 3.0" Live View LCD 

• Live View Autofocus + Face Detection 

• Compact Micro Four Thirds Design 

• Intelligent Exposure (iA) Mode 


• Built-in Flash 


• My Color + Film Mode 

• Optional Electronic Viewfi nder 

Kit with 14-45mm ......#PADMCGF11445* 

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

ED AF Zoom Lens 



• 35mm equiv. 76.5-306mm 

• Ideal for portraiture, 

sports and scenery 

• Quick-Shift Focus System 

• Minimum focus 3.6' 


• Weight 9 oz 

K7 


14 MegaPixels 

Alpha A500 


12 MegaPixels 

Alpha A850 


24 MegaPixels 

HVL-F58AM Shoe Mount 

Digital Flash 

• Guide No. 190' 

• TTL Dedication 

• Bounce & Swivel Head 

• Zoom Head (24-105mm) 

• Vari-Power 

• Auto WB Adjustment 

• High-Speed Sync 

• Wireless Ratio Control 


AF Flash System 

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

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

SMCP-DA Digital AF Lenses 

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

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

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

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

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

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


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

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

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

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

16-45/4 ED AL (67ø) ................................................................... 

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

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

18-55/3.5-5.6 AL II (52ø) ........................................................... 

18-250/3.5-6.3 ED IF AL (62ø) ............................................... 

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

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

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

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

AF Lenses for 35mm & Digital SLRs 

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


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

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

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

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

28-80/3.5-5.6 J FA AL (58ø)..................................................... 


• 14.6 Megapixels 

• 3" High Resolution LCD 

• 100% Viewfi nder Coverage 

• Uses Pentax AF Lenses (1.5x factor) 


• Advanced Shake Reduction System 

• Dust Reduction System 

• 3.5mm Stereo Input 

• 11-point AF System • ISO 100-6400 

• Electronic Level Indicator 

• Lightweight and highly durable, 

weather resistant, dust-proof 

K7 Body Only ..............................................#PEK7 

• RAW & JPEG File Formats 


• 3" TFT Photo Clear LCD Display 

• Quick Auto Focus Live View 

• Uses Sony Alpha (compatible 

with Minolta A-type bay mount) 

Lenses (1.5x factor) 

• SteadyShot INSIDE Image Stabilization 

• MS PRO Duo and SDHC Dual Card Slots 

• 6 Scene Selection & 6 Style Modes 

• Reduced Noise at ISO Up To 12,800 

• 1000 Shots With InfoLITHIUM Battery 

A500 Body Only .................. #SODSLRA500 

Kit with 18-55mm ............#SODSLRA500L 

• Dual BIONZ processing engines 

• SteadShot Inside Image Stabilization 

• 24.6 MegaPixels 35mm 

full-frame sensor 

• 3" Xtra Fine LCD • SLR viewfi nder 

• Uses Sony Alpha (compatible with 

Minolta A-type bay mount) Lenses 

• CF and Memory Stick Duo Card Slots 

• Creative Styles • 3 fps Burst 

• HDMI output 

• 3:2 and 16:9 Shooting 

• High Sensitivity (ISO 6400) 

• Anti-Dust Technology 

A850 Body Only ....................#SODSLRA850 

16-80mm f/3.5-4.5 Carl Zeiss 

Vario-Sonnar T* DT Lens 



• 35mm equiv. 24-120mm 

• Ideal for snapshots, 

portraits, interiors or 

outdoor scenery 




Compatible with Maxxum D-SLRs 

Flash System 

HVL-F42AM ..........................................................$299.99 

HVL-F58AM ..........................................................$499.99 

Digital Lenses 

16/2.8 Fish-eye ..................................................$849.99 

20/2.8 (72ø) .........................................................$599.99 

28/2.8 (49ø) .........................................................$269.99 

35/1.4 (55ø) .................................................... $1,369.99 

50/1.4 (55ø) .........................................................$369.99 

50/2.8 Macro (55ø) ..........................................$479.99 

85/1.4 Carl Zeiss (72ø) ............................ $1,369.99 

100/2.8 Macro (55ø) .......................................$679.99 

135/1.8 Carl Zeiss (77ø) ......................... $1,479.99 

135/2.8 STF (72ø) ........................................ $1,249.99 

300/2.8 G APO .............................................. $6,299.99 

500/8 Refl ex ........................................................$749.99 

11-18/4.5-5.6 DT (77ø) ..................................$699.99 

16-35/2.8 ZA SSM Carl Zeiss (77ø).. $1,899.99 

16-80/3.5-4.5 DT Carl Zeiss (62ø) .........$749.99 

16-105/3.5-5.6 DT (62ø) ...............................$599.99 

18-200/3.5-6.3 DT (62ø) ...............................$529.99 

18-250/3.5-6.3 DT (62ø) ...............................$579.99 

24-70/2.8 Carl Zeiss (77ø) .................... $1,599.99 

70-200/2.8 G APO (77ø) .......................... $1,799.99 

70-300/4.5-5.6 G (62ø) ..................................$849.99 

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

1.4x Teleconverter ...........................................$479.99 

2x Teleconverter ...............................................$479.99 


Quick Dial 

64 

Quick Dial 

64 


B&H Online 

bhphotovideo.com 





• Huge inventory 

available for 

worldwide shipping 

• Educate yourself 

in our product 

resource center 




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800-947-6933, 

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Fax: 

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Page 4 

Digital Rebel XS 


Quick Dial 

64 

10 MegaPixels 

Digital Rebel T1i 


EOS-50D 


Quick Dial 

64 

15 MegaPixels 

15 MegaPixels 


580 EX II Shoe Mount Flash 

$ 50 

Rebate! 

Expires 1-16-10 

* Price 

After 

Rebate 


• Dust- & water-resistance 

• Metal Hot Shoe 

• Superior build quality, 

including a metal foot 

for higher rigidity 

• E-TTL II, E-TTl, 

TTL & Manual 


• Zoom Head (24-105mm) 

Canon EOS Flash System (USA) 

220EX ................................$99.95 270EX .......................$129.00* 

430EX II ....................... $250.00* 580EX II ...................$395.00* 

MR-14EX Ringlight ..................................................................$445.00* 

MT-24EX Twin Flash ................................................................$659.95* 

EF-S Lenses For Digital Only IMP USA 

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

60/2.8 USM Macro (52ø) .......................$419.95 ...........$404.95* 

10-22/3.5-4.5 USM (77ø) .......................$759.00 ...........$739.00* 

15-85/3.5-5.6 IS USM (72ø) ...............................— ............. $799.95 

17-55/2.8 IS USM (67ø) ....................$1,030.00 ...........$990.00* 

17-85/4-5.6 IS USM (67ø)............................CALL .....................CALL 

18-55/3.5-5.6 IS (58ø) .............................$159.95 ............. $170.00 

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

18-200/3.5-5.6 IS (72ø) .............................574.95 .................595.00 

55-250/4.0-5.6 IS USM (58ø) .....................CALL .................255.00 

EF Lenses IMP USA 

15/2.8 ...............................................................$674.95 ............. $699.00 

20/2.8 USM (72ø) ......................................$474.95 ............. $499.95 

24/2.8 (58ø) ..................................................$329.95 ............. $349.95 

28/2.8 (52ø) ..................................................$259.95 ............. $269.95 

28/1.8 USM (58ø) ......................................$474.95 ............. $499.95 

35/2 (52ø) ......................................................$299.95 ............. $319.95 

50/1.8 (52ø) .....................................................$99.95 ............. $109.95 

50/2.5 Macro (52ø) ...................................$279.95 ............. $299.95 

50/1.4 USM (58ø) ......................................$384.95 ............. $399.00 

MP-E 65/2.8 1x-5x Macro (58ø) ........$959.95 ............. $999.95 

85/1.8 USM (58ø) ......................................$419.95 ............. $439.95 

100/2 USM (58ø) .......................................$434.95 ............. $449.95 

100/2.8 USM Macro (58ø) ....................$599.95 ............. $639.95 

28-105/3.5-4.5 II USM (58ø) ................$209.95 ............. $219.95 

28-135/3.5-5.6 IS USM (72ø) ..............$399.95 ............. $409.95 

70-300/4-5.6 IS USM (58ø) ..................$529.95 ............. $549.95 

70-300/4.5-5.6 DO IS USM (58ø) $1,249.95 .........$1,339.00 

• 10 MegaPixels CMOS Sensor 

• 2.5" LCD Monitor 

• Live View Function 

• SLR viewfi nder 

• Uses Canon EF Lenses (1.6x factor) 


• Auto Lighting Optimizer 

• 3.0 fps Continuous Shooting 

• ISO 100-1600 • USB 2.0 

• Picture Style Settings 

• Integrated Cleaning System 

Digital Rebel XS Kits 

Black Kit with 18-55mm IS #CAEDRXSKB 

• HD 1080p, 720p, and 

VGA Video Capture 

• 15.1 MegaPixels CMOS Sensor 

• 3” Clear View LCD with Live View 



• Auto or Manual Focus 


• ISO Expandable to 12,800 

• RAW and/or JPEG 

Body Only .........................................#CAEDRT1I 

Kit with 18-55mm IS .............. #CAEDRT1IK 

• RAW and sRAW Image Capture 


• 3.0" Clear View VGA LCD 

• Live View Function • SLR viewfi nder 


• CF Card Slot • USB 2.0 

• “Picture Style” Settings 

• Versatile Exposure Metering System 

• HDMI output that enables the 

display of your photographs on 

any HDTV with HDMI ports 

Body Only ..............................................#CAE50D 

Kit with 28-135mm 

IS USM Lens ...................#CAE50D28135 

10-22/3.5-4.5 EF-S USM 

Digital Lens 

$ 50 

Rebate! 


Rebates 

Expire 

1-16 -10 

• Exclusively designed 

for Digital SLRs 

• 35mm equivalent 

16-35mm 

• 3 aspherical lens 

elements 

• 3.5-27 f/Stop Range 

• Focus 9.5" to Infi nity 



EOS-5D Mark II 


21 MegaPixels 

EOS-7D 


18 MegaPixels 

EOS-1D Mark IV 


16 MegaPixels 

17-55/2.8 EF-S IS USM 

Digital Lens 

$ 70 

Rebate! 


