Popular Photography - February 2015 USA

P.58 

P.44 

NATURE 

SHOOTER’S 

GUIDE TO 

DRONES 

Best 

in Class 

The Canon EOS 7D 

Mark II tops the 

charts in APS-C 

format DSLRs 

EXCELLENT 

IMAGE QUALITY 

TOP AUTOFOCUS 

SPEED, TRACKING 

& SENSITIVITY 

BLAZING 10 FPS 

BURST SHOOTING 

SUPERB VIDEO 

CAPTURE P.65 FULL 

LAB AND 

FIELD 

TEST 

PET PORTRAIT TIPS 

SUNLIT STILL LIFE 

CUT THE NOISE 

SAMSUNG NX1 

SIGMA 18–300MM

RAW POWER 

7R, f/10, 1/160, ISO 100, Lens used: 85mm F1.4 ZA 

The future of digital imaging. 

And the next generation of DSLR. 

Meet the Sony 7 Series—the world’s smallest, full-frame mirrorless interchangeable-lens cameras.* Its breakthrough 

Exmor®— sensor/BIONZ® X-processor design means stunning resolution, remarkable low-light sensitivity and clearer 

HD/4K video than traditional DSLR. The future of digital imaging is here. 

sony.com/sonyalpha #sonyalpha 

* a7, a7R, and a7S models 

© 2015 Sony Electronics Inc. Sony, Exmor, BIONZ and the Sony logo are registered trademarks of Sony Corporation. All rights reserved. Reproduction in whole 

or in part without written permission is prohibited. All other trademarks are trademarks of their respective owners.

7 

7R 

7S New for 2015: 7II 

MEET OUR EVER-EXPANDING LINEUP OF FULL-FRAME, E-MOUNT LENSES.

MetalPrints 

Stunning Prints on Aluminum 

Max Seigal 

NEW! 

MetalPrints with Acrylic 

MetalPrints in any surface can now be ordered 

with Stainless Posts and optional 1/4" or 1/2" 

Acrylic over the face of the print. 

NEW! 

Framing Stainless Posts & Acrylic 

Exhibit Mount 

Metal Easel Option 

For Exceptional Image Stability 

MetalPrints are made by infusing dyes directly into specially coated aluminum sheets. This creates an image 

with a magical luminescence, vibrant colors, incredible detail, and exceptional archival qualities. The surface is 

easy to clean, waterproof and scratch resistant. Choose from High Gloss, Mid Gloss, Satin, Sheer-Matte, or 

Sheer-Glossy surfaces. Available in any/every size up to 4'x8' with contemporary mounting and framing options. 

Learn more at bayphoto.com/metalprints 

25% 

OFF 

Your First Order! 

*Get 25% off your first order with Bay Photo Lab! For instructions 

on how to redeem this special offer, fill out the New Customer 

Account Request form at bayphoto.com.

HOW TO MAKE GREAT PICTURES FEBRUARY 2015 VOLUME 79, NO. 2 

44 

Nature 

by Drone 

If you want to see 

the world in a new 

light, go higher. Here’s 

our guide to capturing 

the great outdoors 

using remote-controlled 

aerial vehicles. 

By Jon Cornforth 

52 A DOG’S LIFE 

Great canine portraits mean the 

world to the friends of man’s 

best friend. To help you capture 

Fido’s best side, we enlist Gary 

Parker, a photographer who puts 

the Wow! in bow-wow. 

By Peter Kolonia 

58 TEN WAYS TO 

TURN ON THE DARK 

If photography is painting with 

light, then darkness is the 

punctuation. Try these tips to 

make it work for your pictures. 

By Dan Richards 

POPPHOTO.COM FEBRUARY 2015 POPULAR PHOTOGRAPHY 5

Strong, Durable, Affordable 

13 

22 

42 

New 

6 Carbon Fiber Tripods 

New SRL - Speed Release Lock 

624 CFL 

634 CFL 

New 8X Interlaced CF 

723 CFL 

724 CFL 

New Larger Base Plate 

823 CFL 

824 CFL 

Available in Stores Now 

Exclusive Distribution By: 

WWW.KENKOTOKINAUSA.COM 

NEWSSTAND COVER: BRIAN KLUTCH (CANON); JON CORNFORTH (SEASCAPE). SUBSCRIBER COVER: CHAD COPELAND. PREVIOUS PAGE: JON CORNFORTH (SEASCAPE); GARY PARKER (DOG); 

MARSEL VAN OOSTEN (BEAR); SARAH BELIN (WOMAN); CATHRYN GALLACHER (WINDOW). THIS PAGE: TIMOTHY HOGAN (FIN AND DRINK). 

NEXT 

13 WE WANT THIS Sony’s Alpha 

a7 II reaches new heights in shake control. 

14 JUST OUT A way-cool motorized 

video stabilizer, a backpack for ILCs, a 

radically new reflector, and more. 

16 ROUNDUP Five new studio 

monolights, each with something special. 

SHARE 

21 PHOTO CHALLENGE This 

month’s winner takes the cake—literally! 

22 MY PROJECT Exploring the 

colorful hidden side of surfboards: the fins. 

24 MENTOR SERIES How one 

trekker preset his camera for greatness. 

26 YOUR TURN Readers’ thoughts 

on flattering portraiture, the fine points of 

cropping and exposure, and more. 

27 YOUR BEST SHOT This month’s 

winners prove that it’s cool to be blue. 

HOW 

31 CREATIVE THINKING Create a 

vision of the future by mining the past. 

32 FIX IT FAST Try this technique to 

send a portrait subject floating in space. 

33 TIPS & TRICKS Make 

architecture more interesting with color. 

34 TRAVELING 

PHOTOGRAPHER Discover 

Arizona’s other grand canyons in and 

around stunning Sedona. 

36 LIGHTING Learn how to make 

unsoftened sunlight work for you. 

38 SOFTWARE WORKSHOP 

Use DxO’s Optics Pro for noise control. 

42 YOU CAN DO IT Render a 

subject sharp and blurred in a single 

exposure, without software. 

LAB 

65 DSLR TEST Canon EOS 7D 

Mark II Canon’s top APS-C body adds 

way more versatility, but with relatively 

modest imaging gains. 

69 ILC TEST Samsung NX1 Great 

resolution, accurate color, amazing 

handling, and a rugged build. Go Samsung! 

72 LENS TEST Samsung 50– 

150mm f/2.8 ED OIS S Sharper than the 

competition, and it handles like a dream. 

74 LENS TEST Sigma 18–300mm 

f/3.5–6.3 DC Macro OS HSM/C 

Compact with focal range for days. 

DON’T MISS . . . 

8 EDITOR’S LETTER 

10 SHOWCASE 

76 TIME EXPOSURE 

86 BACKSTORY 

POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), February 2015, Volume 79, Issue 2, is published 

monthly by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Copyright ©2015 by Bonnier Corp. All rights 

reserved. Reprinting in whole or in part is forbidden except by permission of Bonnier Corp. 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 

6364, Harlan, IA 51593; PPHcustserv@cdsfulfillment.com. If the postal service alerts us that your magazine is 

undeliverable, we have no further obligation unless we receive a corrected address within one year. Publications 

Mail Agreement No. 40052054. Return undeliverable Canadian addresses to: IMEX, P.O. Box 25542, London, ON 

N6C 6B2. SUBSCRIPTION SERVICES: Visit www.PopPhoto.com/cs to manage your account 24/7. 

6 POPULAR PHOTOGRAPHY FEBRUARY 2015 POPPHOTO.COM 

Featured Photo By Chris Burkard

EDITOR’S LETTER 

Buy the Book 

If you could see my office right now, you’d 

think a library had exploded. Volumes overflow 

the shelves into stacks, some towering and 

precarious, on the floor, on my desk, behind 

the sofa. I’ve run out of space and am having a 

hard time parting with many of them. That’s 

because photography books provide so much 

pleasure and revelation—even more when the 

images are paired with insightful text. 

Of course, I’m fortunate. Publishers send their books to our office hoping 

to get a review or interview, so I don’t have to spend the thousands of 

dollars a year it would cost to buy them all. Sometimes these even spark 

a feature story, as with our October 2014 Q&A with Art Wolfe when his 

Earth Is My Witness came out. And our sister publication American Photo 

rounded up more than 50 of the best photo books of the year (find it 

at AmericanPhotoMag.com); the highlights I’m hanging onto include 

Sebastião Salgado’s Genesis, Nan Goldin’s Eden and After, and Garry 

Winogrand, the Metropolitan Museum of Art’s exhibition catalog. 

I also buy in bookstores and from photographers at signings. That’s how 

I got The Long Shadow of Chernobyl, Gerd Ludwig’s haunting investigation 

of the ongoing effects of the nuclear disaster. And I preordered Patrick 

Brown’s crowdfunded work Trading to Extinction, a wrenching examination, 

with text by reporter Ben Davies, of the global trade in poached wildlife. 

I’ve been reading some new books about photography and 

photographers, too. In Wagstaff Before and After Mapplethorpe: A Biography, 

Philip Gefter tells the fascinating story of art curator and collector Sam 

Wagstaff, who helped create a market boom when he turned his eye to 

photography in the 1970s. I couldn’t put down my advance review copy of 

photojournalist Lynsey Addario’s lively and absorbing memoir, It’s What I 

Do: A Photographer’s Life of Love and War, due in stores in February. And I’m 

not the only editor here to mine this vein: Philip Ryan made off with Group 

f.64: Edward Weston, Ansel Adams, Imogen Cunningham, and the Community of 

Artists Who Revolutionized American Photography by Mary Street Alinder. 

But one new release sits proudly on my desk: Popular Photography’s own 

How to Photograph Everything: Simple Techniques for Shooting Spectacular Images. 

Published in November 2014 by our book division, Weldon Owen, this big 

hardcover offers a wealth of tips from our editors. You’ve seen many of its 

photos in this magazine—and a few of you, mostly our contest winners, 

can even see your own work in the 

pages of this big, glossy book. 

NEWSSTAND The long-awaited Canon 

EOS 7D Mark II swings into view at the 

hands of photographer Brian Klutch. 

Read our full test on page 65. 

SUBSCRIBER Chad Copeland sent his 

Nikon Coolpix A aloft in an octocopter 

to get Emily Harrington climbing Moon 

Hill in Yangshuo, China (page 44). 

EDITOR-IN-CHIEF MIRIAM LEUCHTER 

ART DIRECTOR Jason Beckstead 

SENIOR EDITOR Peter Kolonia 

FEATURES EDITOR Debbie Grossman 

SENIOR TECHNOLOGY EDITOR Philip Ryan 

TECHNOLOGY MANAGER Julia Silber 

ASSISTANT EDITOR Sara Cravatts 

GROUP PHOTO EDITOR Thomas Payne 

ASSISTANT PHOTO EDITOR Linzee Lichtman 

DESIGNER Wesley Fulghum 

EDITORIAL COORDINATOR Jae Segarra 

CONTRIBUTING EDITORS Richard Bernabe, Laurence Chen, 

Tim Fitzharris, Harold Martin, Ian Plant, Dan Richards, Jeff Wignall 

POPPHOTO.COM EDITOR Stan Horaczek 

ASSISTANT ONLINE EDITORS Jeanette D. Moses, Eugene Reznik 

IN MEMORIAM Herbert Keppler 

BONNIER’S TECHNOLOGY GROUP 

GROUP PUBLISHER GREGORY D. GATTO 

PUBLISHER ANTHONY M. RUOTOLO Anthony.Ruotolo@bonniercorp.com 

ASSOCIATE PUBLISHER, INTEGRATED SALES DEVELOPMENT Michael Gallic 

FINANCIAL DIRECTOR Tara Bisciello 

EASTERN SALES DIRECTOR Jeff Timm 

NORTHEAST ADVERTISING OFFICE 

Margaret Kalaher, Matt Levy, Amanda Smyth 

SALES, EVENTS, AND PROMOTIONS COORDINATOR Marisa Massaro 

MIDWEST MANAGERS Doug Leipprandt, Carl Benson 

AD ASSISTANT Lindsay Kuhlmann 

WEST COAST ACCOUNT MANAGER Bob Meth 

AD ASSISTANT Michelle Rodriguez 

DETROIT ADVERTISING DIRECTOR Jeff Roberge 

CLASSIFIED ADVERTISING SALES Shawn Lindeman, Chip Parham 

ADVERTISING COORDINATOR Irene Reyes Coles 

DIRECTOR OF CUSTOM SOLUTIONS Noreen Myers 

SR. DIGITAL CAMPAIGN MANAGERS Amanda Alimo, Wilber Perez 

PRODUCT MANAGER AND DIGITAL PRODUCER Joey Stern 

DIGITAL CAMPAIGN COORDINATOR Justin Ziccardi 

DIGITAL SALES COORDINATOR Mojdeh Zarrinnal 

INTEGRATED SALES DEVELOPMENT DIRECTOR Alex Garcia 

INTEGRATED SALES DEVELOPMENT MANAGERS Kate Gregory, Charlotte Grima 

GROUP CREATIVE SERVICES DIRECTOR Ingrid M. Reslmaier 

MARKETING DESIGN DIRECTORS Jonathan Berger, Gabe Ramirez 

ASSOCIATE ART DIRECTOR Sarah Hughes 

DIGITAL DESIGN MANAGER Steve Gianaca 

BRAND INTEGRATION DIRECTOR Beth Hetrick 

PROMOTIONS AND EVENTS DIRECTOR Michelle Cast 

ASSISTANT EVENTS & PROMOTIONS MANAGER Vanessa Vazquez 

CONSUMER MARKETING DIRECTOR Andrew Schulman 

RETAIL SINGLE COPY SALES: PROCIRC RETAIL SOLUTIONS GROUP Tony DiBisceglie 

HUMAN RESOURCES DIRECTOR Kim Putman 

PRODUCTION MANAGER Betty Dong 

CORPORATE PRODUCTION DIRECTOR Jeff Cassell 

GROUP PRODUCTION DIRECTOR Laurel Kurnides 

CHAIRMAN Tomas Franzén 

CHIEF EXECUTIVE OFFICER Dave Freygang 

EXECUTIVE VICE PRESIDENT Eric Zinczenko 

CHIEF CONTENT OFFICER David Ritchie 

CHIEF FINANCIAL OFFICER Nancy Coalter 

CHIEF OPERATING OFFICER Lisa Earlywine 

CHIEF MARKETING OFFICER Elizabeth Burnham Murphy 

CHIEF DIGITAL REVENUE OFFICER Sean Holzman 

VICE PRESIDENT, INTEGRATED SALES John Graney 

VICE PRESIDENT, CONSUMER MARKETING John Reese 

VICE PRESIDENT, PUBLIC RELATIONS Perri Dorset 

GENERAL COUNSEL Jeremy Thompson 

THIS PRODUCT 

IS FROM SUSTAINABLY 

MANAGED FORESTS 

AND CONTROLLED 

SOURCES. 

FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS, 

such as Renewals, Address Changes, Email Preferences, Billing and Account Status, 

go to: PopPhoto.com/cs. You can also call 800–876–6636, 

email us at PPHcustserv@cdsfulfillment.com, or write to 

Popular Photography, P.O. Box 6364, Harlan, IA 51593 

8 POPULAR PHOTOGRAPHY FEBRUARY 2015 

POPPHOTO.COM

“Mylio … it’s incredibly powerful ... 

it works magic, miracles on your ENTIRE digital library 

like nothing else … ” 

MOOSE PETERSON 

WILDLIFE PHOTOGRAPHER, NIKON AMBASSADOR USA. 

Everything, Everywhere, Always. 

Mylio helps you gather, organize and access all 

of your photos so you can enjoy them on your 

Mac or PC and all your devices, with or without 

the cloud. (Android support coming in 2015). 

Peace of mind. Automatically. 

Mylio automatically manages multiple copies of 

your photo library. Your new photos are 

protected because Mylio automatically copies 

them to several devices, hard drives or the cloud. 

Photo tripper. 

Whether it’s a family vacation or a professional 

photo shoot, Mylio protects your photos on 

multiple devices, even when you’re on the road. 

Simple and elegant. 

Mylio was designed from the ground up with a 

simple, elegant interface that looks and acts 

the same, whether you’re using it on a 

desktop computer, tablet or phone. 

Powerfully fast. 

Mylio can handle a lifetime of photographs, 

including RAW and video files, without sacrificing 

speed or performance. Whether you have a 

thousand photos or hundreds of thousands, Mylio 

won’t slow you or your devices down. 

Works and plays well with others. 

Mylio complements your Lightroom, 

Photoshop or Aperture workflow. Import 

photos and collections from Facebook, Flickr 

and iPhoto. You can quickly share any photo 

or album on Facebook and Flickr. 

All of your photos. All of your devices. Always protected. 

Download a free trial at mylio.com/g 

etmylio

SHOWCASE * 

CANON EOS 7D MARK II 

KILLER SHOT 

Senior technology editor Philip 

Ryan captured this scene with 

three members of the cast of the 

Broadway musical A Gentleman’s 

Guide to Love and Murder at the 

Walter Kerr Theatre during an 

event thrown by Canon to kick 

off the company’s “Bring It” ad 

campaign. Ryan shot with the 

Canon EOS 7D Mark II at ISO 3200, 

shutter speed 1/80 sec, and a 

16–35mm f/4L IS USM lens racked 

out to 35mm (56mm equivalent) 

and stopped down to f/8. See our 

full lab and field test of the Canon 

EOS 7D Mark II on page 65. 

PHILIP RYAN 

10 POPULAR PHOTOGRAPHY FEBRUARY 2015

POPPHOTO.COM POPULAR PHOTOGRAPHY 11

A VIDEO RIG THAT STEADIES AS SHE GOES 

14 

PHOTO DAYPACKS SAVE YOU SOME WEIGHT 

15 

ROUNDUP: STUDIO AND LOCATION STROBES 

16 

WE WANT THIS 

NO ROCK 

OR ROLL 

An image-stabilized full-framer 

MOVIE SEQUELS are rarely as 

good as the originals. Not so for 

the Sony Alpha a7 II, an update 

to the a7. Heading up the list 

of improvements is its five-axis 

sensor-shift image stabilization 

system—the first full-frame 

interchangeable-lens compact 

with this technology. Besides 

compensating for pitch and 

yaw, the a7 II adjusts for roll 

and movement on the X and Y 

axes. While the number of axes 

engaged depends on the lens, 

this universal image stabilization 

is a real step forward, especially 

for photographers with nonstabilized 

lenses. 

But that’s not all. An updated 

algorithm brings faster autofocus 

and improved tracking. Plus, 

the camera displays the AF 

points in the viewfinder as they 

track the subject. The body is 

slightly thicker than the original 

a7, but it has a larger grip and an 

all-metal lens mount. 

SONY 

ALPHA 

a7 II 

Full-frame 

CMOS sensor 

5-axis image 

stabilization 

Hybrid AF 

3-inch 

1,228,800-dot 

tiltable LCD 

Peaking and 

zebra striping 

Wi-Fi 

$1,698, street, 

body only 

store.sony 

.com 

POPPHOTO.COM FEBRUARY 2015 POPULAR PHOTOGRAPHY 13

NEXT * 

CUSTOM 

KICKS 

GYRO RIG 

This stabilizer keeps 

your video steady 

CAPTURING SMOOTH video 

footage is hard enough when 

you’re standing still, let alone 

when you’re running alongside 

a skateboarder performing 

railslides or following a 

line of dancers pirouetting 

across a stage. Adorama’s 

motorized Flashpoint ZeroGrav 

2-Axis Digital Gyro Stabilizer 

compensates for motion by 

keeping your camera steady 

regardless of the type of 

movement by adjusting the 

pitch and yaw or roll. Special 

modes make it easier to lead 

or follow your subject, and the 


yaw can be locked in to create a 

different perspective. 

Due to its carbon fiber construction, 

the rig is reasonably light at 

4.2 pounds. Designed to work with 

lenses up to 100mm, it’s equipped 

with dual rubberized grips 

for a solid handhold and easy 

maneuvering. Fully assembled 

right out of the box, the stabilizer 

is good to go after you custombalance 

the camera and charge 

the battery. The stabilizer’s gyro 

motor can run for up to an hour 

on a single charge. 

Flashpoint ZeroGrav 

2–Axis Digital Gyro Stabilizer 

$1,199, direct 

adorama.com 

>Rokinon has 

announced a 

handful of 

affordable new 

lenses for 

Canon, 

Fujifilm, Nikon, 

Olympus, 

Panasonic, 

Pentax, 

Samsung, and 

Sony (A and E 

mount) DSLRs 

and ILCs. 

>Acquired by 

C&A Marketing 

earlier 

this year, 

Calumet 

Photographic 

continues to 

rise from the 

ashes of 

bankruptcy 

with the 

opening of its 

flagship store 

in Lincoln 

Park, Illinois. 

It’s the third 

Calumet store 

in the 

Chicago area. 

Wear your photos 

on your feet 

CREATING YOUR OWN limitededition 

sneakers with the Adidas 

miZX Flux app is faster and 

easier than waiting in line for 

the latest release along with a 

thousand other sneakerheads. 

Using a smartphone or tablet (or 

camera) running iOS or Android, 

just download the app, snap a 

photo or select one from your 

camera roll, scale it, and place 

it on a virtual shoe. Then take a 

360-degree look at your design 

and place your order. Or, if you 

want to play around with various 

images, save each creation in the 

app’s “Shoebox” until you decide 

which one is the best fit. 

Adidas miZX Flux 

$110, direct 

adidas.com

MEMORY AID 

A portable flash drive device (since Apple doesn’t use 

removeable storage). Its LED 

for iDevices 

indicates the drive’s activity status, 

and you can use it to charge your 

device through the USB port or an 

optional USB AC adaptor. It comes 

with a two-year warranty in 16GB, 

32GB, and 64GB sizes. 

THE LATEST flash gadget from 

SanDisk, the iXpand is a simple 

solution for transferring images 

from iPhones or iPads. With 

Lightning and USB 2.0 connectors 

and a dedicated app, it lets you 

offload files automatically or 

manually for sharing, editing, 

or freeing up space on a bulging 

SanDisk iXpand 

$60 (16GB); $80 (32GB); $120 (64GB) 

sandisk.com 

LIGHT & LIMBER 

A pack made for ILCs 

THINKTANK PHOTO’S Perception 

daypacks, available in two sizes, 

are compact and light, just like the 

ILCs they were designed to carry. 

The Perception 15 accommodates 

an interchangeable-lens body (or 

small DSLR) with lens attached, 

as well as one or two other lenses. 

Add a couple of additional lenses with 

the Perception Pro. Both models, 

available in black or taupe, also have 

room for both a 15-inch laptop 

and a 10-inch tablet along with 

necessities such as a water bottle, 

snacks, and even a thin jacket for 

short day hikes. 

ThinkTank Photo Perception Backpack 

$120 (Perception 15); $150 (Pro) 

thinktankphoto.com 

>A collector 

reportedly has 

paid $6.5 

million for a 

single photo. 

The blackand-white 

“Phantom” 

was one of 

three by Aussie 

photographer 

Peter Lik. The 

total tab: 

$10 million. 

>Phase One 

launched its 

A-series camera 

system, 

combining Alpa 

bodies, 

Phase One 

medium-format 

backs, and 

Rodenstock 

lenses. Kits cost 

$47,000 to 

$55,000—but 

you can rent. 

>Adorama 

just launched 

a line of 

drones with 

the $800 

Flashpoint 

Aries Black- 

Bird X10 

Quadcopter 

with its own 

camera for 

1080p video 

and 16MP 

stills. 

>Alien Skin is 

speeding its 

releases, 

putting out 

Exposure 7 a 

mere six 

months after 

Exposure. One 

of the most 

notable new 

features, RAW 

compatibility, 

may be reason 

enough to 

upgrade. 

New 

Software 

Macphun Snapselect 

AN APP for Apple’s Mac 

computers only, Macphun’s 

new Snapselect software 

(available from the App 

Store for $25) makes short 

work of paring down your 

photos by grouping similar 

and duplicate images. To 

get organized and free 

up hard drive space, just 

select the pictures you 

want and reject the ones 

that don’t make the cut. 

You never know what longforgotten 

treasures you’ll 

find among your digital 

media, iPhoto, Aperture, 

or Adobe Photoshop 

Lightroom libraries. 

Radical 

Reflector 

WITH FIVE surfaces (silver, white, 

black, “sunlight,” and a one-stop 

diffusion panel) Westcott’s new 

10-in-1 Shoot Through 

Reflector doubles its 

functionality thanks 

to a removable 

center frame with 

a 2:3 aspect ratio. 

Leave the panel 

intact to use it 

as a traditional 

reflector; remove it 

and shoot through the 

opening to simulate the light 

of beauty dish or ring light. The 

reflector measures 38x45 

inches but collapses to 

about a third of that size 

to fit in its (included) 

carrying case. 

Westcott Omega 10-in-1 

Shoot Through Reflector 

$100, street fjwestcott.com 


NEXT * ROUNDUP 

BRIGHTEN UP 

WHETHER YOU’RE looking for rapid-fire stroboscopic effects, 

especially short flash duration, or the portability of battery 

power, today’s monolights have got you covered. Here are five 

that we think are a bright idea. 

Phottix Indra500 TTL $1,200 High Speed Sync, TTL, 

flash duration as fast as 1/8000 sec, and 8 stops of adjustment 

from full power to 1/128 show this 500Ws studio light’s versatility. 

Though powered by an external battery pack, it’s still quite portable. 

Broncolor Siros $1,000 Several configurations (including 

a Wi-Fi option) are available for the Siros 400Ws and 800Ws 

AC-powered monolights. All of them offer a speed mode for up to 50 

flashes per second, with shutter speeds that max out at 1/8000 sec. 

Elinchrom ELC Pro HD500 $970 At minimum power, 

this 500Ws flash head will push out 20 flashes per second and 

offers recycle times as fast as 0.7 sec. It also has a modeling light, 

dual voltage options and an integrated eight-channel receiver. 

Adorama Flashpoint Rovelight $700 This 600Ws 

monolight is one of the more affordable on the market and because 

it’s battery powered, the 5.5-pound unit can travel wherever you go. 

At full power, it can output more than 500 flashes on a single charge. 

Dynalite Baja B4 $600 This new battery-powered 400Ws 

monolight features a 6-stop output range in 1/10 increments. The 

Baja B4 can pump out up to 15 flashes per second for that cool 

stroboscopic look and gets 550 full-power flashes per charge. 

>ACD 

Systems 

announced 

ACDSee 

Ultimate 8. 

In addition 

to the DAM 

(digital asset 

management) 

tools we 

expect from 

ACDSee, 

Ultimate 8 

adds layers 

for targeted 

editing so 

you can be 

organized and 

creative. 

>Profoto’s 

High Speed 

Sync (HSS) 

free firmware 

update for the 

B1 off-camera 

flash will let 

you freeze 

action at 

super-fast 

speed, but 

you’ll need the 

Air Remote 

TTL-C (Canon) 

or TTL-N 

(Nikon) to 

play nice with 

your DSLR. 

>Instagram 

updated to 

version 6.4, 

adding five 

new filters, the 

first addition 

to the popular 

smartphone 

app in two 

years. Other 

new functions: 

perspective 

correction and 

slow-mo video. 

>What 

speck on the 

globe was 

Instagrammed 

more than 

any other 

in 2014? 

Disneyland! 

TOOLBOX 

MACRO 

SOME PEOPLE complain that ILC 

camera systems don’t always have 

the depth and breadth of lenses and 

accessories to match DSLRs, but 

Fujifilm is helping remedy that with 

a pair of macro extension tubes for 

XF and XC lenses. 

Like all extension tubes, the 

MCEX-11 and the MCEX-16 (which 

delivers higher magnification) fit 

between the lens and the camera. 