75-300/4.0-5.6 III (58ø) ...........................$154.95 ............. $159.95 

75-300/4.0-5.6 III USM (58ø) ...............$189.95 ............. $200.00 

100-300 4.5-5.6 USM (58ø) ..................$284.95 ............. $295.00 

TS-E MF Lenses IMP USA 

24/3.5 “L” II ...........................................................CALL .........$2,199.00 

45/2.8 ..........................................................$1,249.95 .........$1,299.95 

90/2.8 ..........................................................$1,249.95 .........$1,299.95 

EF “L” Lenses IMP USA 

14/2.8 USM II ...........................................$2,149.95 .........$2,199.00 

24/1.4 II (77ø) ..........................................$1,679.95 .........$1,699.00 

35/1.4 USM (72ø) .................................$1,369.95 .........$1,399.95 

50/1.2 USM (72ø) .................................$1,549.95 .........$1,599.00 

85/1.2 USM II (72ø) ..............................$1,969.95 ...... $1,869.95* 

100/2.8 IS USM Macro (67ø) ............................— .........$1,049.00 

135/2.0 USM II (72ø) ...........................$1,049.95 .........$1,069.95 

180/3.5 USM Macro (72ø) ...............$1,429.95 .........$1,449.95 

200/2.8 USM (72ø)....................................$819.95 ............. $839.95 

200/2.0 IS USM (52ø) .........................$5,199.00 ...... $4,800.00* 

300/4.0 IS USM (77ø).........................$1,269.95 .........$1,299.95 

300/2.8 IS USM (52ø rear) ...............$4,300.00 .........$4,599.00 

400/5.6 USM (77ø)...............................$1,299.95 .........$1,329.95 

400/2.8 IS (52ø rear) ...........................$7,200.00 .........$7,449.00 

500/4 IS USM (52ø rear) ..................$6,200.00 .........$6,400.00 

600/4.0 IS (52ø rear) ...........................$8,100.00 .........$8,300.00 

16-35/2.8 USM II (82ø) ......................$1,519.00 ...... $1,449.00* 

17-40/4.0 USM (77ø) ...............................$749.95 ...........$714.95* 

24-70/2.8 USM (77ø) ..........................$1,339.95 ...... $1,299.95* 

24-105/4 IS USM (77ø) .....................$1,149.00 .........$1,199.00 

28-300/3.5-5.6 IS USM (77ø) .........$2,439.95 .........$2,500.00 

70-200/4.0 USM (67ø) ............................$639.95 ...........$619.95* 

70-200/4.0 IS USM (77ø) .................$1,209.95 ...... $1,159.95* 

70-200/2.8 USM (77ø) .......................$1,309.95 ...... $1,249.95* 

70-200/2.8 IS USM (77ø) .............................CALL ...$150 Rebate! 

100-400/4.5-5.6 IS USM (77ø) ......$1,639.95 .........$1,679.95 

1.4x II Teleconverter .................................$309.95 ............. $324.95 

2x II Teleconverter ....................................$309.95 ............. $324.95 




• IS (Image Stabilizing) 

technology 



• Angle of View 

78.3º-27.5º 



• Record HD Video 

• 1080p Movie Mode 

• 21.1 Megapixel Full-Frame Sensor 

• 3.0" High Resolution LCD Display 

• SLR viewfi nder • Live View Mode 

• Uses Canon EF Lenses 

• CF, MD Card Slot • USB 2.0 

• Dust & Weather-Resistant 

• Self Cleaning Sensor 

• 3.9 fps Burst Mode 

• 9-point AF Sensor Array 

• ISO Range 50-25600 

Body Only ..............................................#CAE5D2 

Kit with 24-105mm IS .....#CAE5D224105 

• Record HD Video 

• 18 Megapixel Sensor 

• 3.0" LCD • 100% Viewfi nder 


• CF, MD Card Slot 

• Dust & Weather-Resistant 

• Selectable Video Exposure 

and Frame Rates 

• 8 fps Burst Mode 

• New 19-Point, All Cross-Type AF System 

• ISO 100-6400 (expandable to 12800) 

Body Only .................................................#CAE7D 

Kit with 28-135mm IS ........ #CAE7D28135 


• Selectable Video Exposure + 

Frame Rates 

• Self-Cleaning Sensor 


• SLR viewfi nder 

• 3" LCD Monitor 


• SD/SDHC & CF card slots 


• Dust & Weather Resistant 

• USB 2.0 

• 45 Point AF System 

• High Sensitivity (ISO 102,400) 

Body Only ...........................................#CAE1D4* 

24-70/2.8 EF “L” USM Lens 

• sealed and gasketed 

against dust & moisture 

• Internal Focusing 

• UD Element 

• Two Aspherical Elements 


• Focus 1.25' to Infi nity 



CANON INSTANT REBATES! 

* Price After Rebate 

Rebates Expire 1-16-10 

$ 80 

Rebate! 


USA 

Price 

Less 

Rebate 

Final 

Cost 

AF Flashes 

270 EX $149.00 $20 $129.00 

430 EX II $280.00 $30 $250.00 

580 EX II $445.00 $50 $395.00 

MR-14EX Ringlight $495.00 $50 $445.00 

MT-24EX Twin Flash $729.95 $70 $659.95 

EF-S Digital AF Lenses 

60/2.8 USM Macro $434.95 $30 $404.95 

10-22/3.5-4.5 USM $789.00 $50 $739.00 

17-55/2.8 IS USM $1,060.00 $70 $990.00 

EF “L” Lenses 

85/1.2 USM II $1,999.95 $130 $1,869.95 

200/2 IS USM $5,300.00 $500 $4,800.00 

16-35/2.8 USM II $1,549.00 $100 $1,449.00 

17-40/4.0 USM $764.95 $50 $714.95 

24-70/2.8 USM $1,379.95 $80 $1,299.95 

70-200/4.0 USM $659.95 $40 $619.95 

70-200/4.0 IS USM $1,234.95 $75 $1,159.95 

70-200/2.8 USM $1,329.95 $80 $1,249.95 

70-200/2.8 IS USM Call $150 Call 

USA = Imported & Warrantied by Canon USA 

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

Canon USA Rebates & Warranties)

D3000 

“D-SLR” Digital SLR Camera Kit 

10 MegaPixels 

D5000 


12 MegaPixels 

D90 


12 MegaPixels 


10-24mm f/3.5-4.5 DX AF-S 

Wide Zoom AF Lens 



• Silent Wave Motor 

• ED (Extra-low Dispersion) 

• Super Integrated Coating 

• 35mm equiv. 15-36mm 




• Compact Design 


• 3" LCD Monitor 

• SD, SDHC (High Capacity) Card Slot 

• Accepts Nikon AF Lenses (1.5x factor) 

• Self Cleaning Sensor • ISO 100-1600 

• Fast Shutter Response • USB 2.0 

• In-camera Editing • 3 fps Burst Mode 

8 11-point Autofocus System 

• Auto or Manual Focus 

• Nikon Inc. limited 

warranty included 

Kit with 18-55mm VR DX #NID30001855 

• HD 720p Video Capture 

with Exposure Control 


• 2.7” Vari-angle LCD • Live View Mode 

• Uses Nikon AF Lenses (1.5x factor) 


• In-Camera Image Editing 

• GPS Geotagging (optional) 

• Personal Picture Control Settings 




Body Only ............................................#NID5000 

Kit with 18-55mm VR ........#NID50001855 

• D-Movie mode record 720p 

HD movie clips 


• 3.0" LCD Monitor • SLR viewfi nder 

• Uses Nikon AF Lenses (1.5x factor) 


• In-Camera Image Editing 

• Scene Recognition System 

• Active D-Lighting • ISO 100-3200 

• GPS geo-tagging • USB 2.0 

• Self Cleaning Sensor • 4.5 fps Burst 



Body Only ..................................................#NID90 

Kit with 18-105mm VR ........#NID9018105 

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 

DX ED-IF Lenses for Digital Only IMP USA 

10.5/2.8 Fish-Eye ............................................. $684.95 ..............$699.95 

35/1.8 G AF-S (52ø) .............................................. CALL ..............$199.95 

10-24/3.5-4.5 G AF-S (77ø) .............................. CALL ..............$799.95 

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

16-85/3.5-5.6 G AF-S VR (67ø) ............... $609.95 ..............$629.95 

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

18-55/3.5-5.6 G AF-S II (52ø).................... $109.95 ..............$114.95 

18-55/3.5-5.6 G AF-S VR (52ø) ............... $164.95 ..............$184.95 

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

18-105/3.5-5.6 G AF-S VR (67ø) ................... CALL ..............$359.95 

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

55-200/4-5.6 G AF-S (67ø) ........................ $174.95 ..............$179.95 

55-200/4-5.6 G AF-S VR (67ø) ................ $219.95 ..............$229.95 

Nikon D-Type AF Lenses IMP USA 

14/2.8 D ED ............................................................... CALL ......... $1,719.95 

16/2.8 D (39ø) with Hood ......................... $879.95 ..............$919.95 

20/2.8 D (62ø) .................................................. $549.95 ..............$569.95 

24/2.8 D (52ø) .................................................. $349.95 ..............$359.95 

24/3.5 D ED PC-E (77ø) ..........................$1,959.95 ......... $1,999.95 

28/2.8 D (52ø) .................................................. $249.95 ..............$269.95 

35/2.0 D (52ø) .................................................. $339.95 ..............$359.95 

45/2.8 D ED PC-E Micro (77ø) ............$1,849.95 ......... $1,899.95 

50/1.8 D (52ø) .................................................. $124.95 ..............$134.95 

50/1.4 D (52ø) .................................................. $319.95 ..............$334.95 

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

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

Wide Zoom AF Lens 

• Optimized for edge-to-edge 

sharpness on both the 

Nikon FX (full-frame) & 

DX-format image sensors 

• Rugged construction, dust 

and moisture resistance 



• Weight 32 oz 

D300s 


12 MegaPixels 

D700 


12 MegaPixels 

D3s 


12 MegaPixels 

18-200mm f/3.5-5.6 DX G VR 

AF-S II ED-IF Digital Lens 



• 35mm equiv. 27-300mm 

• VR II Vibration Reduction 

• SWM (Silent Wave Motor) 





Nikon D-Type AF Lenses IMP USA 

60/2.8 D Micro (62ø) (1:1) ......................... $459.95 ..............$479.95 

60/2.8 G AF-S ED Micro (62ø) .................. $529.95 ..............$539.95 

85/1.8 D (62ø) with Hood ......................... $434.95 ..............$449.95 

85/1.4 D IF (77ø) .........................................$1,164.95 ......... $1,229.95 

85/2.8 PC-E Micro (77ø) ........................$1,729.95 ......... $1,779.95 

105/2.8 G AF-S ED-IF VR Micro (62ø) .......... CALL ..............$899.95 

105/2.0 DC D with Hood (72ø) ..........$1,019.95 ......... $1,079.95 

135/2.0 DC D (72ø) ...................................$1,269.95 ......... $1,299.95 

180/2.8 D ED-IF (72ø) .................................. $879.95 ..............$914.95 

200/4 D ED-IF Micro w/Case (62ø) ........$1,629.95 ......... $1,649.95 

200/2 G AF-S ED-IF VR (52ø).......................... CALL ......... $5,099.95 

300/4.0 D AF-S ED-IF (77ø) ...................$1,399.95 ......... $1,494.95 

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 ...........................$1,789.95 ......... $1,829.95 

17-35/2.8 (77ø) ....................................................... CALL ......... $1,769.95 

18-35/3.5-4.5 ED-IF (77ø) .......................... $579.95 ..............$599.95 

24-70/2.8 G AF-S ED-IF (77ø) ......................... CALL ......... $1,799.95 

24-85/2.8-4.0 D (72ø) ................................... $679.95 ..............$699.95 

24-120/3.5-5.6 G AF-S VR (72ø) ................... CALL ..............$599.95 

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

70-300/4.0-5.6 G (62ø) ................................ $139.95 ..............$154.95 

70-300/4.5-5.6 G-AFS VR (67ø) .............. $524.95 ..............$539.95 

80-200/2.8 D with Collar (77ø)...........$1,049.95 ......... $1,099.95 

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

200-400/4 G AF-S ED-IF VR (52ø) .................. CALL ......... $6,299.95 

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) 

• Dust and Weather Resistant 

• Self-Cleaning Sensor 


• 12.3 Megapixel DX-format CMOS 

sensor • 6 fps Burst • USB 2.0 

• 3" LCD Monitor • Live View 

• Accepts Nikon AF Lenses (1.5x factor) 

• CF and SD/SDHC Card Slots 

• 51-point AFs with 3D focus tracking 

• ISO Sensitivity from 200 to 3200 

• Stereo Audio Input 



Body Only ............................................#NID300S 

Kit w/18-200mm VR II....#NID300S18200 

• Self Cleaning Sensor 

• FX-format CMOS (full frame) 

• 12.1 MegaPixels • Live View 

• 3" VGA LCD Monitor • USB 2.0 

• SLR viewfi nder • 5 fps Burst 

• 51-point AF System 

• Uses Nikon AF Lenses 

• CompactFlash Card Slot 

• Dust and Water Resistant 

• Active D-Lighting Mode 

• HDMI Video Out • ISO 6400 



Body Only ...............................................#NID700 

Kit with 24-120mm VR .....#NID70024120 

• RAW/JPEGs & 720p HD Video @ 24fps 

• 12.1 MP FX-format (full-frame) CMOS 

Sensor • In-Camera RAW Processing 

• 3" 920,000-Dot LCD with Live View 

• Compatible with Most Nikkor Optics 

• Built Tough, Fully Weathersealed 

• ISO Sensitivity Up To ISO 102,400 

• Buff ers Up to 48 RAW or 

130 large JPEGs 

• Up to 4200 Exposures 

per Battery Charge 

• Dual CF Card Slots 



Body Only .................................................. #NID3S 

50mm f/1.4 G AF-S 

Portrait AF Lens 

• Optimized for edge-to-edge 

sharpness on both the 

Nikon FX (full-frame) & 

DX-format image sensors 

• Silent Wave Motor 

• Super Integrated Coating 




SB-600 Speedlight i-TTL 

Shoe Mount Flash 


• Recycling Time 

3.5 Seconds 


• Zoom Head 

(24-85mm) 

• Multiple Flash 

Exposure Modes 

• Safety lock on 

fl ash shoe 


SB-900 Speedlight i-TTL 



Quick Dial 

64 

Quick Dial 

64 


• Recycling Time 

4.5 Seconds 


• Zoom Head 

(17-200mm) 

• Stroboscopic Eff ect 

• AF-Assist Illuminator 

• Safety lock on 

fl ash shoe 



B&H Online 







available for 








One hour 



For a free 

catalog, call 

800-947-6933, 

212-444-6633, 


Seven day 


guarantee! 


welcome 

® 

Page 5


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 10-5 


Friday 9-1 


Most orders 


24 hours 


available 

All items are 

complete with 



manufacturer. 


bought, sold 

and traded 


available 

Page 6 


Fast and Loose 

Selective Focus 

SLR Camera Lens! 

Ideal for tabletop and 

macro photography. 

Squeeze the Muse to focus, 

and bend your Sweet Spot 

around the photo. 

for Canon, Leica, Nikon, 

Olympus, Pentax, Sony 

#LEMU* $149.95 

11-16mm f/2.8 Pro DX 

AT-X Fisheye AF Lens 



• WR (Water Repellent) 

coating 

• Minimum Focus 1' 

• Magnifi cation ratio 1:11.6 

• Weight 1.2 lb 

f or Canon or Nikon 

#TO111628PDX* $599.95 

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

Digital Lens 


for use with digital 

SLR cameras 


• Mag. ratio of 1:4.5 



f or Canon, Nikon, Pentax 

or Sony/Minolta 

#TA175028* $499.00 

18-50mm f/2.8 EX Macro DC 

Super Wide Angle Lens 


use with digital SLRs 


• Super Multi Layer (SML) 



f or Canon, Nikon, Sigma, 

Olympus, Pentax, or 

Sony/Minolta 

#SI185028* $419.00 

18-200mm f/3.5-6.3 OS DC 

(Optical Stabilizer) Lens 


for use with digital 

SLR cameras 


• Mag. ratio of 1:3.9 



f or Canon, Nikon 

or Sigma 

#SI1820035* $439.00 

70-200mm 

f/2.8 II EX APO 

Macro HSM DG 

• Desirable for Digital 

SLR Cameras 


• 34-12.3° angle of view 


• Tripod collar • Wt. 48 oz 

f or Canon, Nikon, Sigma, 

Olympus, Pentax, or 

Sony/Minolta 

#SI7020028* $799.00 

EM-140 DG TTL Ringlight 

• Wireless TTL fl ash control 

• High Speed Synchro fl ash 

• Ideal for photographing 

subjects in fi ne detail - 

close-up photography 

f or Canon, Nikon, 

Sigma, Pentax, 

Sony/Minolta 

#SIEM140DG* $379.00 

PZ-42x II AF TTL Shoe Mount 

Flash • Guide No. 138' 

• AF Assist Light 

• Automatic Shutdown 

Mode 

• Large Illuminated 

LCD panel 

• Bounce and Swivel Head 


f or Canon or Nikon 

#SUPZ42X* $149.95 

Quick Dial 

64 

285HV Professional Auto 



• Automatic exposure 

range to 70' 

• 4 auto f/stop settings 

• Removable sensor 

• Bounce Head 

• Zoom Head (28-105) 


#VI285HV $89.95 

58 AF-1 TTL Shoe 

Mount Digital Flash 


• High-speed fl ash sync 

• Bounce Head 

• Swivel Head 

• Zoom Head (28-105) 

for Canon 

#ME58AF1C $399.95 

for Nikon 

#ME58AF1N $399.95 

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

DX 35/2.8 Pro Macro (52ø) #TO3528PDX* $399.95 $399.95 

DX 10-17/3.5-4.5 ATX Fisheye #TO101735* $579.95 $579.95 

DX 11-16/2.8 Pro (77ø) #TO111628PDX* $599.95 $599.95 

DX 12-24/4.0 Pro (77ø) #TO122440* — $399.95 

DX 12-24/4.0 Pro II (77ø) #TO12244DX* $499.95 $499.95 

DX 16-50/2.8 Pro (77ø) #TO165028DX* $599.95 $599.95 

DX 16.5-135/3.5-5.6 (77ø) #TO165135DX* $569.95 $569.95 

DX 50-135/2.8 (67ø) #TO5013528* — $529.95 

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 12-31-09) 

Rebate SKU# 

Canon 

EOS 

Nikon 

AF 

Sony/ 

Minolta 

Pentax 

AF 

Di-II 60/2.0 LD IF Macro (55ø) $25 #TA602DI* $544.00** $544.00** $544.00** — 

Di 90/2.8 Macro (55ø) $60 #TA9028M* $439.00** $439.00** $439.00** $439.00** 

Di 180/3.5 LD IF Macro (72ø) $50 #TA18035* $689.00** $689.00** $689.00** — 

Di-II 10-24/3.5-4.5 (ø) — #TA102435* $499.00 $499.00 $499.00 $499.00 

Di-II 17-50/2.8 XR LD IF Aspherical (67ø) — #TA175028* $499.00 $499.00 $499.00 $499.00 

Di-II 17-50/2.8 XR VC LD IF Aspherical (72ø) $25 #TA175028*Q $624.00** $624.00** — — 

Di-II 18-200/3.5-6.3 (62 ø) $60 #TA1820035* $239.00** $239.00** $239.00** $239.00** 

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 $70 #TA1827035* $559.00** $559.00** — — 

Di 28-75/2.8 XR (67ø) $10 #TA287528* $489.00** $489.00** $489.00** $489.00** 

28-80/3.5-5.6 (58ø) — #TA288035* $89.00 $89.00 $89.00 $89.00 

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* $369.00** $369.00** $369.00** $369.00** 

Di 28-300/3.5-6.3 XR VC (62ø) — #TA283003563* $629.00 $629.00 — — 

Di-II 55-200/4-5.6 LD Macro (52ø) $40 #TA55200456* $159.00** $159.00** $159.00** — 

Di 70-200/2.8 LD IF Macro (77ø) — #TA7020028M* $769.00 $769.00 $769.00 $769.00 

75-300/4.0-5.6 LD (62ø) — #TA753004* $164.00 $164.00 $164.00 $164.00 

Di 200-500/5-6.3 LD IF (86Cø) $30 #TA20050056* $919.00** $919.00** $919.00** — 

Perfecting The Way Photographers Work 

Pro Lenses, Cameras & Flashes 

All Sigma cameras, lenses & fl ashes 

are made exclusively in Japan. 

DC Models – for Digital SLRs Only • DG Models – Optimized for Digital SLRs 

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 #SI4528DCHSM* $999.00 $999.00 $999.00 — $999.00 $999.00 

DG 8/3.5 EX Circular Fish-Eye R #SI835* $899.00 $899.00 — — — $899.00 

DC 10mm f/2.8 EX Fisheye HSM R #SI1028FHSM* $699.00 $699.00 $699.00 — $699.00 $699.00 

DG 15/2.8 EX Diagonal Fish-Eye R #SI1528DG* $749.00 $749.00 $749.00 — $749.00 $749.00 

DG 20/1.8 EX DF RF Aspherical (82ø) #SI2018* $569.00 $569.00 $569.00 — $569.00 $569.00 

DG 24/1.8 EX DF Aspherical Macro (77ø) #SI2418M* $479.00 $479.00 $479.00 $479.00 $479.00 $479.00 

DG 28/1.8 EX DF Aspherical Macro (77ø) #SI2818M* $379.00 $379.00 $379.00 — $379.00 $379.00 

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) #SI5028MDG* $299.00 $299.00 $299.00 — $299.00 $299.00 

DG 70/2.8 EX Macro (62ø) #SI7028MDG* $499.00 $499.00 $499.00 — $499.00 $499.00 

DG 105/2.8 EX Macro (58ø) #SI10528MDG* $479.00 $479.00 $479.00 $479.00 $479.00 $479.00 

DG 150/2.8 EX APO Macro HSM (72ø) #SI15028AMDG* $729.00 $729.00 — $729.00 — $729.00 

DG 300/2.8 APO EX HSM #SI30028DG* $3,299.00 $3,299.00 $3,299.00 — $3,299.00 $3,299.00 

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

DC 10-20/3.5 EX HSM (82ø) #SI102035* $649.00 $649.00 $649.00 — $649.00 $649.00 

DG 12-24/4.5-5.6 EX R #SI122445* $859.00H $859.00H $859.00 — $859.00 $859.00H DC 17-70/2.8-4.5 Macro (72ø) #SI177028DC* $369.00 $369.00 $369.00 — $369.00 $369.00 