This added distance positions the 

lens farther from the sensor, which 

in turn magnifies the subject. 

Because of limited focus range, 

you’ll have to physically change 

the camera-to-subject distance to 

get a sharp picture. But Fujifilm’s 

extension tubes, which street for 

$100 each, have electronic contacts 

for autoexposure functionality. 

Maximum magnification differs 

with each lens and the macro 

tubes aren’t compatible with all XF 

and XC lenses, so be sure to visit 

fujifilm.com for the details. 

THE LOWDOWN 

JPEG KILLER? 

With the JPEG image file format 

now more than 22 years old, French 

programmer Fabrice Bellard has 

developed a new format called 

Better Portable Graphics (BPG) that 

he hopes can replace it. Based on 

part of the HEVC video compression 

standard, BPG promises 14-bit color, 

a higher compression ratio, the same 

color space support as JPEG, and a 

lossless compression option. 


POPPHOTO.COM

Introducing the world’s most advanced visual effects and motion graphics solution! 

Fusion is the world’s most advanced compositing software for visual 

effects artists, broadcast and motion graphic designers and 3D animators. 

With over 25 years of development, Fusion has been used on over 1000 

major Hollywood blockbuster feature films! You get a massive range 

of features and effects included so you can create exciting broadcast 

graphics, television commercials, dramatic title sequences and even major 

feature film visual effects! 

Hollywood’s Biggest Blockbusters 

Thousands of Hollywood’s biggest blockbusters and hit television shows 

use Fusion to create their groundbreaking visual effects. Fusion has been 

used on feature films like Thor, The Amazing Spiderman 2, and The Hunger 

Games, as well as hit television shows like Orphan Black, Breaking Bad, 

Grimm, Adventure Time, Downton Abbey and the Emmy award winning 

Battlestar Galactica. 

Nodes, A Better Way to Work! 

Fusion uses nodes which are small icons that represent effects, filters and 

other processing which can be connected together to easily build up larger 

and more complex visual effects. Because nodes are easy to see and 

connect together, you can combine tools, images, and objects in any order 

to create unlimited visual effects. Nodes make it easy to adjust any single part 

of your project simply by clicking on the node and making an adjustment. 

That’s much faster than a timeline based tool such as an NLE. 

Simply More Features 

Whether you need to pull a key, track objects, retouch images, animate 

titles, or create amazing particle effects, Fusion has a massive toolset 

that lets you tackle the most demanding visual effects and motion 

graphics jobs. You get the world’s best 3D workspace along with tools 

for compositing, keying, painting, animation, stereoscopic 3D and more, 

all in a single application! 

GPU Accelerated Creative Workflow 

Fusion is an extremely fast visual effects software tool that’s responsive 

enough to be used in high pressure, client driven sessions. With its GPU 

acceleration, you get instant feedback while you work so you can see 

exactly what you’re doing. Whether you’re working alone or with a client, 

Fusion gives you the real time control you need so you can spend more 

time being creative and less time waiting. 

FUSION 7 ...............................................................................................................Free 

FUSION 7 STUDIO ...............................................................................$995 

Learn more today www.blackmagicdesign.com

TRAVEL • DISCOVER • PHOTOGRAPH 

© Bryan Oleson 

OHIO: HOCKING HILLS JUNE 5-7, 2015 

HIGHLIGHTS 

• Capture portraits of cowboys and the rolling hills landscape at Smoke Rise Ranch 

• Photograph undisturbed forests, rugged cliffs, mysterious gorges and the largest 

waterfall in Hocking Hills State Park 

• Learn to enhance your technique as we capture kayakers along Lake Logan 

MEET YOUR INSTRUCTORS 

TOM 

BOL 

Join the Mentor Series, June 5-7, 2015, and Nikon professional photographers 

Tom Bol and Bob Smith, in the peaks and hollows of Ohio for a photography 

workshop focusing on the Hocking Hills area. 

Jump in the saddle of the Midwestern atmosphere at Smoke Rise Ranch and 

spend the day photographing cattle-herding horses and cowboy portraits while 

enjoying a delicious ranch style cookout. 

As the Ohio sun rises, we will hike the stunning gorge lined with majestic hemlock 

trees to Ash Cave, the most impressive recessed caves in the state. Next we 

will head to Cedar Falls, one of the largest waterfalls in the park. Our last stop 

in Hocking Hills is Old Man’s cave, an area fi lled with rock formations, cliffs, 

and waterfalls. 

We will then depart the Hocking Hills state park for sparkling Lake Logan. 

Encompassed by a blanket of emerald trees, the cobalt blue water will serve as 

the perfect backdrop to kayakers gliding on the lake. The unsurpassed natural 

beauty of Ohio makes this ultimate photo adventure an invaluable experience 

that will greatly impact your photography skills. 

“ We will be exploring a variety of techniques 

to capture rolling hills, gentle waterfalls and 

the friendly people of Ohio.” 

BOB 

SMITH 

workshop fee: $1,250 

Includes in-the-field instruction, entrance fees, presentations, 

digital reviews, and transportation to each shooting location

© Torrey McNeal 

© Mieke Boynton © Charlie Lansche 

Visit MentorSeries.com to experience our beautiful photo 

galleries, videos, instructor bios and trekker testimonials. 

BOOK YOUR TREK TODAY AT MENTORSERIES.COM 

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

Treks open 

to all skill 

levels and 

camera 

users! 

FOLLOW US ON: 

ADDITIONAL SUPPORT FROM: 

Special thanks to our premier sponsor 

Come to Ohio and try out some of the latest 

equipment that Nikon offers including its 

high-performance DSLRs, NIKKOR lenses, the 

Nikon 1 System, and a variety of COOLPIX 

compact digital cameras. 

AF-S NIKKOR 24-70mm 

f/2.8G ED 

D810 

D750

8x10 Metal Prints 

$ 

16. 95 We offer the highest quality photographic 

Hanging options: 

Q Easel back 

Q Float Mount 

Q Shadow Mount 

Q Standout 

Easel Back 

shown. 

IMAGE BY REX KESLER 

Metal Prints 

Inks are infused directly into specially coated aluminum 

sheets, using high temperature and pressure. Your 

images take on a bright, vibrant, luminescent quality 

when printed on metal through this process. 

Q 4 different finishes available 

Q Sizes from 4x8 to 30x40 

Q Rich vibrant color 

Q Durable prints without glass 

Q Waterproof 

prints in over 80 sizes, up to our 10 ft. 

Panoramix prints. We also offer a wide 

variety of other products, including: 

standouts, books and albums, cards, 

iPhone covers, mugs, and much more. 

Visit our website to browse through all our 

products and see pricing. You can sign up 

and begin ordering today. 

PROFESSIONAL PRINTS 

8x10 only$1.69 

for 

Your choice of LAB CORRECTED or 

NO CORRECTION for the same price. 

IMAGE BY THERESA THURMAN 

Great Prints. GreatPrices. Easy Ordering. It’s that Simple. 

www.meridianpro.com | 800-544-1370

A TYPOLOGY OF SURFBOARD FINS 

22 

SHAREYOUR BEST PHOTOS THIS MONTH 

CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED 

27 

PHOTO CHALLENGE 

SWEET 

SHOT 

A photographer collaborates 

with his wife to take the cake 

MANOJ NARAYANAN credits his wife, Viji 

H. Iyer, as the driving force behind this 

month’s winning plated food photo. The 

East Windsor, New Jersey, couple runs 

a food blog (handfulofrecipes.com) together—she 

makes and styles the food; 

he photographs it. The “vision for food 

pictures are mostly Viji’s—we wanted 

this photo to look dark and rich,” Narayanan 

says. 

To emphasize the tones of the cake, 

Narayanan shot it against a slate floor 

using three bracketed exposures (+1, 

0, –1 EV) on the Cloudy Day white balance 

setting. He extended a tripod to its 

maximum height and tethered his camera 

to a laptop so he could check the 

frame as he shot. Once the test images 

looked good, Iyer carefully arranged the 

ingredient around the cake and placed 

a dried rose in the center. 

Narayanan finished by tone mapping 

Manoj 

Narayanan 

used a Canon 

EOS 7D with 

a 70–200mm 

f/2.8L Canon 

EF IS II USM 

lens; 1/100 

sec at f/8, 

ISO 400 with 

bracketed 

exposures of 

+1, 0, –1 EV. 

in Photomatix Pro 4.2.3 

and applying Matt 

Kloskowski’s “Ultimate 

Fighter” preset 

in Adobe Photoshop 

Lightroom 5.7, where 

he also adjusted tone, 

boosted clarity, and 

lowered the vibrance 

and saturation settings. 

—Jeanette D. Moses 

MANOJ NARAYANAN 

POPPHOTO.COM 

In “A Dog’s Life” (page 

52), pet photographer 

Gary Parker shares his 

secrets for expressive canine portraits. Send us 

your best pooch picture by February 28 and you 

could win $100 and your story here. Read the 

rules and enter at PopPhoto.com/contests. 

FEBRUARY 2015 POPULAR PHOTOGRAPHY 21

SHARE * 

MY PROJECT 

TIMOTHY HOGAN (10); WILLIAM HOGAN (PORTRAIT) 

Fin 

Finds 

Exploring the hidden 

side of the surfboard 

WHEN TIMOTHY HOGAN moved to 

Los Angeles after a lifetime on the 

East Coast, he had no intention of 

standing on the sand and photographing 

surfers when he could 

be catching waves himself. A 

successful commercial shooter 

(timothy-hogan.com), he wanted 

to contribute something special 

to the sport he fell in love with as 

a kid. He found his subject on the 

underside of the board: the fin. 

Since 2012, Hogan has shot 150 

surfboard fins for theFINproject and 

believes he’s only scratched the 

surface. Working with collectors, 

historical societies, and surfers, he 

has captured everything from the 

wooden fins of the 1930s to the 

multicolored fiberglass lay-ups of 

the 1970s and even a fin recently 

made on a 3-D printer. 

“The fin literally gives the 

surfboard direction, but it’s also 

given the whole sport direction,” he 

says. “Surfing is uniquely defined 

by the equipment that’s used at 

a particular time—the longboard 

era, the shortboard era, all these 

different things. The [changing] fin 

has ushered in each new era.” 

Hogan is now also working 

on a documentary film about 

the unheralded history of the 

fin, and while his ever-growing 

collection of photos represents a 

comprehensive visual chronicle, 

Timothy 

Hogan shares 

one of his 

shooting 

techniques in 

You Can Do It, 

page 42. 


Examples 

from Hogan’s 

theFINproject 

include 

Dave Sweet 

longboards 

from the early 

1950s (above, 

top left) and 

1970s (center 

left) as well as 

newer models 

such as the 

Kelly Slater 

Millennium 

Board (center 

right). 

he doesn’t display them chronologically. 

Instead, he shuffles 

them into groups that trace both 

subtle and drastic shifts in design 

as well as concepts that have been 

revived, repurposed, or discarded. 

To keep the focus on this evolution, 

Hogan maintains certain 

constraints. He typically uses a 

Hasselblad H4D-50MS to shoot 

each fin on a white background, 

adjusting his lights to emphasize 

the most unique characteristic— 

hard lights to bring out the texture 

of the wood; a highlight on the 

top edge of a fiberglass fin for 

extra shine, backlighting to show 

off transluscent colors. Hogan 

cites Bernd and Hilla Becher’s 

industrial typologies as a major 

influence, noting how isolation 

and repetition can highlight the 

idiosyncrasies of everyday objects. 

But it can also be tedious. In 

part to fight the monotony of 

staring down yet another wedge 

of blue fiberglass, Hogan also 

arranges fins into careful patterns. 

“Sometimes you get, for lack of 

a better word, bored,” he admits, 

but adds: “Most of these are made 

by hand so a lot of the creativity is 

in honoring each piece as unique.” 

At the outset of theFINproject, 

Hogan sought to address the state 

of individual craftsmanship in a 

time of mass production. Now, 

working closely with artifacts of 

the sport he loves, Hogan hopes 

his documentary and photographs 

will encourage creativity and 

experimentation. —Jon Blistein 


SHARE * 

MENTOR SERIES 

Experience the ultimate 

photo adventure while 

enhancing your visual 

creativity and skill. 

Hands-On Learning 

Exclusive Photo Opportunities 

Shoot w/Nikon Pros in the Field 

Special Video & Lighting Workshops 

Digital Review Sessions 

Alumni Communities 

Sign up for the Ultimate 

Photo Adventure today! 

MENTORSERIES.COM 

current 2015 trek line-up: 

Nevada • Costa Rica • Ohio 

California • Long Island 

Grand Tetons • Iceland 

PRESENTING SPONSOR 

PAUL CURRIER; ROBERTA CURRIER (HEADSHOT) 

BALANCE IT OUT To capture this scene’s drama, Paul Currier composed equal parts foreground 

rock formation and background sky. 

TOWER POWER 

Bring out the drama in colorful scenes 

BREATHTAKING spires of calcium 

carbonate shoot skyward like 

castle ruins in and around 

California’s Mono Lake. These 

natural forms were just one of 

the draws for Paul Currier, a 

67-year-old retiree from Burbank, 

California, who signed up for a 

June 2014 Mentor Series photo 

adventure to the lake as well 

as the ghost town of Bodie, 

California. Late in the afternoon, 

Currier scoured the lakeside for 

photo opportunities, and for a few 

minutes he allowed his attention 

to wander away from the growing 

drama unfolding in the sky 

behind him. 

“When I turned toward the 

setting sun, I thought to myself, 

‘Oh my gosh,’” he recalls. Mentors 

Michael Schwarz and Dave Black 

had warned him to be ready for 

such moments. “To make sure the 

colors popped, I had preset my 

camera to its Vivid color option. It 

really did the trick,” says Currier. 

Other practical photo tips that 

the photographer took away from 

his first Mentor Series adventure? 

Research before you go. “Online 

resources can help you learn 

PAUL 

CURRIER 

For his next 

photo adventure, 

the photographer 

has set his sites 

on the Grand 

Teton mountain 

range. 

what, where, and when to shoot, 

but also what to avoid,” says 

Currier. These resources can save 

time, and can help you capture 

the best photos. 

Don’t dally. “When you’re 

shooting outdoors, you need to 

keep moving, be observant, and 

be open to the unexpected,” he 

advises. “Be prepared to change 

your plans when something 

interesting pops up, and try to 

remember to make a 180-degree 

turn after you’ve taken pictures 

of one subject to see what’s 

happening behind you. Do that 

and you could be rewarded with a 

shot like this.” 

Be patient. “If clouds are moving 

into a scene, go ahead and take 

a few shots,” he says. “But tell 

yourself to wait to see if an even 

better cloudscape develops.” Often, 

that’s just what happens. 

24 POPULAR PHOTOGRAPHY FEBRUARY 2015 POPPHOTO.COM

The Art of Travel 

Photography: 

Six Expert Lessons 

Taught by Joel Sartore 

Photographer, National Geographic Fellow 

70% 

LIMITED TIME OFFER 

ORDER 

BY 

off 

12 

FEBRUARY 

LECTURE TITLES 

1. Getting Beyond the Postcard 

2. Light—Early, Late, and in Between 

3. Faces and Places 

4. Local Attractions and Unexpected Delights 

5. Interiors and Exteriors, High and Low 

6. Storytelling and Serendipity 

ABOUT YOUR PROFESSOR 

Joel Sartore is a professional photographer and 

a regular contributor to National Geographic 

magazine. His assignments have taken him 

to some of the world’s most beautiful and 

challenging environments and have brought 

him face to face with a diversity of wildlife in all 

50 U. S. states and all seven continents. He was 

recently named a National Geographic Fellow 

for his work on “The Photo Ark,” a multiyear 

project to document the world’s biodiversity 

in studio portraits. His photograph of a lion in 

a tree was voted the best picture by National 

Geographic magazine in 2011. 

Capture Memories 

Around the World 

Photographs let us share our experiences with others, and 

preserve once-in-a-lifetime moments precisely the way we 

want to remember them. Yet all too often, we find that our 

photos fall short of our expectations. The Art of Travel 

Photography: Six Expert Lessons is your ticket to capturing 

the beauty and awe of any scene, anywhere in the world. 

Your guide is Joel Sartore, a professional photographer and 

National Geographic Fellow, who has traveled the world 

shooting photographs in the most challenging of conditions. 

Filled with practical tips, proven techniques, and field 

demonstrations, this course helps you learn to see the way 

professional photographers do so you can take compelling 

photographs worth framing and sharing. 

Offer expires 02/12/15 

THEGREATCOURSES.COM/5PHOTO 

1-800-832-2412 

“ Clear, informative, enjoyable! Made me want 

to get out with my camera!” 

—Glenn Boyd, Abington, PA 

The Art of Travel Photography: 

Six Expert Lessons 

Course no. 7912 | 6 lectures (30 minutes/lecture) 

SAVE $70 

DVD $99.95 NOW $29.95 

+$5 Shipping, Processing, and Lifetime Satisfaction Guarantee 

Priority Code: 110562 

For 24 years, The Great Courses has brought the 

world’s foremost educators to millions who want to 

go deeper into the subjects that matter most. No 

exams. No homework. Just a world of knowledge 

available anytime, anywhere. Download or stream 

to your laptop or PC, or use our free mobile apps 

for iPad, iPhone, or Android. Over 500 courses 

available at www.TheGreatCourses.com.

SHARE * 

Point of View 

YOUR TURN 

WRITE 

TO US! POPPHOTO @BONNIERCORP.COM 

Re “Five Ways to Flatter Anyone” 

(September 2014): If you want 

someone viewing your photos to 

admire the subject, photograph 

from the ground up, or at least 

knee-level, especially for insects, 

pets, children, or the pope. If you 

want the viewer to disparage the 

subject, then climb above them 

and shoot down. If you want 

the viewer to see the subject as 

an equal, then go for the hip/ 

chest-level shot so the viewer 

sees eye-to-eye with the subject. 

I have followed these guidelines 

for more than 60 years, but they 

still work! Rico Leffanta 

IN “CAT FIGHT” (Fix It Fast, December 

2014), I would have brought the fix time 

down to 0 minutes. How? Leaving the 

splash trail, for one. It gives the picture 

movement. Hard to make a judgment 

from a magazine reproduction, but the 

color correction seems to have given 

the “After” image a red cast that was 

missing in the “Before” shot. R. Ball 

San Dimas, CA 

FROM FACEBOOK 

A READER QUESTIONED the accuracy of our exposure data 

for Richard Bernabe’s photo of a bear in “Conquer the Light” 

(September 2014), taken in full sun at 1/640 sec and f/5.6, ISO 

800, saying that these settings would have overexposed the scene. 

BERNABE RESPONDED: “I purposely push all of my image data 

on the histogram to the right, short of making the highlights pure white. This allows 

me to capture more colors and tones while keeping image noise and posterization to 

a minimum. On my LCD, the image might look washed out and much too bright, 

but during the processing of the RAW file, I correct this with the Exposure slider, 

restoring the tones to where I want to display them. In this example, I processed 

the file 1.67 stops darker than where I captured it, which explains the apparent 

disconnect between the exposure settings and the final image.” 

AN ARTICLE that photographer Jason Nakleh wrote for 

PopPhoto.com, “How-To: Concert Photography with Strobes 

and Flashes,” drew a lot of debate on Facebook. For instance: 

Studio strobes? Get some f/2.8 glass and do it right. 

FIND US ONLINE 

—Marlo Montanaro 

I’d imagine flash at a gig would be quite annoying, not just for the artist but 

also the audience, who have paid good money to be there. —Chris Middleton 

I thought I was the only one that had tried this. I limit [it] to small, dimly lit 

venues and always with the approval of all parties involved. —Eddie Hade 

I READ WITH INTEREST your Editor’s 

Letter (January 2015) and wanted to 

thank you for writing it. I have long 

struggled with the word “professional” 

in regard to photography and have been 

irked by it. Is it someone with a degree? 

Someone who does weddings? Is it 

even relevant? I suppose it is to some 

extent, with the availability of great 

digital cameras to the masses and to 

people who never learn the craft—those 

who won’t push on into f-stops, depth 

of field, exposure, and composition— 

people who never find their own vision. 

Steve Lathan 

Bardstown, KY 

TWITTER.COM/ 

POPPHOTO 

FACEBOOK.COM/ 

POPULAR 

PHOTOGRAPHY 

INSTAGRAM.COM/ 

POPPHOTOMAG 

HOW TO CONTACT US 

Address your questions or 

comments on editorial content 

to Popular Photography, 2 Park 

Avenue, New York, NY 10016; 

email, PopPhoto@bonniercorp. 

com. Published letters may be 

edited for length and clarity. 

We regret that we cannot 

answer all letters. Editorial 

contributions sent by mail must 

include return postage and will 

be handled with reasonable 

care; however, we assume 

no responsibility for return or 

safety of photographs, disks, or 

manuscripts. 

SUBSCRIPTIONS 

Visit PopPhoto.com/cs for all 

subscription inquiries, call us 

at 800-876-6636, or email us 

at PPHcustserv@cdsfulfillment. 

com. Please allow at least 

8 weeks for a change of 

address; include both your 

old and new addresses, and 

if possible an address label 

from a recent issue. Subscription 

prices: U.S.: 1 year, $14; 

2 years, $28; 3 years, $42. 

Canada: 1 year, $26; 2 years, 

$52; 3 years, $78. All other 

foreign: 1 year, $38; 2 years, 

$76; 3 years, $114. Occasionally 

we share our information 

with other reputable 

companies whose products 

and services might interest 

you. If you prefer not to 

participate, please contact us 

at PPHcustserv@cdsfulfillment. 

com or popphoto.com/cs. 

REPRINTS 

AND EPRINTS 

For Reprints, email reprints@ 

bonniercorp.com. 


SHARE * 

Winter Blues 

YOUR BEST SHOT 

This month’s winners lean to one side of the color spectrum 

Want to 

enter? 

Get the 

rules and 

upload your 

images at 

PopPhoto 

.com/ 

contests. 

3rd Place $100 Prize 

SIMONAS LINKEVICIUS, 23, PHOTOGRAPHER, VILNIUS, LITHUANIA 

An avid urban explorer with an eye for modern architecture, Simonas 

Linkevicius was wandering near the National Gallery of Art in Vilnius when 

he spotted this structure. He says he was struck by the way the lines of the 

buildings met other elements in the frame to form new shapes. Linkevicius 

corrected the lens perspective of the image in Adobe Photoshop Creative Cloud. 

TECH INFO: Canon EOS 60D with 24–105 f/4L Canon EF IS USM Canon lens; 1/640 sec 

at f/8, ISO 400. Edited in Adobe Photoshop Creative Cloud. 

2nd Place $200 Prize 

RON SPOHN, 44, GRAPHIC DESIGNER/PHOTOGRAPHER/VIDEOGRAPHER, 

REDONDO BEACH, CALIFORNIA 

While hiking in South Lake Tahoe, Ron Spohn discovered this incredible view 

from the trail. “I wanted to capture the color of the entire scene,” he says. “The 

rock wall and reflection were breathtaking.” Spohn mounted his camera on 

a tripod and used a long exposure and a Lee polarizing filter as the sun was 

setting. In Lightroom he sharpened, reduced noise, and adjusted clarity and 

contrast. TECH INFO: Canon EOS-1D Mark IV with 10–24mm f/3.5–4.5 Tamron Di II lens 

with Lee polarizer; 59 sec at f/16, ISO 100. Edited in Adobe Photoshop Lightroom 5. 


SHARE * 

YOUR BEST SHOT 

1st Place 

$300 Prize 

ELENA PETROVA, 30, PHOTOGRAPHER, 

LOS ANGELES, CALIFORNIA 

Elena Petrova was inspired by the work of 

fashion photographer Paolo Roversi when she 

captured this model wearing a decadent retro 

hat. She lit her model with a Profoto head 

connected to a 1200W power pack and added 

a Chimera softbox to soften the light for the 

shot. “To add some mystery, I decided to shoot 

in profile instead of dead on,” she says. Petrova 

used the Soft Skin brush tool in Lightroom to 

remove a few blemishes before adding the Color 

Preset Cross Process 2 to complete her image. 

TECH INFO: Nikon D800 with 24–70mm f/2.8G AF-S 

Nikkor ED lens; 1/250 sec at f/7.1, ISO 125. Edited and 

retouched in Adobe Photoshop Lightroom 5. 



Headphones on. 

World off. 

Bose ® QuietComfort ® 25 

Acoustic Noise Cancelling ® Headphones 

QuietComfort 25 Acoustic Noise Cancelling 

headphones give you crisp, powerful sound – and quiet 

that lets you hear your music better. 

$ 

299 Free Shipping at OneCall.com 

TV 

Ultra-compact. 

Wireless. 

Better sound. 

Bose ® SoundLink ® Mini Bluetooth ® Speaker 

SoundLink Mini is our smallest portable Bluetooth 

speaker yet. Its radically innovative, ultra - compact 

design lets you enjoy better sound that fits in the palm 

of your hand. 

$ 


AUDIO 

CAMERA 

Your music. 

Bose sound. 

Totally portable. 

New! Bose ® SoundLink ® Color Bluetooth ® Speaker 

The SoundLink Color Bluetooth speaker is engineered to deliver 

full sound, but it’s small, durable and simple to use. It’s available 

in colors to match almost any style, at a price that will make you 

want to dance. And an optional carry case adds extra protection 

while you ’re on the go. Your music keeps you moving. And with 

SoundLink Color, now it can move with you. 

$ 


KITCHEN 

WIRELESS 

Expertise is the Difference. 

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

trained, experienced and non-commissioned. 

We’re happy to answer your questions about 

technology, compatibility, performance and more. 

Visit Us Online 

onecall.com 

Call Us Today 

1.888.427.2309

HOW 

EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS 

ADD COLOR TO YOUR ARCHITECTURE AND PRODUCT SHOTS 

33 

SHOOT SENSATIONAL SEDONA 

34 

TRY LIGHTING WITH JUST THE SUN 

36 

42 

CREATIVE THINKING 

FLYING HIGH 

SCOTT NOBLES 

This photo illustrator 

steps back in time 

to imagine the future 

IN A FEW YEARS, we’ll all have 

wing suits and scenes like this 

will be as common as cars 

lined up in traffic jams. But 

until then, our romance with 

individual flight will continue 

to inspire land-bound aviators 

such as illustrator and portrait 

photographer Scott Nobles. “I’m 

fascinated with flying, but I don’t 

have a pilot’s license or anything,” 

he admits. “Still, I wanted to create 

a photo story based on human 

flight. It’s been done before but I 

wanted to tackle it myself.” 

The photographer formerly 

based in New York City (he’s 

since gone to Boston) imagined 

For more of 

the photographer’s 

Flying Dream 

series, visit 

scottnobles 

.com. 

a series telling the story of a guy 

who tinkers around to create 

his own flying contraption, 

eventually soaring over downtown 

Manhattan. It was a personal 

project that he hoped would 

attract clients. 

Originally, the illustrations were 

to be in color, but when he hit on 

the idea of using historic blackand-white 

aerial archival photos 

POPPHOTO.COM 

JUNE FEBRUARY 2014 2015 POPULAR POPULAR PHOTOGRAPHY 37 31

HOW * 

CREATIVE THINKING 

of New York City, he realized 

something more monochromatic 

like sepia-toning would give the 

shots a dreamy, whimsical edge. 

He chose aerial backgrounds 

that contained strong diagonal 

lines. Repeating these dominant 

diagonals from picture to picture 

imparted a strong sense of visual 

cohesion across the project. 

After he selected the 

backgrounds, Nobles worked 

on the rocket pack, which 

he found in an antique store 

(look closely and you’ll see it’s 

an antique fire extinguisher). 

“The model is actually wearing 

it like a backpack,” he says. 

“Later, in postproduction, I 

stripped in the wings, which 

came from a toy airplane that 

I shot in my studio.” 