DC 18-50/2.8-4.5 OS (67ø) #SI185028DO* $299.00 $299.00 $299.00 — $299.00 $299.00 

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 

DC 18-250/3.5-6.3 OS HSM (72ø) #SI1825035* $529.00 $529.00 $529.00 — $529.00 $529.00 

DG 24-70/2.8 EX Aspherical (82ø) #SI247028DG* $569.00 $569.00 $569.00 — $569.00 $569.00 

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* $139.00 — $139.00 — — $139.00 

DG 28-70/2.8 EX (67ø) #SI287028DG* $349.00 $349.00 $349.00 — $349.00 $349.00 

DG 28-300/3.5-6.3 Macro (62ø) #SI2830035DG* $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 — $749.00 $749.00 

DC 50-200/4-5.6 OS HSM (55ø) #SI5020045DO* $299.00 $299.00 $299.00 — $299.00 $299.00 

DG 50-500/4-6.3 EX APO RF (86Cø) #SI5050046* $1,059.00H $1,059.00H $1,059.00 $1,059.00 $1,059.00 $1,059.00H DC 55-200/4-5.6 (55ø) #SI5520045* $139.00 $139.00 $139.00 — — $139.00 

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* $159.00 $159.00 $159.00 — $159.00 $159.00 

DG 70-300/4-5.6 APO Macro Super II (58ø) #SI703004DG* $209.00 $209.00 $209.00 — $209.00 $209.00 

DG 120-300/2.8 EX APO IF HSM (105ø) #SI120300DG* $3,199.00 $3,199.00 — — — $3,199.00 

DG 120-400/4.5-5.6 APO OS HSM (77ø Rear) #SI120400* $899.00 $899.00 $899.00 — $899.00 $899.00 

DG 150-500/5-6.3 APO OS HSM #SI150500* $999.00 $999.00 $999.00 — $999.00 $999.00 

DG 300-800/5.6 APO EX HSM #SI300800DG* $9,999.00 $9,999.00 — $9,999.00 — $9,999.00 

DG 1.4x EX APO Tele-Converter #SI1.4XDG* $249.00 $249.00 $249.00 — $249.00 $249.00 

DG 2x EX APO Tele-Converter #SI2XDG* $299.00 $299.00 $299.00 — $299.00 $299.00 

DG EF-530 ST Flash SIEF530ST* $149.00 $149.00 $149.00 — $149.00 $149.00 

DG EF-530 Super Flash #SIEF530* $219.00 $219.00 $219.00 — $219.00 $219.00 

DG EM-140 TTL Ringlight #SIEM140DG* $379.00 $379.00 $379.00 — $379.00 $379.00 


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. 

Bags & Cases Tripods 

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 $84.95 $99.95 $124.95 

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. 

Film Color & B&W 

30 

Large 

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 

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. 

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 

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. 

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 — 1.99 — 1.99 2.15 3.95 — 

135-36 — 2.99 2.99 5.50 1.99 1.99 — 2.99 

Portra Ektar IMP 

Pro 

160NC 160VC 400NC 400VC 800 100 

Imported from Europe 

160C 160S 400H 800Z 

USA 

135-36 4.69 5.20 5.79 5.99 6.50 4.35 Manufactured in USA for 5.75 5.50 5.75 5.99 

120 Roll 3.69 3.99 4.30 4.30 5.85 3.69 Domestic Distribution 3.79 3.50 3.75 4.39 

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

® 

250 

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 

HOLDS 

COLOR SLIDE FILM 

Distributed by 

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 

Travel Angel 

The Perfect Travel Companion 

Weight, capacity, folded 

length and maximum tripod 

height are the primary 

considerations for 

photographers who travel. 

Filters for Analog, Digital still or video cameras & lenses 

The leading brand for demanding professionals and 

amateur photographers for creative imaging with 

optimal quality. Made from crystal-clear German 

Schott optical glass, precision ground 

and polished to ensure parallel 

thickness, tested to 

match the fi nest lens 

quality, and MRC 

multi-coated to 

eliminate refl ection and fl are. Some other 

brands are cut from greenish window glass or 

pressed blanks having internal imperfections 

that can cause refraction of light and 

inconsistent image quality. 

B&H SPECIAL! Buy 3 or more 

B+W Filters & Get 5% Off . 

Quick Dial 

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 

73 

A-169 M8 A-269 M8 C-169 M8 

SKU # #457-169 #457-269 #455-169 

Head BH-0 BH-1 No 

Material Alluminum Alluminum Carbon Fiber 

Load Capacity 8.8 lbs 13.2 lbs 17.6 lbs 

Max. Height 57.8" 60.9" 58.3" 

Folded Length 14.1" 14.8" 14" 

Weight 3.3 lbs 4 lbs 2.2 lbs 

Price $170.00 $190.00 $334.00 

Distributed by 

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" 

Leg Sections 3 3 3 

Folded Length 24" 24" 25.7" 

Weight 4.6 lbs 5 lbs 5.3 lbs 

Price $139.95 $164.95 $179.95 

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. 

GT2531EX GT2541EX 

SKU # #GIGT2531EX #GIGT2541EX 


Load Capacity 26.4 lbs 26.5 lbs 

Max. Height 66.9" 64.6" 

Leg Sections 3 4 

Folded Length 25.2" 21.3" 

Weight 4.1 lbs 4.1 lbs 

Price $624.95 $674.95 

Fuji Slide Processing 

36 Exposures (35mm) ........................................ 5.39 

Processing 

35mm 120 220 

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

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

B&W ................ 16.75 ..............16.75 ..................— 

Ektachrome Professional Fujichrome Fujichrome Professional 

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

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

135-36 10.40 6.99 7.50 12.95 5.49 6.49 9.95 6.86 6.25 5.80 5.75 8.95 8.29 

120 Roll 6.95 5.25 5.59 7.99 — — — 4.89 4.59 3.99 3.89 5.99 4.79 

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

BLACK & WHITE PRINT 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 5.95 3.59 3.75 3.39 7.50 4.99 6.00 5.09 4.00 5.00 6.00 7.00 6.00 7.00 3.95 3.75 4.19 12.95 

120 Roll — 3.75 3.95 3.59 — 4.49 4.00 4.00 4.00 4.00 4.00 5.00 4.00 6.95 2.95 2.95 — — 

special 

folding 

design 

saves 

up to 

20% 

space 

In Stock 

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 

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 — 


Quick Dial 

73 

Quick Dial 

73 

Quick Dial 

71 


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ANYTHING PHOTOGRAPHIC 

CAMERAS, FILTERS, LENSES, CASES 

METERS, DARKROOM, BINOCULARS, etc 

50 

YEARS OF 

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email: Sales@CambridgeWorld.com 

USED DEPARTMENT 

SELL TO US!! 

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Or Email us at sales@cambridgeworld.com 

Send your equipment for a FREE evaluation to: Cambridge World 

34 Franklin Ave., Brooklyn, New York 11205 

Send your defective equipment for a FREE repair estimate to: 

Cambridge World 34 Franklin Ave., Brooklyn, New York 11205 

ALL NEW ITEMS 

NEW 24k GOLD 

COLLECTABLE CAMERAS 

Canon ELPH GOLD.............................................................................349.95 

CONTAX T2 WITH Carl Zeiss 38mm F2.8 Sonnar T* LENS…699.95 

LEICA 24 Karat GOLD 

M4-2 With 50mm F1.4 

Summilux lens 100 Yr Anniversary......... 9999.99 

LEICA 24 karat GOLD R3 

With 50mm F1.4 

Summilux lens 100 Yr Anniversary......... 

8999.99 

LEICA 250 Reporter Replica 24k GOLD..…...........699.95 

LEICA I Replica 24k GOLD….………..........……..599.95 

LEICA M3 Replica 24k GOLD….……..........……..599.95 

LEICA UR Replica 24 GOLD….…..........…………599.95 

MAMIYA RB67 With 90mm F3.8Mamiya sekor lens…3999.99 

NEW FILM 

CAMERAS 

CANON EOS 88QD AF CAMERA................139.95 

CANON ELPH LT APS PANORAMIC............59.95 

CANON Z90W 28-90mm ZOOM CAPTION...99.95 

FUJI TW3 HALF 1/2 FRAME 35mm...............99.95 

KODAK ADVANTIX C800 APS ZOOM.........59.95 

KONICA Z-UP 150E 38-130 mm ZOOM.........99.99 

MINOLTA EXPLORER AF 28-75mm ZOOM....99.95 

MINOLTA MAXXUM 5Xi...............................99.95 

MINOLTA DYNAX MAXXUM 7000i AF.....169.95 

MINOLTA VECTIS APS S-1 SLR....................89.95 

MINOLTA VECTIS 30 APS PANORAMIC.....69.95 

MINOLTA X9 SLR TAKES MD LENSES.....119.95 

MINOX AF MINI 35mm CAMERA DATA.....99.95 

NIKON F-401X F401X QUARTZ BACK......149.95 

NIKON F50D N50D PANORAMA CAMERA...189.95 

NIKON F75 N75 AF AUTOFOCUS SLR......169.95 

NIKON F65 N65 AF SLR AUTOFOCUS......149.95 

OLYMPUS IS200 IS2 28-110mm ZOOM......149.95 

PENTAX ESPIO IQ ZOOM 115G...................119.95 

PENTAX MZ30 SLR CAMERA.....................149.95 

PENTAX PZ70QD SLR CAMERA................179.95 

PENTAX UC-1 compact AF Panoramic............99.95 

POLAROID 636 INSTANT CLOSE UP...........19.95 

Samsung Maxima 170GLM 35mm ZOOM......99.99 

VIVITAR BIG VIEW FINDER EASYVIEW...19.95 

Vivitar 530PZ QD 35mm ZOOM......................49.95 

YASHICA KYOCERA ZOOMATE 140 ZOOM...79.95 

YASHICA Kyocera Zoomate 165EF.................99.95 

EXPOSURE LIGHT METERS 

Cambron, Gossen, Kenko, Sekonic, Minolta, Pentax, 

Polaris, Shepard, Soligor, Spectra, Wein, Etc. - 

FLASHES 

Canon, Cambron, Elinchrome, Gary Fong, Metz, Minolta, 

Multiblitz, Nikon, Norman, Novatron, Olympus, Pentax, 

Photogenic, Quantum, Stroboframe, 

Collectables 

WE WILL BEAT AND MEET DISCOUNT PRICES! 

“IF YOU DO NOT SEE IT, IT DOES NOT MEAN THAT WE DO NOT HAVE IT, 

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DIGITAL CAMERAS, 

LENSES, FLASHES, SCREENS 

PAPER AND ACCESSORIES 

Canon, Casio, Fuji, Hasselblad, Kodak, Leica, Mamiya, 

Nikon, Olympus, Panasonic, Pentax, Polaroid, Samsung, 

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LARGE SELECTIONS OF NEW AND USED 

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Minolta, Minox, Miranda, Nikon, Nikonos, Olympus, Pentacon, Pentax, 

Petri, Plaubel, Polaroid, Praktica, Praktina, Retina, Robot Rollei, Rolleiflex, 

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LENSES 

We Offer MORE THAN 1,000 DIFFERENT 

LENSES at LOW DISCOUNT PRICES!!! 