The trick came in photographing 

his model in such 

a way that his figure worked 

within the aerial. “I needed to 

be up high looking down at his 

back, so we just inverted the 

angle with me on the ground 

and him just standing with 

his arms out,” Nobles says. 

He shot with a Canon EOS 5D 

and 24–70mm f/2.8L Canon EF 

zoom, and his main light was a 

medium-sized softbox. 

Nobles united the various 

image layers and elements in 

postproduction. The digital 

capture clashed with the vintage 

film background, so Nobles 

overlaid the foreground layers 

with texture that matched 

the background film grain. He 

also overlaid the entire shot 

with additional layers of sepia 

color and texture based on 

the fire extinguisher’s rusty 

metal. Those last steps made 

“a dramatic difference,” Nobles 

says. “It brought things together 

with a warm vs. cool palette.” 

And the clients? It landed 

them, too! —Laurence Chen 

WESLEY FULGHUM AND MATTHEW ISMAEL RUIZ 

FIX IT FAST 

JUMP 

SHOT 

FORMER POP PHOTO staffer Matthew Ismael 

Ruiz and I shot rocker Carey Murdock for 

an upcoming CD cover. Our thought was to 

present him floating in space. I opened the 

file in Adobe Camera RAW 8.6 and cropped 

it to a CD’s square format, doing away with 

the floor and ceiling. I also made slight 

tweaks to color. 

I still had shadows behind the subject, 

though, so he didn’t have the 

sus pended-in-space look that 

I wanted. For a shadowless 

background, I brought the 

file into Photoshop CS6 and 

used the Quick Selection tool 

to select the background, 

then inverted the selection 

to grab just the musician. 

I then made a new layer 

for him, hid the bottom 

layer, and created a new 

background layer filled 

with light gray to remove 

shadows without blowing 

out the background, which 

could have looked fake. 

Total fix time: 20 minutes. 

—Wesley Fulghum 

PHOTO GLOSSARY 

FLUORITE 

IN OUR test this month of Sigma’s 18–300mm f/3.5–6.3 Macro OS lens (page 74) we mention 

the lens’s four elements of Sigma’s special FLD glass. A low-dispersion (LD), optically pure glass, 

it’s said to mimic the qualities of the more expensive fluorite glass. According to the website 

geology.com, fluorite is an important commercial mineral composed of calcium and fluorine. 

Available in several grades or varieties, it’s used in the metallurgical, ceramic, and chemical 

industries. In some of its purer forms, fluorite crystals can be cut into gemstones, as well as be 

used in telescope, microscope, and camera lenses. In its optical-grade quality, fluorite glass 

possesses an exceptional clarity of a type that can suppress chromatic aberration in a projected 

image. (Chromatic aberration refers to the failure of a lens to focus all colors of light to a single 

plane. In photographs, the effect is a noticeable lack of sharpness.) Interestingly enough, in some 

circles, fluorite crystals are claimed capable of imparting metaphysical forms of clarity as well. 


HOW * 

TIPS & TRICKS 

Retro 

Laser 

Reflector 

What it is: For Paul C. 

Buff strobe units, this 

22-inch light modifier 

($85, direct) is one 

of the few that can 

lengthen and broaden 

strobe output across an 

11- to 30-degree beam 

spread. 

ARNI MAGNUS 

QUICK TIP 

GIFT RAPT 

“MY APPROACH to cityscapes is 

simply to take as many pictures 

as possible,” says avid shooter 

and financial information 

professional Arni Magnus, who 

lives in Reykjavik, Iceland. “I 

shoot from far away, up close, by 

tilting the camera, and revisiting 

the buildings at different times of 

the day, even in different seasons 

of the year. Minor changes in 

lighting can radically change a 

cityscape’s appearance,” he adds. 

Great advice. For this shot of 

Düsseldorf, Germany’s fittingly 

named Colorium building, 

Magnus looked over his many 

images of the city’s waterfront 

business district and chose this 

one for the building’s boxlike 

design and, of course, its color. 

“The building strikes me as a 

giant present, covered in colorful 

wrapping paper,” he says. 

To accentuate the building’s 

boxy qualities, Magnus zoomed 

in tight and tilted the camera 

so the building’s edge formed 

an attention-grabbing diagonal 

slicing through the center of his 

composition. Finally, he cropped 

the building into a square to 

underscore its gift-wrapped 

qualities. —Peter Kolonia 

With architecture, 

color can help 

Arni Magnus 

shot with 

a Nikon 

D80 and 

18–135mm 

f/3.5–5.6 AF 

Nikkor, with 

an exposure 

of 1/80 sec 

at f/7.1, 

ISO 320. 

METADATA TEMPLATES 

30-SECOND SOFTWARE 

Creating metadata templates in Adobe Photoshop Bridge is an easy way to 

attach copyright and contact information to images. Metadata templates offer 

more than 50 fields of information that can be filled, saved, edited, and resaved. 

To start, open Bridge and select the images to which you want to add metadata. 

Go to Tools > Create Metadata Template. Name your template, add text to the 

fields you want to include, and click Save. To add the same metadata to other 

images, select the images and go to Tools > Append Metadata. Select Edit or 

Replace to make changes to images’ metadata as needed. —Theano Nikitas 

How it works: The 

Retro Laser (shown 

here with the Einstein 

E640 and Baby Boomer 

bracket, not included) 

is similar to a beauty 

dish, except that light 

reflected off its shiny 

inner surface is hardened, 

not softened. 

Why use it: The Retro 

Laser reflector adds 

throw to a light source; 

the company says 

exposures of f/16 at 

40 feet, ISO 100, are 

possible when it is paired 

with the Einstein E640. 


HOW * 

TRAVELING PHOTOGRAPHER 

Soulful Sedona than 

Arizona offers more 

one grand canyon 

VALERIE MILLETT, VALMILLETT.BLOGSPOT.COM 

“MY FIRST impression of Sedona 

was that it looked like a movie set,” 

says Arizona-based photographer 

Valerie Millett. She first visited 

the area 15 years ago and was so 

hooked by the landscape’s beauty 

that she decided to move there. 

Millett’s favorite Sedona hike 

is the West Fork Trail along the 

westerly fork of Oak Creek. The 

maintained section meanders 

waterside for about 3.2 miles to a 

narrow slot canyon known locally 

as the “subway” area. “I like to 

enter the trail before dawn so that 

I can catch the first warming rays 

of sun as they set the sandstone 

canyon walls aglow,” she says. 

“You’ll find lush hanging gardens, 

weeping walls, and beautiful 

patterns, colors, and textures in 

the canyon varnish.” 

Slide Rock State Park, where 

Oak Creek glides over the 

naturally created slick rock 

chutes, is another of her favorite 

stops, but it’s a popular swimming 

hole and crowded at times, so 

again Millett suggests choosing 

an earlier hike. “The natural slides 

and rock formations are great to 

catch when the beautiful morning 

light bounces off the canyon 

walls,” she says. 

Sedona’s buttes offer great 

sunset shooting opportunities. 

“The best might be the Cathedral 

Rock from Red Rock Crossing,” she 

says. “Cathedral Rock [shown here] 

is incredibly stunning as the sun 

sets and casts a fiery red glow onto 

Valerie Millett 

shot this scene 

of snow-dusted 

Cathedral 

Rock using a 

Canon EOS 5D 

Mark II with a 

70–200mm f/4L 

Canon EF lens; 

0.5 sec at f/16, 

ISO 100. 

MORE SEDONA 

Arizona’s Verde Valley, home to the 

city of Sedona and the Coconino 

National Forest area, is brimming 

with interesting historical and natural 

sites. Here are five photogenic 

favorites, from north to south: 

OPINK JEEP TOURS 204 North State Route 

89A, Sedona. It’s hard to swing a bag of crystals 

in Sedona without hitting a Pink Jeep. They’re a 

great way to explore off-road sites. Eight themed 

excursions include custom photo tours. (Bring the 

crystals.) pinkjeeptourssedona.com 

ORED ROCK BALLOON ADVENTURES 105 Canyon 

Diablo Rd. Your Flickr pals will turn green with envy 

over your views of red rocks shot from a hot air 

balloon. Flights begin with a predawn inflation and 

it.” Another favorite: Schnebly Hill 

Vista. This 6,000-foot vantage point, 

which requires a high-clearance, 

4x4 vehicle to access, offers Verde 

Valley and Sedona views. For a 

more adventurous hike, try the Wet 

Beaver Wilderness Area. “Hiking 

along the Bell Trail has some of the 

most beautiful red rock formations, 

large pooled creek areas, and dense 

forest canopies in the region,” says 

Millett. 

—Jeff Wignall 

finish with a commemorative picnic. Up, up, and 

away. redrockballoons.com 

OJEROME, ARIZONA About 28 miles Southwest 

of Sedona on SR 89A. Jerome bills itself as the 

“Largest Ghost Town in America.” A mecca for 

artists of all kinds, this nearly vertical village—“one 

mile high with a 50-mile view”—will require a lot of 

memory cards. azjerome.com 

OV BAR V HERITAGE SITE 2.8 miles east of 

the junction of I-17 and SR 179. The largest 

and best-preserved such site in the Verde Valley, 

it contains 1,032 photo-worthy petroglyphs. 

verdevalleyarchaeology.org/VBarV 

OMONTEZUMA CASTLE NATIONAL MONUMENT 

SR 179 S and I-17 S to W. Middle Verde Rd. One 

of America’s first national historic sites, it offers 

a large, photogenic pueblo lodge carved out of a 

mountain. Open daily. nps.gov/moca/index.htm 


ADORAMA 

WANTS TO BUY 

YOUR USED PHOTO & VIDEO GEAR 

ITS WORTH MORE THAN YOU EXPECT! 

Whether consumer level, professional gear or even vintage cameras, your used 

equipment can easily be turned into cash or upgraded equipment. 

Get a fast, free quote online at 

Adorama.com/used or in our Manhattan, NY store. 

< Scan Here to see how easy it is to sell and trade up! 

SHOP RENT PRINT LEARN TRADE 

42 W 18TH ST NYC 

800.223.2500 

adorama.com

HOW * LIGHTING 

CATHERINE MACBRIDE/STOCKSY.COM 

Child’s Play 

Yes, you can light with direct sun 

CATHERINE MACBRIDE, a freelance 

stock photographer from Dublin, 

Ireland, creates unusually 

clever photo assemblages—like 

these marbles—and paper 

constructions that she posts to 

microstock and photo-sharing 

sites all over the Internet. She’s 

not afraid to light many of these 

images with direct or modified 

sun. “The easiest thing about 

working with [it] is you don’t 

have to go through the trouble 

of setting up and breaking down 

light fixtures. And the quality of 

the light is so fresh and crisp— 

something I find hard to replicate 

with artificial light,” she says. 

For more of 

MacBride’s 

whimsical 

work, visit 

catherine 

macbride 

.com. 

Oh, and sunlight is free. 

While its pictorial benefits 

are obvious for MacBride’s 

serendipitous marbles, working 

exclusively with direct sunlight— 

no reflectors, mirrors, or light 

modifiers—does come with 

challenges. For example, the 

setting sun used to create the 

long, elliptically shaped shadows 

shown here was rapidly sinking. 

The photographer had to move 

quickly so that the lengthening 

shadows were cleanly spaced and 

not abutting each other or the 

adjacent marbles. 


LIGHT THE OLD-FASHIONED WAY 

SIMPLE 

COMPLEX 

A 

C 

B 

KRIS HOLLAND/MAFIC STUDIOS 

To light her glass marbles, Catherine MacBride relied solely on low-angle, 

late afternoon natural light (A) that poured in through the windows of her 

west-facing sunroom. The light was crisp and warm-toned from the lowlying 

sun, which added some saturation to the red, orange, and yellow 

marbles. Other than lighting, her main concern was keeping the marbles 

in place. When she first set up the shot on a smooth, white kitchen 

table, they rolled whenever she moved. “I didn’t want to glue them down, 

because they’re transparent and the glue would have shown in some 

places. My solution was a bright, white piece of watercolor paper (B) with 

a coarse texture that helped hold the marbles in place. To do this, make 

sure your surface is level before you start,” she advises. To conveniently 

shoot straight down on a subject, she recommends a camera with a large 

back-panel LCD screen, like her Fujifilm X100S (C). 

“I also had to be quick because 

in Ireland there’s always the 

possibility it could cloud over and 

rain,” she quips. 

Another challenge here? 

“When shooting on white under 

bright sunlight, it’s always easy 

to blow out your highlights. I had 

to keep exposure in check so that 

didn’t happen,” says MacBride. 

Even under the same lighting, 

different types of marbles can 

produce different effects. Clear 

glass “cats’ eyes” cast lowcontrast, 

gray shadows that are 

inflected with the marbles’ inner 

MacBride 

shot with 

a Fujifilm 

X100S 

compact 

with its 

fixed 23mm 

f/2 lens, 

exposing for 

1/1000 sec 

at f/16, ISO 

1000. 

Fujifilm 

X100S 

($1,299, 

street) 

colors and swirls. Opaque milk 

glass marbles would have thrown 

darker, colorless, high-contrast 

shadows that would have created 

a more graphic effect. 

MacBride says that lighting 

her marbles was relatively easy 

compared to arranging them in an 

interesting pattern. “I organized 

them by eye. I usually move 

things around until they look 

right. I seem to have a knack for 

it,” says the photographer. She 

Strathmore 

400 Series 

watercolor 

paper, 

12-sheet pad 

($5.95, 

street) 

placed the marbles on a white 

sheet of paper that she’d taped 

down so it couldn’t move. 

After she’d captured her shot, 

she opened the file in Adobe 

Camera RAW and brightened 

the whites and increased overall 

contrast, checking the histogram 

to make sure not to blow out her 

highlights. “I also had cleaned 

up a few dust motes with Adobe 

Photoshop’s useful Healing tool,” 

she says. 