Canon, Nikon, Pentax, Olympus, Leica, Sony, Minolta, 

Vivitar, Schneider, Mamiya, Hasselblad, Rodenstock, Zeiss 

135mm 3.5 KONICA HEXANON AR TELE.....69.95 

We have more than 30,000 Used 24mm F2.8 Vivitar lens.....79.99 28mm f2.8.......49.99 

SIGMA 

LENSES FOR MOST MANUAL 

50mm F1.9 YASHICA ML CONTAX...............39.95 

items. Email us your Wish List 

& AUTOFOCUS AF CAMERAS 

200mm F4 KONICA HEXANON AR TELE.....99.95 

Sigma SD14 and SD9 Digital SLR Cameras...CALL 

at sales@cambridgeworld.com 200mm f4 Vivitar lens..........................................99.99 

Sigma SA7 and SA9 Film SLR Cameras........CALL 24mm F2.8.............79.95 135mm F3.5..........29.95 

Sigma DP1 Digital Camera Outfit...................548.95 28mm F2.8.............49.95 135mm F2.8..........49.95 

or CALL 1-800-221-2253 and 500mm f8 Vivitar Mirror lens.............................149.99 

135mm F3.5 Schneider tele xenar.......................149.99 

Sigma DP2 Digital Camera Outfit...................588.95 35mm F2.8.............39.95 200mm F3.5..........79.95 

we will assist you and SAVE 

200mm F3.5 ALPA telephoto lens......................399.99 

4.5mm F2.8..........774.95 50mm F1.4..........458.95 50mm F1.8.............69.95 300mm F5.6..........99.95 

you $$$$$$. No item is too small 0.42x Wide angle lens..........................................29.99 

8mm F3.5.............564.95 50mm F2.8..........234.95 50mm F1.4...........189.95 400mm F6.3..........99.95 

or large. Listing is very partial. 0.45x Wide angle lens..........................................24.99 

10mm F2.8...........574.95 70mm F2.8..........374.95 100mm F3.5.........119.95 500mm F8.............99.95 

2X Minolta Maxxum MA converter...................149.50 

15mm F2.8...........434.95 105mm F2.8........344.95 500mm 1000mm combination.........................129.95 

Bronica ETR camera……..……………………99.99 2X TELECONVERTER 

20mm F1.8...........378.95 150mm F2.8........524.95 19-35mm F3.5-4.5....149.95 28-80mm F3.5-5.6...79.95 

Bronica SQ camera…………………………..199.99 LEICA RANGEFINDER.........................299.95 

24mm F1.8...........318.95 180mm F3.5........728.95 28-105mm Zoom...99.95 28-210mm F3.5-5.6...99.95 

Canon rebel 2000….89.99 Canon Elan............99.99 MACRO CLOSE UP FLASH RING LIGHT.....99.95 

28mm F1.8...........228.95 300mm F2.8......2398.95 28-300mm F4-6.3..169.95 35-105mm Zoom.....119.95 

Canon F1………..119.99 Canon VT…....…299.99 MINOLTA MAXXUM 35-70mm F3.5 ZOOM...69.95 

30mm F1.4...........378.95 500mm F4.5......3988.95 70-210mm Zoom...79.95 75-150mm F3.5.......49.95 

Canon rebel XT digital SLR……...…………249.99 MINOLTA MAXXUM 35-105mm F3.5 ZOOM...99.95 

800mm F5.6.......5898.95 10-20mm F4-5.6....444.95 100-300mm F5.6-6.7..99.95 100-500mm F5.6-8...395.95 

Contax G2………699.99 Contax N1…....…349.99 MINOLTA MAXXUM 80-200mm 4.5 ZOOM....99.95 

600-1200mm F10 zoom……….................…..$999.95 

12-24mm F4.5-5.6...594.95 17-70mm F2.8-4.5...324.95 

800-1600mm F10 zoom.................………..$1299.95 

Contax RTS III.......699.99 Exakta RTL..........149.99 NOVOFLEX ADAPTERS.................................CALL 

18-50mm F2.8......358.95 18-50mm F3.5-5.6...128.95 1000-4000mm zoom........................................299.95 

Exakta VX……….……………………………99.99 Contax focusing screen........................................29.99 

18-125mm F3.8-5.6...368.95 18-200mm F3.5-5.6..284.95 1.4X Teleconverter.............................................99.95 

Fuji S3 digital takes NIKON lenses…………499.99 Exakta focusing screen........................................24.99 

24-70mm F2.8.................................................398.95 2X Teleconverter......29.95 3X....................69.95 

Hasselblad 500C…….....…………………….149.99 Miranda focusing screen......................................29.99 

1.5X Teleconverter...69.95 1.7X.................99.95 

28-70mm F2.8-4....88.95 28-70mm F2.8.....318.95 

Kodak Retina reflex………...…………………79.99 Pentacon focusing screen.....................................49.99 

28-200mm F3.5-5.6...174.95 28-300mm F3.5-6.3...234.95 

TAMRON 

Leica IF..........…..499.99 Leica M3.............499.99 PENTAX AUTO A110TELECONVERTER LENS...69.95 

Smithvictor, Sunpak, Sony, Vivitar, Etc. CALL 35-135mm F4-5.6...99.95 50-150mm F2.8....644.95 14mm F2.8...........989.99 90mm F2.8..........348.95 

Mamiya RB67......199.99 Minolta X700.........99.99 Topcon super D RE accessory shoe.....................29.99 

SIGMA FLASHES 

50-500mm F4-6.3...874.95 55-200mm F4-5.6...124.95 28mm F2.5.............99.99 180mm F3.5........628.95 

Minolta Maxxum HTsi……....………………..69.99 Vivitar flash filter set............................................19.99 

EF 500 Super........99.95 EF 530 DG Super...214.95 70-200 F2.8.........694.95 70-300 F4-5.6......124.95 24mm F2.5.............79.95 500mm F8...........198.95 

Minolta Maxxum 7000………....……………..99.99 Reversing Rings.....................................................9.99 

EM-140 Macro Ringlite..................................304.95 70-300 F4-5.6 APO...194.95 100-300mm F4-5.6...99.95 11-18mm F4.5-5.6...434.95 17-50mm F2.8.....334.94 

Minolta Maxxum 9000……....………………..99.99 Extension tube set................................................39.99 

EF 500 DG ST......99.95 EF 530 DG ST......144.95 100-300mm F4....988.88 120-300mm F2.8...2398.99 18-200mm F3.5-6.3...244.95 18-250mm F3.5-6.3...414.95 

Minolta Maxxum 7D………..……………….249.99 Bellows extension................................................99.99 

PROJECTORS & VIEWERS 120-400 F4.5-5.6...774.95 150-500mm F5-6.3...878.95 18-270mm............548.95 19-35mm F3.5=4.5...159.95 

Nikon F3………129.99 Nikon FM10…..….129.99 Focusing rail........................................................69.99 

Canon, Braun, Epson, Kodak Carousel and Ektagraphic, 200-500mm F2.8 APO EX DG...................22498.98 20-40mm F2.7-3.5...298.95 24-135mm F3.5-5.6...398.95 

Nikon F5………349.99 Nikon D40.……….199.99 

Rubber eyecup......................................................9.99 

Step up and stop down ring...................................7.99 

Kaiser, Panasonic, Optoma, Sanyo, Sharp, CALL 300-800mm F5.6...........................................6498.95 28-105mm F2.8....298.95 28-200mm F3.8-5.6...118.95 

Nikon D200……699.99 Nikon N55….……..66.99 

Telex, Da-Lite Screens, Slide Mounts, Etc. 

Bounce electronic flash........................................39.99 

1.4X APO............164.95 2X APO...............184.95 24-70mm F3.3-5.6...89.95 28-75mm F2.8.......348.95 

Nikon N90………....………………………….99.99 

Elmo HP-L Overhead Projector........................99.95 

Camera Wide neck strap........................................4.99 

28-80mm F3.5-5.6...68.95 28-300mm F3.8-5.6...294.95 

Nikonos V……….......……………………….179.99 

Large Selection of Projector Lamps Bulbs are In Stock - CALL 

TOKINA 

Giant release button................................................4.99 

28-300mm F3.8-5.6 VC....584.95 200-400mm F5.6......298.95 

Olympus OM1…..129.99 Olympus OM4….179.99 

DARKROOM / ENLARGERS 35mm F2.8...........438.95 100mm F2.8........384.95 

1.5x C mount teleconverter..................................29.99 

55-200mm F4-5.6...128.95 75-300mm F4-5.6...128.95 

Pentax K1000…….99.99 Pentax LX….…..299.99 

Beseler, Fujimoto, Durst, LPL, Omega, Etc. 

10-17mm F3.5-4.5...444.95 28-200mm F3.5-5.6...99.95 

Slide duplicator....................................................49.99 

70-200mm F2.8...664.95 200-500mm F5-6.3..758.95 

Pentax 645………249.99 Rollei 35M….….119.99 

Enlarging Lenses & Darkroom Accessories. 

11-16mm F2.8......564.95 50-135mm F2.8...674.95 

2X Komura 7 element teleconverter....................39.99 

60mm F2 Macro........498.99 10-24mm F3.5-4.5....458.99 

Rolleicord V…...149.99 Rolleiflex F3.5……499.99 

Large selection of papers available 

12-24mm F4.........424.95 70-210mm F4-5.6...89.95 

VIVITAR 28-300 MM F4 SERIES ZOOM....199.95 

(Kodak, Ilford, Fuji, Forte, Etc.) - CALL 

1.4X Converter....124.95 2X Converter............138.95 

Topcon super RE……….……………………249.99 

16-50mm F2.8......594.95 80-400mm F4.5-5.6...638.95 

Vivitar flash module............................................19.99 

1.4X SP Converter...178.95 2X SP Converter...208.95 

Voigtlander Bessa……..……………………..599.99 

38MMf4.5 Wide Angle Beseler Lens...............69.95 

Sunpak flash module...........................................19.99 LARGE & MEDIUM FORMAT 

Voigtlander Bessamatic……..……………….129.99 WINDER MINOLTA 

KENKO TELECONVERTER EXTENSION TUBE 

Alpa, Arca Swiss, Bronica, Contax, Fuji, Cambron, Hasselblad, 

Yashica FX3…………...……………………...69.99 NIKON OLYMPUS PENTAX..........................49.95 

Linhof, Kiev, Mamiya, Rollei, 

1.5X......84.95 2X......129.95 3X.....219.95 Unitube 12mm........54.95 25mm..................74.95 

Zeiss Contarex…..299.99 Zeiss Icarex……149.99 ROLLEI ROLLEIFLEX FILTERS..............................39.95 

Rolleiflex, Toyo, Wista, Yashica, Etc. CALL 

TRIPODS 

BINOCULARS, TELESCOPES, 

FILTERS 

Arca Swiss, Bogen, Cambron, Cullman, Berlbach, Giottos, 

We Offer MORE THAN 10,000 STANDARD & SPECIAL SIZE FILTERS at LOW DISCOUNT PRICES!!! 

RIFLESCOPES, RANGEFINDERS 

Davis & Sanford, Gitzo, Impact, Linhof, CALL 

Manfrotto, Slik, Sunpak, Tiltall, Velbon, Etc. - 

B+W UV/IR 486 092 093 489 

B+W FILTERS 

We offer one of the Largest selections of BINOCULARS, TELESCOPES, 

FILM (ALL SIZES) 

37-48mm...............59.95 67mm..................119.95 UVaHAZE & KR1.5 Sky B+W and Color 

RANGEFINDERS AND RIFLESCOPES at LOW DISCOUNT PRICES!!! 

Kodak, Ilford, Fuji, Polaroid, Forte, Etc. CALL 49&52mm.............79.95 72mm..................138.95 19-58mm...............21.95 62mm....................25.95 

We also offer you more than 500 DIFFERENT BINOCULARS!!!!!!! BUSHNELL, 

PANORAMA 

55-62mm...............98.95 77mm..................164.95 67mm....................32.95 72mm....................43.95 

BAUSCH&LOMB, CAMBRON, CANON, CARSON, CELESTRON, DOCTER, FUJI, 

Fuji, Hasselblad XPAN, Horizon, Horseman, CALL 

Cambron, Cokin, 

77mm....................49.95 82mm....................62.50 

FUJINON, JASON, KOWA,LEITZ, LEICA, LEOPOLD, MEOPTA, MINOLTA, MINOX, 

Linhof, Noblex, Silvestri, Widelux, Etc. 

Heliopan, Hoya, CALL HELIOPAN FILTERS 

OLYMPUS, PENTAX, SAMSUNG, SPALDING, STEINER, SWIFT, TASCO, 

VIDEO 

Sunpak, Tiffen Filters, etc – 

UV 1A Color & B&W 

VANGUARD, VIVITAR, VIXEN, VORTEX, WEENS & PLATH, ZEISS, ETC... CALL 

Canon, JVC, Panasonic, Sony, Etc. - CALL B+W CIRCULAR POLARIZERS 39mm-55mm........28.95 72mm......................58.95 

New Binoculars with Digital Camera 

CASES 

37mm-52mm.........51.95 67mm....................84.95 58mm....................29.95 77mm......................68.95 

• 10x 25 Center Focus • Store up to 300 images BUSHNELL Yardage Pro. 

• Software Included 

LEICA Range Master..... 

Billingham, Domke, Lowepro, Pelican, 

55&58mm.............69.95 72mm....................94.95 60mm-62mm........39.95 82mm......................88.95 

CALL 

CALL 

• W/ Carrying Case........................ $39.85 Zeiss RangeFinding Solutions.................................... Rimowa, Tamrac, Tenba, Zero Halliburton 

62mm....................74.95 77mm..................109.95 67mm....................48.95 86mm....................124.95 


email: Sales@CambridgeWorld.com

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PLEASE NOTE: It is impossible for us to verify all the 

claims of advertisers, including product availability and 

existence of warranties. To confirm that an advertiser is 

authorized to sell a product, we suggest you contact the 

manufacturer directly.

• Choose 24.6 MP or 14.2 MP CMOS sensor, 

amazing detail and superb images 

• Tiltable, multi-angle 3.0” LCD screen (α550), 

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• Continuous shooting of up to 7fps (α550) 

• Dual BIONZ TM processors for up to 3fps (α850) 

• Precise and fast 9-point AF system 

Go to Use promotional code PopPhoto1 for an extra 10% off our entire store! 

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HoodEYEtm Digital Camera EYECUP 

HoodEYEtm links eye to camera for improved Viewfinder optics. Easily upgrade 

your camera eyepiece in seconds. Four models fit all Canon and Nikon 

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Checking your histogram, composition and focus outdoors is easy with 

Hoodman’s new HoodLoupe 3.0. Precise 1X German Glass Optics deliver a 

+ 3 diopter adjustment HoodLoupe 3.0 is encased in user friendly rubber 

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Digital SLR’s 

Where the Customer Always Comes First 

Diners 

Club 

® 

1-800-634-1811 

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

email us at CS@beachcamera.com 

Retail Showroom:732-968-6400 

203 Route 22 East Green Brook, NJ 08812 

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

From: 

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

The Journey Continues 

In addition to an all-new 15.1 MP Canon CMOS sensor, DIGIC 4 Image 

Processor, a 3-inch Clear View LCD with anti-reflective and scratchresistant 

coating, the EOS Rebel T1i adds remarkable Full HD video 

capture at resolutions up to 1920 x 1080. An HDMI port allows for quick 

connections to HDTVs and monitors for easy viewing of your stills and 

videos. 

Camcorders 

DC420 

Affordable, sleek and easy-to-operate 

The Canon DC420 gives you the convenience of DVD technology, along with 

exclusive Canon 48x Advanced Zoom, a 1.07 Megapixel CCD, SD card image 

storage capability, Quick Start, now linked with the LCD panel, and Joystick 

Control. It is also compatible with lens-mounted Canon optical accessories to 

further enhance your creative choices. 

FS200 

Wishing All Our Customers a Happy and Healthy Holiday Season 

Sunday.................10:00am-6:00pm Mon-Thurs ........... 9:30am-9:00pm Friday ................... 9:30am-2:00pm 

All products are brand new, factory fresh and include USA warranty! 

www.beachcamera.com 

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. 

Incredible Pictures. Incredibly Easy 

The 10.2 MP D3000 offers everyone the ability to discover 

the superiority of D-SLR photography at an affordable price 

point. It features an 11-point autofocus system, Active D- 

Lighting system, 3D Color Matrix Metering II, a new Guide 

Mode, and an extensive Retouch Menu, enabling consumers 

to edit photos, even without a computer. 


Fast, Flexible, Flash Memory 

L20 P90 

Digital SLR 

T1i 

Canon's FS200 Flash Memory camcorder offers one of the most affordable 

ways to get stunning video in a light, compact and user-friendly package. 

Adding to the usefulness of this camcorder is Canon's Quick Charge - 

which reduces the recharge time for the FS200's battery and Pre-Record 

gives you a head start on capturing the action. The FS200 is a Flash 

Memory camcorder that's hard to beat and still unmistakably Canon. 

Nikon Authorized Dealer 

Unleashing Creative Freedom 

The D5000 12MP DSLR Camera expands possibilities for 

photo and HD Video creativity with D-Movie mode, 

Vari-Angle LCD Monitor & 19 Automatic Scene Modes. It 

also incorporates a comprehensive set of in-camera 

editing features to make the most of captured images 

without the need of a computer. 


620 

Shoot Outside the Box 

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. 


5 

Six creative in-camera art filters, Multiple Exposure shooting and 

a swivel Live View 2.7" HyperCrystal III LCD offer artistic freedom 

and endless creative possibilities. The 12.3-MP Live MOS 

sensor & TruePic III+ processor provide exceptional picture quality. 

With in-body Image Stabilization, the E-620 is a camera that 

truly lets you shoot outside the frame. 

imageANYWARE 

all Nikon products include full Nikon USA warranty! 

Smart. Sharp. Simply Brilliant 

K-7 Kit 

Style Meets Simplicity 

Explore. Capture. Captivate. 

The new K-7 has arrived. Faster and more durable than ever before, 

the compact, 14.6 megapixel K-7 truly is the most powerful PENTAX 

ever. The Pentax K-7 features a 14.6 megapixel CMOS sensor rebuilt 

from the ground up, and advanced features such as HD Movie 

Capture and new, unique-to-Pentax camera controls. It is also compatible 

with every Pentax lens ever made. 

AF18-270mm F/3.5-6.3 Di II VC 

(Vibration Compensation) LD 

Aspherical (IF) Macro 

The Longest Steadiest Lens on Earth 

The AF 18-270 covers an angle of view equivalent to that of a 

28mm wideangle to a 419mm ultra telephoto with just one lens, letting 

the user capture once-in-the-lifetime images of panoramic 

landscape images or close-up pictures of children smiling, without 

having to get too close to the subject and without having to change 

lenses. 

Vixia HG21 

High Def Video on Hard Disk Drive 

Canon VIXIA HG21 combines the ease of recording video directly onto 

an internal Hard Disk Drive with the advanced AVCHD format. Its 

120GB Hard Disk Drive allows you to record up to 45 hours of crisp, 

high definition video (LP Mode). It also is a dual system camcorder 

boasting 1920 x 1080 Full HD, with the capability of also recording 

video and still images to an SDHC card as well. 

Vixia HV40 

Shoot. Capture. See. Be HD. 

The Canon VIXIA HV40 HDV Camcorder shares the core components 

found within the VIXIA line, but also offers a Genuine Canon 10x HD Video 

Lens and 2.96 Megapixel Full HD CMOS Image Sensor. It also allows 

consumers to record in native 24p Mode, a feature previously found only on Canon's professional 

camcorders. Native 24p allows consumer to capture and record 24 progressive frames per second to 

a HDV tape, a big advantage for the serious filmmaker. 

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! 


570 

The new COOLPIX S570 is ideal for entry-level 

consumers looking for a carefree shooting experience. 

The S570 features 12.0 megapixels; a 5x wide-angle 

Zoom-NIKKOR glass lens; ISO 3200 at full resolution; 

a bright 2.7-inch LCD Display; 4-way VR Image 

Stabilization System; Scene Auto Selector Mode; Nikon's Smart 

Portrait System and movie mode. 


9 

Award Winner 

Engineered for Artistry 

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. 


$70 Mail-In Rebate 

thru 12/31/09

SINCE 

1979! 

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

® CALL TOLL FREE 

OPEN SUNDAY 

CELEBRATING OVER 

30 YEARS 

IN BUSINESS 

FAX 1-732-379-5026 

ALL MERCHANDISE IS BRAND NEW & FACTORY FRESH! 

1-800-227-0400 

HOLIDAY HOURS 

Mon. -Thurs..............9:30AM-10:30PM 

After Thanksgiving .........9:30AM-11:00PM 

Friday .......................9:30AM-5:00PM 

Saturday......................................Closed 

After Thanksgiving Sat....6:00PM-11:00PM 

Sunday ..................10:00AM-7:00PM 

or 718-645-1818 

ORIGINALLY FROM 

OLD ORCHARD 

BEACH, MAINE 

Orders and 

Inquiries can now be 

E-Mailed to us at: 

info@abesofmaine.com 

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www.abesofmaine.com 

DIGITAL CAMERAS 

NIKON D300S DIGITAL SLR 

• 12.3 Megapixel Digital SLR 

• Continuous Shooting 7 FPS 

• D-Movie Hd Video 

• 3” LCD Screen 

• 51 Point 

Autofocus 

CANON EOS REBEL T1i 


• Full HD Video Capture 


PENTAX K-7 

In Stock! 

SONY DSLR-A230L 

W/18-55MM LENS 


• Image Stabilization 

• 2.7” LCD Screen 

• 9 Point AF Sensor 

In Stock! 