—Peter Kolonia 


HOW * SOFTWARE WORKSHOP SIMPLE COMPLEX 

AFTER 

THEANO NIKITAS 

Tailor Made 

Equipment-specific the familiar adjustments for 

processing 

factors such as white balance, 

exposure compensation, 

DXO OPTICS PRO is as close to and contrast, DxO Optics 

custom processing software Pro 10 is equipped with tools 

as you’ll get without coding it to tweak lighting, correct 

yourself. The application prides vignetting, and much more. 

itself on automatic corrections An intuitive layout and helpful 

based on the company’s 

tips along the way make this 

analyses of individual camera sophisticated app easy to use. 

and lens combinations (check The software is available in 

dxo.com for a list of supported Essential ($129) and Elite ($199) 

gear). But you can also perform editions, and we used the 

manual adjustments in 

latter for its advanced PRIME 

conjunction with or instead of (Probabalistic Raw Image 

the application’s presets. Enhancement) noise reduction 

While Optics Pro is 

on a high-ISO image of Herbie 

compatible with JPEG and Hancock in concert. To correct 

TIFF formats, you’ll get the perspective on a second image 

most out of the software when of a barn, we installed the 

processing RAW files. Beyond Viewpoint 2 plug-in ($79), 

Nikitas 

captured 

this image 

of Herbie 

Hancock 

using a 

Canon EOS 

7D at an 

ISO of 6400. 

DxO cleared 

the noise 

right up. 

QUICK TIP 

Set up DxO Optics Pro 

in Preferences before 

you begin. Enable the 

“Automatically Show 

the DxO Optics Modules 

Download” window, which 

will give you the option to 

download image-specific 

camera/lens combinations. 

Also, enable—or disable 

(“no correction”)—default 

presets for RAW and 

RGB images. The latter is 

recommended if you prefer 

to manually adjust images 

from scratch. 

which is compatible with both 

editions and also useful as 

a standalone or as a plug-in 

for Optics Pro 10, Lightroom, 

Photoshop, Elements, and 

Aperture. —Theano Nikitas 


Step 1 

Download the necessary 

Optics Modules. 

In the Organize panel, locate 

and open any file folder of RAW 

images shot with 

the gear you most 

often use. Download 

the matching DxO 

Optics Modules 

that automatically 

appear onscreen. 

You will have to 

download them for 

each new camera/ 

lens combination. 

In the film strip at 

the bottom, click on 

the image you want to adjust. We 

chose a high ISO image. 

Step 2 

Show a before/after view. 

Click on Customize. At the top 

of the screen, go to Palettes> 

Essential Tools to make sure 

that this important toolset is 

visible. Click the side-by-side 

icon at the top of the screen for a 

before/after view. Use the slider 

in the Move/Zoom window on 

the left to zoom to 100%. Then 

navigate using the small Move 

rectangle to an area where noise 

is most evident. We chose the 

edge between Hancock’s jacket 

and shirt to see both shadows 

and midtones. 

Step 3 

Enable noise reduction. 

Scroll to Noise Reduction in 

the right-hand tool panel; click 

the small box next to Noise 

Reduction and click PRIME to 

adjust a RAW file. PRIME is a 

more powerful tool than High 

Quality but takes longer to 

process. Check the small plus (+) 

icon on the far right (underneath 

the Luminance slider) to open 

the remaining sliders. 

Module Detector 

Using image metadata, DxO Optics Pro will figure out which 

modules you need to download for your camera/lens combos. 

1 

2 

3 


HOW * SOFTWARE WORKSHOP 5 

Step 4 

Adjust noise reduction sliders. 

Move the Luminance slider carefully 

and in small increments to maintain 

as much detail as possible. Adjust the 

Chrominance slider to eliminate colored 

specks, which are generally more 

evident in shadow areas. However, 

we found that the default settings of 

Chrominance, Low Frequency, and 

Dead pixels are best left alone. Click the 

Magic Wand on the right of each slider 

for automatic adjustments. 

Final Step 

Export the processed image. 

When you’re satisfied with the 

adjustments you’ve made, go to the 

lower right and click “Export to disk” to 

save it onto your hard drive (for other 

options, click the dropdown menu 

arrow). Select the output type, quality, 

and destination, then click Export. A 

pop-up notification will let you know 

when the image has been processed 

and saved. 

Bonus Tip 

Fix perspective. 

To correct perspective, you’ll need the 

ViewPoint 2 plugin. Go to Palettes> 

ViewPoint 2 to 

add the tool 

palette. On 

the right-hand 

side of the 

screen, scroll 

to ViewPoint> 

Perspective. 

Click Natural 

and the 

8-point tool 

icon. Move 

either the vertical or horizontal 

anchor points to the edges that need 

adjusting. Click Preview; readjust if 

necessary; click Apply. Do the same 

for the remaining alignment (we 

started with the vertical alignment). 

Crop and straighten if necessary. 

Distortion Fix 

DxO’s ViewPoint 2 plugin (below) fixed the perspective 

on this barn (the finished version is at left). 

4 


HOW * 

YOU CAN DO IT 

TIMOTHY HOGAN 

DRINK 

UP! 

Catching stillness and 

motion in one frame 

IN THIS month’s My Project (page 

22), we share one of Los Angeles 

shooter Timothy Hogan’s most 

personal projects: surfboard fins. 

The photographs showcase this 

advertising pro and dedicated 

surfer’s ability to create colorful 

graphic energy from eye-grabbing 

board close-ups. 

Hogan has another uncanny 

ab ility: For this shot, he created 

in-camera effects that most 

photo graphers would have left 

to software. As he explains it: “I 

wanted a technique that would 

charge a potentially boring subject 

and do it entirely in-camera.” 

The shot started with Hogan 

asking how, in one picture, he could 

sharply capture a moving subject 

while also introducing motion blur. 

His answer? He shot the photo 

shown here with two different light 

sources, capturing the blur using 


SIMPLE 

a continuous tungsten source and 

the cocktail using an instantaneous 

strobe burst. The strobe fired a 

little past midway through the 

blurred continuous-light capture. 

To produce that blur, he built a 

smooth-gliding platform on which 

the cocktail moved while the 

shutter remained open. It wasn’t 

easy, because the glass had to 

glide in a perfectly straight lateral 

movement at a constant speed. 

COMPLEX 

Hogan’s 

camera 

was a 

Rollei xAct2 

monorail; 

he exposed 

for 1 sec at 

f/16, ISO 50. 

ore 

Other tricks for this shot: 

Style your cocktail. Arrange the 

ingredients with an eye to the 

blurred bands of color they will 

create. Alternate color and tone. 

Use a hard light source for the 

blurred exposure. A tungsten 

or HMI light focused through a 

fresnel lens will produce bright 

colors. “No softboxes allowed, 

unless you like gray mush,” says 

Hogan. 

—Peter Kolonia 

A 

B 

C 

D 

Capturing to a 

Hasselblad digital 

back (A), Hogan used a 

Schneider 80mm f/5.6 (B), 

a Dedolight tungsten 

source (C) for the blur, 

and a Broncolor Scoro 

strobe (D) for sharp 

rendering of his subject. 

For more 

of Timothy 

Hogan’s 

advertising 

and personal 

work, 

check out 

timothy 

-hogan.com. 

Step 1 

Build your sliding rig. For 

consistency, you can construct a 

motor-driven dolly-like rig that 

assures an even speed, but you 

could also set your subject on a book 

and simply have an assistant push 

the book at a constant speed for a 

similar effect. 

Step 2 

Make your cocktail. “The shinier 

its ingredients, the better,” says 

Hogan. “Specular highlights are 

your friends for this technique.” 

Items such as transparent ice cubes, 

clear carbonated liquid, and a 

chrome swizzle stick could do the 

trick. Don’t hesitate to throw in 

the—shiny!—kitchen sink. 

Step 3 

Set up your lights. It would be 

easiest to use continuous and 

instantaneous light sources of the 

same color temperature—an HMI 

light and strobe, for example. 

Hogan, however, used lights with 

different color temps and, with the 

help of a color meter, chose to gel 

the 5500K strobe to match the 3200K 

constant source. 

Step 4 

Build your exposure. Work in 

complete darkness with a black 

background and hold the shutter 

open for the entire exposure. To 

brighten the blur, try increasing the 

shutter speed or slowing the glass’s 

movement. For a brighter sharp 

image, open up the aperture, raise 

strobe power, or move the strobe 

closer to the subject. For darker 

renderings, apply the opposite 

strategies. 

Step 5 

Edit your images. “This is the fun 

part,” says Hogan. “My editing was 

limited to cleaning up some dust!” 


Nature by 

If you want to see landscapes in a 

whole new light, go higher. Here’s 

our guide to photographing the great 

outdoors using a remote-controlled 

aerial vehicle. 

By Jon Cornforth 

JON CORNFORTH 

MORE THAN half a century before the 

airplane took flight, photographers 

sent their cameras skyward using 

kites and balloons. Shooting from the 

air lets you capture terrain—meandering 

rivers, desert rock formations, 

offshore reefs—that are best appreciated 

from above. To get that perspective 

today, nature photographers 

are increasingly turning to remotely 

controlled unmanned aerial vehicles 

(UAVs)—otherwise known as drones. 

In just the past two years, drone 

technology has evolved from the 

DIY projects of fringe hobbyists to 

sophisticated 

products anyone 

can buy. The 

freedom of flying your 

own drone is exhilarating, 

and the ability to 

use it to lift a camera 

into the air opens up 

new creative opportunities. 

Journalists use drones to cover 

news, real estate photographers use 

them to shoot properties, and even 

wedding photographers use them 

to cover events. Their most exciting 

application? Nature photography. 

FLY THIS 

DJI Phantom 2 

Vision+ v3.0 

($1,299, street) 

This quadcopter is an 

excellent entry-level drone. 

Its built-in camera records HD video at 

1080p/30 fps and 720p/60 fps, plus 

it shoots still images at 14 megapixels. 

With its single 3S 5200mAh LiPo battery, 

you should be able to stay aloft for 

20 minutes or more. 


Drone 

BAY FROM 

ABOVE 

Jon Cornforth 

piloted his 

Tarot 690S 

over Hawaii’s 

Sweetheart 

Rock. Drone 

mounted with 

a Canon EOS 

M camera and 

11–22mm 

f/4–5.6 Canon 

EF-M lens; 

1/400 sec at 

f/5.0, ISO 400. 


TIDE POOLS, 

MAUI 

Cornforth 

captured this 

view of La 

Perouse Bay in 

Maui, Hawaii, 

using the same 

gear as on 

the previous 

spread. 

Exposure: 

1/500 sec at 

f/5.0, ISO 400. 

JON CORNFORTH (4); PAUL SOUDERS (ELEPHANT) 


What Drones Can Do 

When I travel to remote settings I 

sometimes hire a small airplane or 

helicopter to shoot aerials—a costly 

tool of the trade that isn’t always an 

option. While a drone can’t fly long 

distances or at high altitudes, it can 

capture aerial images for the cost of 

a battery charge. (That is, as long as 

your unmanned craft lands safely.) 

Traditionally, when photographing 

from an aircraft, a pilot flies at 

least 1,000 feet above the terrain 

and the photographer shoots with 

a slightly wide-angle to telephoto 

lens. Aerial images from a drone are 

created from much lower elevations. 

This perspective allows you to shoot 

with a fisheye or super wide-angle 

lens and capture more intimate and 

previously unseen views. 

Multirotor drones include fourpropeller 

quadcopters, six-propeller 

hexacopters, and eight-propeller 

octocopters. Depending on the size 

of the craft, it is possible to carry 

your camera into remote locations 

that are otherwise inaccessible 

to aircraft. The drones that afford 

the best access are quadcopters 

equipped with a GoPro or similarly

BULL 

ELEPHANT 

Paul Souders 

flew low with 

a DJI Phantom 

Vision FC200, 

which has 

a built-in 

camera. Shot 

in Chobe 

National Park, 

Botswana; 

1/2500 sec at 

f/2.8; ISO 100. 

small action camera, but larger 

drones are capable of lifting an 

interchangeable lens compact, a 

full-size DSLR, or a video camera 

system. 

These larger drones, typically 

hexcopters or octocopters, range 

in diameter from 2.3 feet (700mm) 

to more than 3.3 feet (1 meter). 

They have more powerful motors, 

larger propellers, and heavier 

lithium polymer (LiPo) batteries 

than quads. They’re also more 

expensive and significantly larger, 

which is another serious consideration 

for any nature photographer 

planning to travel with one. 

How to Buy a Drone 

The most common question 

that I am regularly asked is “How 

large of a drone do I need to lift 

COLEMAN 

GLACIER 

Cornforth 

used a Tarot 

680 Pro over 

Washington’s 

Mt. Baker 

wilderness 

area (left, 

center). Shot 

with a Sony 

NEX-5 and 

12mm f/2 

Rokinon NCS 

CS lens; 1/320 

sec at f/4, ISO 

200. 

KEE BEACH, 

HAWAII 

Cornforth 

shot this lush 

shoreline 

(left, bottom); 

1/400 sec at 

f/5.0, ISO 400. 

the largest camera possible?” My 

standard reply is twofold: “What 

is your budget, and how much are 

you willing to risk?” Unfortunately, 

I have watched three of my drones 

crash, so my risk threshold is at 

most a few thousand dollars’ 

worth of equipment. 

Paul Souders, who photographed 

the elephant shown here, has tried 

to fly a Panasonic Lumix ILC on 

his DJI Phantom, but the camera 

weighed so much that it could 

barely get off the ground. Chad 

Copeland, who photographed 

the images 

of China in this story, 

has been flying drones for more 

than five years. His octocopter 

alone cost more than $20,000, and 

he has also experienced a few 

crashes. 

FLY THIS 

Tarot 680 Pro 

(build your own from about 

$2,500) Jon Cornforth used this 

medium-size hexacopter to shoot the 

glacier on the opposite page. Buy one 

that's ready to fly or build it yourself. It 

uses powerful 4S motors with 11- to 

13-inch propellers. It is capable of 

lifting an ILC such as the Sony NEX-5 

or Canon EOS M. Flight times over 10 

minutes can be achieved by using a 

4S 10,000mAh LiPo battery. 