In Stock! 

KODAK Z950 

• 12 Megapixel Digital Camera 

• 10X Optical Zoom 



• Compact, Magnesium Alloy Body 

• Weather, Dust, and Cold Resistant 

• 3” LCD Display 

New Low Low 

Price! Price! 

PANASONIC DMC-ZS3 


• 12X Optical Zoom Lens 

• 4X Digital Zoom 

NIKON COOLPIX S1000PJ 


• Hybrid VR Image Stabilization 


SONY DSC-HX1 

• 9.1 Megapixel Digital Camera 

• Professional Quality G Lens 

• 28mm Wide Angle Lens 

• 20X High Zoom 

• HD Movie Mode 

In Stock! 

CANON POWERSHOT 

SX20IS • 12 Megapixel Digital Camera 

• Digic 4 Processor 


• Optical Image 

Stabilization 

NEW! 

KODAK ZX-18 

• Pocket Digital Camcorder 

• HD Quality Video 

• Records up to 10 

Hours of Video 


In Stock! In Stock! 

In Stock! 

VIVITAR VIVICAM 5399 


• Up to 15 Meters Underwater 


• 2.4” Screen 

$ 99 

69 Special Low Price 

In Stock! 

PENTAX K-X 



• 4.7 Frames per Second 

• 2.7” LCD Monitor 

• 720 HD Video 

NEW! 

PANASONIC DMC-FZ35K 


• 18X Optical Zoom Lens 

• Power Optical Image 

Stabilization 


In Stock! 

OLYMPUS E620 

14-42MM AND 40-150MM KIT 

• 12.3 Megapixel Digital Camera 

• Multi Exposure Shooting 


In Stock! 

NIKON DIGITAL CAMERAS 

D700...............In Stock! 

D5000.............In Stock! 

D3000.............In Stock! 

D90 ....................CALL! 

D90 w/18-105mm.CALL! 

Coolpix L100 ..In Stock! 

Coolpix L20 ...In Stock! 

Coolpix S70..........NEW! 

SONY DIGITAL CAMERAS 

DSLR-A230L......IN STOCK! 

DSLR-A330 .......IN STOCK! 

DSLR-A380L......IN STOCK! 

DSC-G3............IN STOCK! 

DSC-H20 ..........IN STOCK! 

DSC-HX1..........IN STOCK! 

Coolpix S570........NEW! 

Coolpix S640........NEW! 

Coolpix S1000PJ..NEW! 

Coolpix S220 In Stock! 

Coolpix S230 In Stock! 

Coolpix 630 ...In Stock! 

Coolpix P6000 In Stock! 

DSC-TX1 all clrs .......IN STOCK! 

DSC-W220 ........IN STOCK! 

DSC-W230................NEW! 

DSC-W290 all clrs ..IN STOCK! 

DSC-T900 all clrs...IN STOCK! 

DSC-T90 all clrs.........279.99 

CANON DIGITAL CAMERAS 

EOS Rebel XS ..IN STOCK! 

EOS Rebel XSI .IN STOCK! 

PS G10............IN STOCK! 

PS G11............IN STOCK! 

PS S90 ............IN STOCK! 

SD970IS ..........IN STOCK! 

SD960IS ..........IN STOCK! 

SD780 IS .........IN STOCK! 

SD940 ............IN STOCK! 

SD980 .............IN STOCK! 

KODAK DIGITAL CAMERAS 

C180 ..............IN STOCK! 

C182 .....................CALL! 

M1093............IN STOCK! 

M380......................NEW! 

Z1485 (all clrs) IN STOCK! 

Z950.......................CALL 

Local & Overseas CALL 

1-732-225-1777 

SD1200 ...........IN STOCK! 

A1100..............IN STOCK! 

PS SX20IS .......IN STOCK! 

PS SX120IS......IN STOCK! 

EOS 5D Mark II .......CALL! 

EOS 7D ...........IN STOCK! 

EOS 50D .........IN STOCK! 

EOS 1DS III ............CALL! 

EOS 1D Mark III N ...CALL! 

Powershot SX110IS Black & Silver .....IN STOCK! 

M340..............IN STOCK! 

M341(all clrs) ..IN STOCK! 

Z16 (Black, Pink) IN STOCK! 

Z915 (all clrs)..IN STOCK! 

ZX1(all clrs) ....IN STOCK! 

PENTAX DIGITAL CAMERAS 

Optio W80 All Colors ...New Low Price! 

Optio WS80 All Colors..........IN STOCK! 

Optio P80 ..............................IN STOCK! 

K20D 2w/18-55mm II Lens New Low Price! 

K20D......................................IN STOCK! 

K20D w/16-45mm Lens ........IN STOCK! 

X70 ........................................IN STOCK! 

PANASONIC DIGITAL CAMERAS 

DMC-FS25 all colors ...........IN STOCK! 

DMC-FZ35K all colors ..........IN STOCK! 

DMC-ZR1 all colors ..............IN STOCK! 

DMC-ZS1(black, silver) ........IN STOCK! 

DMC-ZS3 all colors .............IN STOCK! 

DMC-LX3 ......................................CALL! 

DMC-GH1K...........................IN STOCK! 

DMC-TS1 all colors ..............IN STOCK! 

DMC-FP8 all colors ..............IN STOCK! 

OLYMPUS DIGITAL CAMERAS 

SP590...........................................IN STOCK! 

E620 .............................................IN STOCK! 

Stylus 1030...................................IN STOCK! 

E520 14-42mm & 40-150mm Kit ......$499.99 

30 DAY 

MONEY BACK 

GUARANTEE 

NO RESTOCKING FEE! 

CAMCORDERS 

SONY HVR-Z7U 

HD Camcorder 

• 24p Capability 

• HGMiI Output 

• Interchangeable 

Lenses 

In Stock! 

SONY HDR-CX500V 

High Definition Camcorder 

• 12.1 Megapixel Still 



In Stock! 

CANON HG21 

High Definition Camcorder 

• 1920x1080 Full HD Recording 


• 2.7” Widescreen LCD 

$ 99 

699 CANON VIXIA HF200 

Flash Memory Card Camcorder 

• Optical Image Stabilization 

• 3.3 Megapixel Still Images 

• 1920x1080 Recording 


$ 99 

549 JVC GZ-HD320 

120GB HD Camcorder 



In Stock! 

PANASONIC SDR-H80 

SD & HDD Camcorder 

• 60GB Build in Hard Drive 




$ 99 

289 SONY HDR-XR520V 

240 GB HDD Camcorder 

• 12.1 Megapixel Digital Resolution 

• Geotagging w/built-in GPS receiver 

• 1920X1080 Resolution 

• Optical Image 

Stabilization 

In Stock! 

SONY CAMCORDERS 

DCR-DVD850 .........NEW! 

DCR-SR47 .IN STOCK! 

DCR-SR67 .........NEW! 

DCR-SR87 .........NEW! 

HVR-A1U...........CALL! 

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merchandise from $600-$1,000-5.5% and for merchandise $1,100 and up-5%. Products may have International Warranty, USA Warranty may be additional. All merchandise is brand new. No restocking fee on returns providing merchanidise is returned in mint condition within a 21 day trial period (7 days for video and audio products). Quantities Limited. Pictures are for 

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35MM 

NIKON FM10K 

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Turn your ideas into images with a DSLR. 

Ready to shoot like a pro? Keep a few basics in mind and you’ll find a camera that will grow with you. Stepping 

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TIME EXPOSURE * JANUARY 1985 

Composite Postcard 

Famed photographer Pete 

Turner created this cover photo 

by combining pictures of two of 

New York City’s most famous 

landmarks . He shot both 

images using a Nikon F2 and 

Kodachrome 25 slide fi lm, with 

a 20mm ultrawide lens for the 

Brooklyn Bridge and 105mm 

medium-tele for Lady Liberty. 

The resulting slides were placed 

in an optical printer, where they 


25 

YEARS 

AGO 

A report 

from the 

Photokina 

show laid 

out new 

trends 

for 

1985. 

were color-corrected (CC 50 blue 

for the bridge, CC 30 green for 

the statue), and combined. 

Timeless Glamour 

Horst P. Horst created this 

classic portrait of Marlene 

Dietrich in 1942 for Vogue. Horst, 

the subject of a 

major retrospective 

at the 

International 

Center of 


Photography, was one of a small 

number of celebrity and fashion 

photographers whose work 

epitomized sophistication and 

glamour in the ’30s and ’40s. 

Three-Way Contest 

With three new medium-speed 

color-slide fi lms available, which 

should pro photographers 

choose? This image, captured 

with Kodachrome 64 Professional 

fi lm, was one of three identical 

pictures made on Agfachrome, 

Fujichrome, and Kodachrome in 

a comparison test of their performance. 

Not surprisingly, the 

ultimate choice was deemed a 

matter of personal preference. 

Tribute to a 

Pioneer 

Serving as an 

observer of the 

broad photo 

world, this 

magazine noted 

the passing of 

Lee Witkin, one 

of the earliest 

photo gallery 

specialists 

who helped 

transform the perception of 

photography from little more 

than interesting pictures 

to valued art on a par with 

paintings, drawings, woodcuts, 

and etchings. —Harold Martin 

POPPHOTO.COM


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12-24mm 

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AUTO FOCUS FLASHES 

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EF 530 DG Super 239.00 239.00 239.00 239.00 239.00 –– 

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50 1.4 EX DG HSM 499.00 499.00 499.00 499.00 499.00 499.00 

50 2.8 EX DG Macro 299.00 299.00 299.00 299.00 299.00 –– 

70/2.8 EX DG Macro 499.00 499.00 499.00 499.00 499.00 –– 

105/2.8 EX-DG 479.00 479.00 479.00 479.00 479.00 479.00 

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

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500/4.5 APO DG 4999.00 4999.00 4999.00 4999.00 4999.00 –– 

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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 859.00 859.00 859.00 859.00 859.00 –– 

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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 

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70-300 /4-5.6 DL-Mac DG 159.00 159.00 159.00 159.00 159.00 –– 

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1.4X APO Extender 249.00 249.00 249.00 249.00 249.00 –– 

2X APO Extender 299.00 299.00 299.00 299.00 299.00 –– 

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LENSES 

8MM F/3.5 Manual focus FISHEYE lens 

Full 180º coverage on digital SLRs with APS size 

sensors, Computer design produces clear crisp 

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perspectives to their work. Perfect for architectural 

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And for infra-red explorers this lens will open up a new world. 

Available for: Canon EOS, Nikon, Pentax, Sony 

Multi-Coated 2x Tele-Converter 

Designed to be used 

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500 F 6.3 MIRROR LENS 

Compact, Lightweight 

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500 F8 ............................ $ 99 95 

800 F8 ......................... $ 224 95 

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Compare features / Compare 

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10-20mm F4-5.6 EX DC HSM 

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

INC. 

15 

MM 


lab * LenS teSt 

pentAx 15mm LimiteD 

Continued from page 88 

range, and its distortion control, 

as measured by our DxO 

Analyzer (version 3.2) tests, 

allowed only 0.17% barreling. 

That’s about half as much as the 

Pentax 14mm f/2.8 (not one of 

the Limited line) and one-third 

as much as the comparable 

20mm f/2.8 full-frame Nikkor 

lens that we tested back in 2003. 

Light falloff was gone by 

f/6.7 and, at the close-focusing 

distance of 6.75 inches, the 

maximum magnification was 

1:6.33—both strong results 

historically, yet about average for 

an ultrawide prime today. 

Compact and light (less 

than half a pound), this lens is 

a natural for travel, interiors, 

group portraits, and landscapes. 

Our field tests were unalloyed 

pleasures, especially the street 

shooting (see Showcase, page 

10), another class of photography 

in which this small, inconspicuous 

lens excels. 

Does $550 seem high for an 

f/4? It shouldn’t necessarily. 

Among Pentax primes, you could 

opt for the $715 (street) 14mm 

f/2.8. You’d reap a stop more 

light, but with the 14mm you’d 

get nearly twice the lens, physically, 

and half the lens, optically. 

Especially if you value a svelte 

profile and (relatively) distortionfree 

shooting, that $550 seems 

very reasonable. —Julia Silber 

SUbjECTIvE 

qUALITy 

FACTOR 

key 

Our 

standard 

lens test, 

SQF rates 

sharpness 

by print size 

116 PoPulAr PhotogrAPhy JAnuAry 2010


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Even on a desert island. p 

The Runners-Up 

CANON EOS 7D 

The new 7D is Canon’s best APS-C-sensor 

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body, the 7D could have some pros 

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OLYMPUS E-P1 

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Budget Studio Flash 100/160 

• This economically priced AC strobe will allow you 

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• The 110 volt unit plugs into any standard household socket. 

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

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It also comes with a 60 watt modeling lamp. 

• 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. 

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INC. 

bright ideas 

Continued from page 55 

you’ll almost always need to add 

exposure. With the spoonbill, I 

went 1/3-stop over the reading; 

with the gannet, a full stop. 

Wait for Shade 

If the light is just too harsh for 

photography—as it was in the 

scene on Galápagos of the swallow-tailed 

gull chick on page 55, 

try waiting for a cloud to diffuse 

the sunlight. In this case all it took 

was a very thin cloud to soften 

the light, and the evaluative meter 

reading proved perfect. 

No clouds? Another strategy 

is to find subjects in open shade, 

or wait for your subject to move 

into shade. Look for trees or other 

vegetation, a large rock, a hill, a 

mountain, or a building. With a 

subject in shade, try to include a 

sunlit background. 



In most cases you will need 

to add exposure over the meter 

reading. Another option is to 

spotmeter the subject, adjust for 

its tonality (add exposure for light 

subjects, subtract exposure for 

dark subjects), and then set that 

exposure manually. 

Example: This northern gannet 

chick, above, that I found resting 

right next to a viewing shelter on 

Bonaventure Island, Québec. To 

avoid the white down coming out 

as medium gray, I added 1.3 stops 

to the evaluative meter reading. 

Make your own Shade 

I’ve often said that 90 percent 

of all flower images could be 

improved by shading the subject— 

with a diffuser, a large piece 

of cardboard, a shirt, or even a 

friend’s body. The same technique 

can work well with other small

subjects such as crabs, frogs, 

insects, spiders, and shells. And 

when setting up a bird feeder to 

attract photo subjects, never put it 

in direct sunlight. 

use Flash 

Most nature photographers think 

of using fiash only—if ever—as flll 

on cloudy days or when working 

in the shade. (In these situations, 

set fiash exposure compensation 

at –1 to –3 EV.) But fiash can do a 

great job of fllling in harsh shadows 

in bright, midday light, too. 

The trick is to set your fiash 

exposure comp somewhere 

between 0 and +1 stops. Many topend 

fiashes can provide sufflcient 

light to 60 feet and beyond. But if 

you frequently shoot at long distances, 

augment your strobe with 

an extender such as the Better 

Beamer ($40, street). Use high- 

A 

handheld 

EOS-1D 

Mark III with 

70–200 f/4L 

Canon EF 

IS lens was 

used to grab 

this gannet 

chick; 1/250 

sec at f/5.6 

(+1.3 EV), 

ISO 400. 

Northern 

parula 

warbler, 

captured 

with tripodsteadied 

EOS-1D 

Mark III 

and 800mm 

f/5.6L Canon 

EF IS lens 

with 25mm 

extension 

tube for 

closer focus; 

1/100 sec at 

f/5.6 (+0.3 

EV), plus –2 

EV fill from 

accessory 

flash. 

speed sync (between 1/500 and 

1/1000 sec), manual fiash mode, 

and the 1:1 power setting—and 

you’ll often be able to illuminate a 

fiying bird’s underwings. 

I used fiash for the northern 

parula warbler on Dauphin Island, 

AL, above. The bird was in shade, 

so I set my Canon Speedlite 580EX 

II (with a Better Beamer) to –2 EV 

for subtle flll light. I also added 1/3 

stop to the ambient exposure to 

brighten the overall frame. 

So, the next time that you’re in 

the fleld during the midday hours 

on a sunny day, consider these 

options before giving up. You just 

might create some great images. p 

Based in Indian Lake Estates, FL, 

Arthur Morris has published more 

than 11,000 nature images in 

magazines and books. Visit his 

website, www.birdsasart.com. 

POPPHOTO.COM popular photography 125 




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UNDERWATER PHOTOGRAPHY 

PRO ALBUMS 

We Carry Th e Complete Lines 

INC. 

ARTWORK IN BLACK AND WHITE 

CONTINUED FROM PAGE 58 

STEP 5 

Boost the contrast. I also wanted 

to further emphasize the strong lines 

created by the harsh shadows, so I used 

a Curves layer to reset black and white 

points and increase overall contrast. 

It resulted in a very steep S-curve, as 

shown in the screen-shot at right. 

Finally, I saved the image as a layered 

PSD fi le, so that I could return to my 

adjustments later and fi ne-tune or change 

them as needed. 

FINAL STEP 

Print to match your screen. You face several challenges in turning 

your fi le into a print. The print process you use for color may not be 

ideal for b&w—with color, slight differences in tone are barely perceptible, 

but in b&w, any variation from neutral gray stands out. 

For a completely neutral print, I would use the Advanced B&W 

(ABW) feature in the Epson driver of my Stylus Pro 4800. Higher-end 

printers from Canon and HP also offer dedicated b&w modes. Or 

you can use a custom color profi le specifi cally for b&w printing— 

fi nd these at Michael Gordon Photography (michael-gordon.com) or 

at Roy Harrington’s Quad Tone RIP (www.quadtonerip.com). 

As I planned to tone this print, I wasn’t as critical of slight color 

casts. Tinting can overcome undesirable color casts by introducing 

desirable ones. Lightly tone the print to mimic sepia, selenium, or 

platinum with just enough color to mask minor variations. 

With this image, I adjusted the tinting by eye, using a color-calibrated 

monitor, to get the tone of traditional platinum prints. I checked the Tint 

box in the b&w conversion layer, then clicked the color swatch next to 

it and dragged the color picker until the image appeared as I visualized 

it. The RGB values I ended up with were 222, 213, 195. I used Epson’s 

standard ink set to print on Ilford Gold Fibre Silk paper. 

Now fi nd some beautiful monochrome images for yourself, and 

give printing a try. It may open 

up a whole new photo world. p 

Orem, UT-based photographer 

Guy Tal prints in color, too. A 

specialist in photography of the 

American West, he contributed to 

The Ultimate Guide to Digital 

Nature Photography published 

by the Mountain Trail Photo 

Team. See more of his images on 

the web at guytal.com. 



PRINTER 

SPOTLIGHT 

HP PHOTOSMART 

Pro B9180 

($600, street) 

Eight HP Vivera pigmentbased 

inks include three 

black/gray. Prints to 

13x19 inches; maximum 

paper thickness 1.5mm.

Picking 

a Printer 

& Paper 

A professional printer that will 

let you make poster-sized versions 

of your work will set you 

back well over $1,000. 

Not ready for that level of commitment? 

Printer manufacturers 

now offer the same ink sets 

and high-end features used in 

their larger pro-level printers in 

smaller sizes. 

So if you’re satisfied with 

prints up to 13x19 inches, the 

three printers shown in this 

article are excellent options. 

The most important thing 

to look for in b&w printers is 

multiple grades of black/gray ink, 

which lower-end models don’t 

always offer. Some printers offer 

one or two grades and others as 

many as four. Better printers also 

use two types of black ink: photo 

black for coated papers, and 

matte black for uncoated ones. 

Printer manufacturers also 

make a wide variety of papers 

to appeal to most tastes. But true 

connoisseurs will experiment 

before settling on a few choices. 

My favorites are Ilford Gold Fibre 

Silk (semi-gloss), Harman Gloss 

FB AL (glossy), and HahnemÜhle 

Photo Rag (matte). 

POPPHOTO.COM POPULAR PHOTOGRAPHY 127 


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FLASH ACCESSORIES 

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ackstory 

Above the Fray 

A photojournalist heads for a hidden story 

A nAtive of Rome assigned by 

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in 2007, Francesco Zizola was 

playing the textbook role of an 

Francesco 

Zizola 

journeyed 

to the 

Republic of 

Maldives to 

cover its 

burgeoning 

political 

opposition. 

international photojournalist. 

Which, indeed, he is—with an 

amazing portfolio and long list 

of awards to show for it (check 

out www.zizola.com). 

“The island in this photo is 

Malé, the capital of the Maldives,” 

Zizola says. “It was taken 

from the airplane that was 

bringing me to an atoll in the 

south, where I was going to 

meet certain exponents of the 

opposition. They were immediately 

tortured by the police 

force of the dictator, who is now 

gone from office.” 

This photo—with its tourist’seye 

view that is nonetheless 

suffused with a sense of dread, 

thanks to the propeller in the 

upper part of the frame—served 

as the cover of the magazine 

Mare. Zizola shot it using a 

Canon EOS 5D and 28mm f/1.8 

Canon EF lens, “the only lens I 

use for my reporting,” he says. 

The rest of Zizola’s reporting 

for this assignment was 

straight, on-the-ground, powerful 

photojournalism. So powerful, 

in fact, that it was later 

reprinted around the world. 

Among its honors: 1st Place for 

Best Published Picture Story 

(smaller markets) from the 

National Press Photographers 

Association in 2008. 

At the time, it seemed certain 

that Maldives President Maumoon 

Abdul Gayoom, who 

had held power some 30 years, 

would be reelected to a sixth 

term. Instead, democratic elections 

swept opposition figure 

Mohamed Nasheed into office. 

You can see Zizola’s full photo 

essay, “Maldives: A Broken 

Paradise,” on his photo agency’s 

website, www.noorimages.com. 

He has since returned to document 

the effects of rising sea 

levels on this tiny Indian Ocean 

nation. —Miriam Leuchter 

128 populAR photogRAphy January 2010 PoPPHoTo.coM 


Francesco ZiZola/noor

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