PAUL SOUDERS 

Within a few weeks of purchasing 

my first drone capable of flying 

my GoPro, I realized that I needed 

to fly a bigger camera with greater 

resolution. I initially decided to 

use a Canon Rebel SL1 with a 

20mm f/3.5 Voigtländer pancake 

lens, then I soon graduated to the 

lighter Canon EOS M ILC with an 

11–22mm f/4–5.6 Canon IS STM 

lens. After submerging that camera 

in a river during my most recent 

unanticipated landing, I switched 

over to a Sony NEX-5 with a 12mm 

FLY THIS 

Quadrocopter/FreeFly 

Systems Cinestar 8 

($7,415, street) A professional 

heavy-lift octocopter with a maximum 

payload of 12 pounds, it can lift large 

high-resolution cameras, such as 

a full-frame DSLR or RED video rig. 

Each arm has a heavy-lift motor and 

15-inch propeller. And with its 6S 

16,000mAh LiPo battery, this drone 

can fly for nearly 20 minutes. 

Rokinon f/2 lens. All of these cameras 

use an APS-C size sensor with 

a 16MP to 18MP pixel count and 

cost less than $1,000. As much as 

I would like even more resolution, 

I simply cannot justify the risk of 

flying my expensive Canon EOS 5D 

Mark III or Sony a7R camera bodies 

(though Copeland is willing to fly a 

Nikon D4s and a $42,000 RED Epic 

on his octocopter). 

There seems to be a new drone 

every day, so it’s easy to become 

overwhelmed by options. First 

decide whether you need one that 

is ready to fly (RTF) or if you’re 

willing and able to build one. 

When I researched how much it 

would cost to buy a medium-size 

hexacopter, I realized that I could 

assemble one for about half the 

price. I didn’t know the first thing 

about soldering or programming a 

radio control, so I made mistakes. 

Unless you have a lot of free time, 

I would encourage the RTF route. 

Drones require a fair amount of 

can make a critical 

difference. If I am get- 

SUNSET 

HIPPOS 

Souders 

captured 

these hippos 

at the Moremi 

Game Reserve 

in Botswana 

using the same 

gear as with 

the elephant 

on the previous 

page; 1/400 

sec at f/2.8, 

ISO 100. 

CHAD COPELAND 

In addition to a drone, a 

motorized gimbal is required to 

stabilize your gear, especially if 

you’re planning to shoot video. 

The basic gimbal for my ILC costs 

about $400. It keeps my camera 

level and I can control its pitch to 

point my lens toward the horizon 

or almost straight down. The 

more robust MOVI gimbal, which 

Copeland uses for his larger 

video cameras, costs more than 

$5,000. I also travel with three 

or four spare batteries, so that I 

can land, swap them out, and get 

back in the air again quickly. 


Shooting and Flying 

The most exciting aspect of flying 

a drone with a camera is the ability 

to see what the camera sees 

through the first person view (FPV) 

system. This involves outputting 

the camera’s live view signal 

through a transmitter and viewing 

it on a monitor on the ground. 

This way I can pilot my drone to 

frame the perfect composition. It 

also makes flying easier, since the 

control orientation of my drone 

(left, right, forward, and backward) 

always stays the same. Some 

drone operators wear FPV goggles; 

CHINA 

CLIMB 

Chad Copeland 

flew a FreeFly 

Cinestar 

Octocopter to 

shoot Emily 

Harrington 

climbing 

Moon Hill in 

Yangshuo, 

China. The 

camera was a 

Nikon Coolpix 

A; exposure 

1/800 sec at 

f/5.6, ISO 400. 

I prefer a monitor so I can look up 

and see my drone in the sky. 

When I get ready to fly, the first 

thing I do is look for a safe and 

level spot, far from trees or power 

lines, from which to operate. I ask 

that no one enter this space when 

the drone is in flight. Soon the 

anticipation of flying begins to set 

in. I go over my mental checklist, 

but I also talk to myself out loud 

about what I’m doing. If other 

people are nearby, I ask them not 

to distract me while I’m flying. I 

need to concentrate, especially 

during takeoff and landing. 

I set my camera’s exposure on 

the ground, since I can’t do so 

once it’s in the air. I usually shoot 

in manual mode and try to keep 

shutter speed around 1/500 second 

and ISO under 800. I remotely 

trigger the shutter from my radio 

control via a signal to an infrared 

trigger attached to my camera. 

I use Google Earth to research 

a location before I fly over it. This 

allows me to virtually scout a 

scene. Once my drone is in the 

air, I tour the landscape at various 

distances and altitudes. Typically, 

I’ll fly 200 yards to 400 yards out 


THE RULES 

Ready to fly? Before you 

take off, learn to operate 

legally and ethically. 

CHAD COPELAND (2) 

CITY VIEW 

Chad Copeland 

used the same 

Cinestar drone 

and Nikon 

camera as on 

the previous 

page to 

capture this 

scene above 

Yangshuo, 

China. 

Exposure: 

1/800 sec at 

f/5.6, ISO 400. 

and anywhere from 75 feet to 300 

feet in the air. My radio control 

has two sticks: the left to control 

throttle and yaw (rotation), and 

the right for forward/backward 

and left/right. While making 

quick decisions during my initial 

flight, I usually identify exactly 

where I will return to during my 

subsequent flights and spend the 

maximum amount of time hovering 

and shooting as the light or 

conditions change. 

A Drone’s Best Subjects 

I attempted my first aerial photographs 

by tying a camera to a 

kite. After crashing this rig into a 

coral reef in Tonga and a colony of 

elephant seals on South Georgia 

Island, I gave up. As drones 

became more popular, I decided to 

give my aerial ambitions another 

STONE 

FOREST 

Using his 

Cinestar 

drone, this 

time mounted 

with a Nikon 

D4, Copeland 

photographed 

the Stone 

Forest in 

Yunnan 

Province, 

China. 

Exposure: 

1/50 sec at 

f/9, ISO 6400. 

go. In 2013 I had hoped to fly my 

DJI S800 over thousands of beluga 

whales in Canada, but it flew 

out of control and crashed. Since 

building my first Tarot hexacopter, 

I’ve made most of my aerial 

photos—now more successful 

than my initial tries—over the 

ocean near Hawaii and California; 

I’m getting ready to travel with a 

drone to the Arctic this year. 

Souders’s favorite aerial subjects 

are the same ones that he 

shoots from eye level and underwater: 

the landscapes and wildlife 

of the African savannah and in the 

polar latitudes. His first aerial rig 

was a Canon EOS 5D flying off a 

kite. He got some interesting shots 

of nesting penguins and shore 

birds in Antarctica that he never 

would have achieved otherwise. It 

cost him less than $150 to put his 

camera in the air, but then more 

than $3,000 when his kite and 

camera fell into the ocean. In 2013 

he took his first Phantom drone 

to Africa, and in 2014 he took a 

Phantom Vision 2+ to Africa and 

the Arctic and made some beautiful 

images of wildlife, including 

elephants. The resolution of his 

cameras fell short of his expectations, 

so he’s going to try again this 

year, with his first Tarot 680 Pro 

hexacopter. 

The U.S. Federal Aviation Agency 

(FAA) is tasked with integrating 

drones into the nation’s airspace, 

but as drones proliferate, regulations 

remain nearly nonexistent. Amateurs 

can legally fly pretty much anywhere 

there are no airspace restrictions, 

below 400 feet and within visual 

range. To fly commercially, the FAA 

requires a 333 Exemption. To get 

one, you must be a certified aircraft 

pilot, which will probably strike most 

drone photographers as unrealistic. 

There are few rules that police 

can enforce, though I’ve had officers 

approach me out of curiosity. 

Copeland says he has flown beside 

Icelandic law enforcement, Chinese 

military, and other agencies without 

feeling scrutinized. Souders has 

flown in several African countries, but 

drones are banned in South Africa. 

In June 2015, the U.S. National Park 

Service banned drones. 

Fly ethically. If an animal spends 

a lot of time looking at your drone, 

runs away, or seems bothered by its 

sound, land. In the U.S., the Marine 

Mammal Protection Act requires all 

aircraft—including drones—to be at 

least 1,500 feet above any marine 

animal. Finally, do not fly your drone 

over people. Crashing into a crowd is 

a sure way to injure someone. 

Copeland, who spent 10 years in 

the Air Force and worked as an air 

traffic controller before becoming 

a photographer, has been flying for 

about 15 years. On assignment for 

National Geographic in 2013, he flew 

China’s Stone Forest, a vast area of 

100-foot limestone formations that 

from above look like sharp knife 

blades. These beautiful formations 

had never been filmed or 

photographed by drone before, and 

the new perspective was unbelievable. 

Flying his camera completely 

changed his view of photography. An 

adventure photographer at heart, his 

focus is extreme athletes. 

If you decide to take up drone 

photography, you will sometimes 

experience moments of frustration. 

But the satisfaction of creating 

unique images will be your reward. 


POPPHOTO.COM

A Dog’s 

Life 

A top pet shooter 

tells you how to 

capture the amazing 

expressiveness of 

the canine world. 

Photos by Gary Parker; 

text by Peter Kolonia 

FOR GARY PARKER, few things are 

more enjoyable than photographing 

man’s best friend. “I’ll shoot any 

pup I hear about—entirely for fun,” 

says this advertising, editorial, and, 

yes, pet photographer from San Jose, 

California (catdogphotography.com). 

“For the basset puppies you see here, 

I drove over 100 miles to meet them, 

and it was a blast.” Creating great 

pooch portraits, he says, is the same 

BASSET 

BABIES 

“Nothing is 

more fun than 

puppies,” says 

Parker, recalling 

these 3-monthold 

basset 

hounds. He used 

a Canon EOS 5D 

with 16–35mm 

f/2.8L Canon EF 

lens; 1/250 sec 

at f/4, ISO 320. 




process as taking great people 

portraits: “They should nail the 

character, personality, athleticism, 

and pure beauty of the 

subject.” 

His typical canine portrait 

session can begin with a traditional 

set-up. Here, Parker might 

attempt to produce a specific 

look requested by a pet’s owner. 

To nail these, he says, it’s important 

to start with a relaxed 

animal. He recommends easing 

into the shoot to keep the pups 

calm and happy. Work slowly, 

move slowly, and be relaxed 

yourself. Be relatively quiet, and 

don’t force yourself on the pet. 

“Eventually the dog will lead 

you to cool photos,” says Parker. 

“As with babies and small kids, 

it can take some time.”

READY TO 

WALK 

Parker shot 

his golden 

retriever at 

home for an 

ad. Made with 

a Canon EOS 

5D Mark II and 

16–35mm 

f/2.8L Canon 

EF lens; 1/160 

sec at f/4, ISO 

400. 

Find the Right Setting 

“I see dogs as outdoor creatures 

and that’s where I like to shoot 

them,” says Parker. He says the 

best outdoor locations offer 

bright, natural light with ample 

areas of open shade. A great 

setting will put generous swaths 

of uncluttered space between 

you and the dog and between 

the dog and the background. It 

will also allow for long, flattering 

portrait lenses (say, a fast-focusing 

70–200mm f/2.8) and defocused 

backgrounds. To keep your 

canine calm, avoid distractions 

such as people or other dogs. 

Parker prefers naturally 

occurring shade or that cast by 

a large overhead silk or scrim. 

If he has to shoot in direct 

sunlight, Parker will work only 

PERFECT 

PAIR 

A dog’s relaxed 

or attentive 

behavior 

can suggest 

affection or 

interest in 

people. For 

this image, 

Parker used a 

Canon EOS-1D 

Mark IV with a 

50mm f/1.2L 

Canon EF lens; 

1/400 sec 

at f/1.8, ISO 

1600. 

TAKE A 

BREAK 

For a national 

ad, Parker 

placed Piggy, 

an English 

bulldog model, 

on her back; 

the pup held 

the pose 

for several 

minutes. “It’s 

great working 

with a pro,” 

he says. Made 

with a Canon 

EOS 5D Mark II 

and the same 

lens as above; 

1/2000 sec at 

f/2.8, ISO 800. 

early or late in the day, making 

sure that his subject is backlit. 

He fills in the backlight’s shadows 

with reflectors or a flash. 

“Bounce a speedlight off reflectors 

or white walls, but never 

aim it directly at a subject,” 

Parker advises. 

During the more traditional 

portrait segment of the shoot, 

he suggests having a wide 

variety of your dog’s favorite 

treats on hand. Most breeds are 

food driven, and most animal 

trainers use treats to direct 

their subjects’ attention and to 

reward and encourage desired 

behaviors. 

To use treats effectively, Parker 

has an assistant tease the pet 

by concealing the treat in his 

or her hand, making sure the 

dog knows it’s there. The ploy 

usually provokes the desired 

expressions. For group portraits 

of a pet and its owners, these 

expressions can suggest important 

interaction, even affection, 

between human and animal. 

Act Like a Sports Shooter 

Once he’s nailed a portrait that 

meets the owner’s needs, Parker 

gets active. Capturing dogs in 

motion requires all the skills of 

a sports photographer. 

The best of these pictures 

capture real moments that he 

could never have imagined or 

staged. To start, he might ask 

owners to simply play with 

their dogs. “Sometimes I play 

with the pet myself while 

making pictures, typically with 

a wide-angle lens. I’m like a 

big kid shooting, running and 

jumping with the animal. The 

results are images with energy,” 

Parker says. 

“Since I often find myself on 

the ground, rolling with the pet, 

assistants are essential,” the 

photographer says. “They aim 

reflectors, change batteries in 

a flash, or toss me lenses. My 

focal length needs can change 

on a dime, and it makes a huge 

difference having someone 

there to quickly swap out my 

lenses.” 

On set with animals and their 

owners, an assistant plays a 

crucial role beyond the technical. 

“They make you look professional 

and can instill trust in 

a pet’s owner,” Parker says. “In 

the heat of the portrait session, 

assistants organize gear, chase 

after a mutt on the run, and 

provide distractions that can 

catch or redirect Fido’s attention. 

I’ve even asked assistants 


PUP TIP 

Be Safe 

In unfamiliar 

conditions, any 

dog can become 

aggressive. To 

avoid being bitten 

(or damaging 

your gear), watch 

for warning 

signs, such as 

hackles going up, 

and be ready to 

recoil. To defuse 

a tense moment, 

walk slowly 

toward the subject 

and place 

your camera on 

the ground. Walk 

away and let 

the dog sniff 

the camera. 

to run poop patrol!” he says. 

As for composing an image, as 

most of the photos here show, 

Parker likes to get his camera 

low and shoot into his subject’s 

eyes. “I love unusual angles so 

I’m constantly flat on my back 

or stomach or in other odd positions 

that tend to require a chiropractor 

afterwards,” he jokes. 

“When getting down to 

the dog’s level, I move slowly, 

making minimal eye contact, 

especially if the dog is hyper. Eye 

contact can cause some breeds 

to tense up. It’s important to 

come off as nonthreatening. 

Stand back, blend in, and let the 

dog rule,” he says. 

Consider Your Gear 

Shooting subjects who move 

quickly and unpredictably naturally 

requires proper gear. Parker 

advises using a high framing 

rate, generous burst capacity, 

and effective noise control 

at high ISOs. “I like the Canon 

EOS 5D Mark III better than my 

Canon EOS-1D Mark IV because 

the 5D is lighter. Often, though, I 

end up using the 1D Mark IV for 

its 10 fps framing rate,” he says. 

His favorite lenses vary with 

the setting and the look a client 

wants to achieve from the shoot. 

Generally, he relies on fast zooms 

like the Canon 16–35mm f/2.8L 

for in-close work and Canon’s 

70–200mm f/2.8L for longer shots 

of shy or distant dogs. “I love the 

Canon 300mm f/4L since it’s lightweight 

for its size, plus it creates 

beautifully unsharp backgrounds. 

I often use the Canon 1.4X 

teleconverter with the 70–200mm 

and 300mm for an added layer of 

compression,” he says. 

He’s also a huge fan of the 

Canon 50mm f/1.2L. “It allows 

indoor existing light photography 

in outrageously dark 

locations, catches focus in low 

light, and creates a beautiful 

look when used anywhere near 

f/1.2. At wide open, the lens is 

so fast, I can shoot using studio 

strobes’ modeling lights as my 

sole source,” Parker says. 

Other items he brings to 

a shoot include waterproof 

blankets and gardening kneepads 

that let him lie flat on the 

ground or work while kneeling. 

“Since my style is to spontaneously 

react to photo opportunities, 

I need the ability to fall to 

the ground for the right angle. If 

CANINE 

CONFRON- 

TATION 

While doing 

portraits of his 

son with the 

family’s golden 

retreiver at a 

beach near 

Santa Cruz, 

CA, this pitbull 

suddenly 

approached 

the family 

dog. Parker 

captured the 

standoff with 

a Canon EOS- 

1Ds Mark II 

and 70– 

200mm f/2.8L 

lens, exposing 

for 1/800 sec 

at f/3.5, 

ISO 400. 

the ground is wet or muddy, plastic 

sheeting can be a godsend,” 

he says. 

When shooting a dog in available 

light, one of Parker’s main 

concerns is depth of field. He 

wants it as shallow as possible 

and suggests shooting wide 

open or closing down one stop 

to hedge your focusing bets. 

Shooting near wide open also 

allows the faster shutter speeds 

needed to freeze a dog in motion. 

When he’s shooting with 

strobes, Parker sets the camera 

to manual. But if he’s using his 

Canon 580EX Speedlite, he’ll set 

his DSLR to the Aperture Priority 

exposure mode, which balances 

the overall lighting to include 

ambient light. In this mode, the 

on-camera flash acts as a fill light. 

Pooch-shooting isn’t just for 

dog owners; it can be a practical 

solution for newbies looking for 

a model. “If you have access to a 

dog, you’ve always got a mostly 

willing subject that can challenge 

your skills at composing, 

focusing, and exposing,” says 

Parker. Dogs can teach you about 

human portraiture and sports 

photography, too. The only cost to 

you? A few bits of bacon. 


POPPHOTO.COM


MAKE A 

SILHOUETTE 

Nature 

photographer 

Marsel Van 

Oosten 

captured this 

wild brown 

bear at sunset 

in Katmai 

National Park, 

Alaska. He 

shot a burst 

using his Nikon 

D2Xs with a 

600mm f/4G 

AF-S Nikkor 

ED lens; 

1/2000 sec at 

f/5.6, ISO 200. 

If photography is writing 

with light, darkness is the 

punctuation. Darkness 

defines shapes, makes two 

dimensions look like three, 

and heightens drama. It 

can even be a subject in 

itself. Here are 10 ways to 

achieve dark victory. 

By Dan Richards 

Take silhouettes. 

This time-honored (and often clichéd) 

technique defines forms by 

reducing them to dead black. It’s 

easiest to do when your subject is backlit; for a 

perfect sillo, meter off the bright background. 

tTIP: Increase dimensional interest by allowing 

the edges of the subject to be rimlit; shoot bursts 

for a moving animal such as the bear at left. 

Exploit dark shade to define 

the shapes of trees. 

While direct overhead or near 

overhead sunlight is usually 

considered a no-no, photographing globularshaped 

trees in full leaf and full sun can 

produce dramatic results. The small shadows 

cast by the trees make great design elements, 

particularly in wider-angle scenes with multiple 

trees as subjects. 

tTIP: Shoot beach umbrellas or café umbrellas 

at high noon to allow the shadows to define their 

form. This is especially effective from above. 

MARSEL VAN OOSTEN 


SARAH BELIN 

Use “negative 

reflectors” to 

define form. 

Black cards or 

panels, also known as flags, 

are popular among portrait 

and product photographers. 

They can tone down too-bright 

areas, prevent spillover from 

studio lights, and add shapedefining 

shadows. A more specialized 

device, called a gobo, 

fits over a studio light either to 

narrow the beam with a partial 

black covering or to project a 

pattern in black. 

tTIP: Create a sense of mystery 

in portraits by partially 

blocking studio lighting so that 

an area of the scene is thrown 

completely into shadow. 

Try it on the diagonal! 

Tone down 

image noise 

with dark-frame 

noise reduction. 

Dark areas of a photo get far 

noisier than the lighter areas, 

which can be a problem in 

late-day or night photography. 

Long-exposure noise reduction 

in DSLRs and ILCs (it’s a 

menu option) takes a second 

frame that is black—no exposure—then 

uses this frame 

to subtract much of the noise 

from the actual exposure. It 

typically doubles your exposure 

times, but they’re going to 

be longish anyway. 

tTIP: In photos with heavy shadows 

taken at high ISOs, convert 

to black-and-white—the noise 

gain is far less objectionable. 

LIGHT 

WHAT’S 

DARK 

For a dramatic 

blue-hour 

portrait, let the 

background go 

underexposed. 

Photograph 

by Sarah 

Belin; Nikon 

D40X with 

18–55mm 

f/3.5–5.6 

Nikkor lens; 

1/1000 sec at 

f/4.8, ISO 800. 

Use shadows to 

give dimension 

to landforms. 

There’s a reason 

landscape photographers love 

the “golden hours” after sunrise 

and before sunset, and it’s not 

just the color. The low-angled 

light creates dark shadows that 

create a three-dimensional 

effect; shoot from the north or 

south for effective sidelighting. 

tTIP: For shadowy landscapes, 

spotmeter on medium-bright 

areas and let the shadows fall 

where they may. 

Employ 

exposure 

compensation 

If the scene is dark, 

the exposure should be dark 


tTIP: To add a dreamy quality to 

a day-for-night scene with moving 

water or windblown trees, reduce 

the light hitting your sensor by 

using an overall neutral-density 

filter. This will allow you to set a 

long exposure. 

Add light 

to the dark. 

For added drama, 

use flash for the foreground 

in dark outdoor scenes. 

Flash shots of people near the 

end of the blue hour, for example, 

can be particularly effective. Be 

sure to keep the background 

exposure dark; for a somewhat 

more realistic effect, dial down 

your flash unit to – 1 to –2 EV. 

tTIP: Simulate the light of the 

setting sun (even if there is none) 

by putting an amber gel over your 

flash head. Keep the camera’s 

white balance at daylight. 

CATHRYN GALLACHER 

(within reason). Use exposure 

comp to maintain darkness—and 

remember, it works in all modes, 

even manual. Don’t worry about 

a perfectly centered histogram—it 

should, in fact, fall off the cliff in 

the shadows—that is, get clipped 

on the left side of the graph. 

tTIP: Don’t forget about white 

balance—set a tungsten WB on 

your camera in daylight to simulate 

the bluish light of late day 

or heavily shaded scenes. 

Use day 

for night. 

This is handheld 

night photography 

made easy. To make a daytime 

scene look like nighttime, simply 

underexpose it. We mean seriously 

underexpose it—by as much as 

four stops. You can make city 

scenes more realistic by dodging 

highlights into streetlamps or 

windows during postproduction 

to make them look lit. 

FRAME A 

SCENE 

Cathryn 

Gallacher 

shot this from 

Copenhagen’s 

Rundetårn 

with a Canon 

EOS 5D 

Mark III and 

24–70mm 

f/2.8L Canon 

EF lens; 1/100 

sec at f/13, 

ISO 100. 

Use shadow 

patterns to 

create texture. 

A portrait or still 

life taken with window light 

streaming through open blinds, 

for example.“Venetian blind 

lighting” became a staple of film 

noir in the ’40s and ’50s. 

tTIP: Create shadow patterns 

with the use of a cuculoris, or 

“cookie.” Simply create a panel 

with patterns cut out in it, and 

place it in front of a studio light. 

It’s an easy DIY project. 

Define a frame 

with darkness. 

Use a tunnel, a dark 

interior window 

frame, or a backlit foreground 

landform as a natural framing 

device. Be sure to expose for the 

scene that’s inside the frame, not 

for the frame itself. 

tTIP: Use features in dark 

shadow to define the planes in 

cityscape photography. 


01. Nikon D750 

• A serious tool for serious shooters 

• Built-in Wi-Fi sharing & remote control 

• Cutting edge HD video capabilities 

• 24.3MP FX-format sensor & EXPEED 4 

$2,411.30 SKU: INKD750A 

03. Canon 1Dx 

• 18.1 MP Full-Frame CMOS sensor 

• New 61-Point High Density Reticular AF 

• ISO - 100 to 51,200 

• DIGIC 4 Image Processor 

$6,799.00 SKU: ICA1DX 

05. Canon 600 EX-RT 

• Wireless multiple flash system 

• Redesigned contact construction 

• Improved flash head durability 

• 18 Custom Functions 

$549.00 SKU: CA600EXU 

02. Lumix DMC-GH4 

• 16.05 MP Digital Live MOS Sensor 

• 4K Cinematic Video 

• Digital Single Lens Mirrorless 

• Micro Four Thirds mount 

$1,697.99 SKU: IPCDMCGH4 

04. Pentax 645Z 

• Medium Format Digital SLR 

• 51.4 effective MP CMOS sensor 

• ISO - 100 to 204,800 

• Beautiful, full HD movies 

$8,496.95 SKU: IPX645Z 

06. Nikon AF-S Nikkor 

400mm f/2.8E FL ED VR 

• super-telephoto fixed focal length 

• Superior optical performance 

• Equipped with a vibration reduction 

$11,996.95 SKU: NK40028E

07. Nikon D4S 

• 16 Megapixel HD-SLR 

• 36.0x23.9mm CMOS Sensor 

• 51 Point AF System 

• 11 FPS 

$6,496.95 SKU: INKD4S 

09. Profoto B1 500 AirTTL 

• Battery Powered Monolight Flash 

• 1/19000 - 1/1000 Sec Flash Duration 

• 500W/s, 9-Stop Power Range 

• 20 fps Burst Mode 

$1,995.00 SKU: PP901094 

11. Canon EOS-7D Mark II 

• 20.2 Megapixel CMOS sensor 

• Full HD 1080p/60 Video 

• Dual Pixel CMOS AF 

• Continuous 10fps Shooting 

$1,799.00 SKU: ICA7DM2 

08. Canon EF 100-400mm 

• L-series super-telephoto zoom 

• 1 fluorite & 1 super UD lens element 

• Circular aperture (9 blades) 

• New Air Sphere Coating 

$2,199.00 SKU: CA1004002U 

10. Sony Alpha a7S 

• Mirrorless Digital Camera 

• 4K Video BIONZ X Processor 

• Sony E-mount Full Frame 

• ISO - 50 to 4,096,002 

$2,498.00 SKU: ISOA7S 

36 Years Makes 

Us Experts 

Passion Makes 

Us Photographers

American Photo On Campus: Enhance your in-classroom experience with the latest edition 

of American Photo On Campus. Emerging photographers, gear reviews, photo contests and much 

more bring together a wide variety of subjects to generate discussion with peers and faculty. 

“The wide range of subjects, from setting up shop to faculty photos, 

and the equipment reviews, are all very helpful in the classroom.” 

- Professor Glendinng, Central State Michigan 

americanphotomag.com/campus 

Download the free digital version on 

Apple iOS and Android tablet devices today!

TESTS: SAMSUNG NX1 AND SIGMA 18–300MM F/3.5–6.3 DC MACRO OS 

DSLR TEST 

TOUGH & SPEEDY 

IN THE FIVE years since Canon finally landed in our hands for 

introduced the EOS 7D, so a comprehensive assessment in 

much has changed in the the Popular Photography Test 

world of cameras that we were Lab and in the field. 

wondering if we’d ever see an The 7D Mark II ($1,799, 

update to the company’s prolevel 

APS-C sensor body. But $2,149 with 

street, body only; 

after a promising preview at 

Photokina last fall, the 

new EOS 7D Mark II 

69 

TEST: SAMSUNG 50–150MM F/2.8 ED OIS S 

72 

Canon’s APS-C pro 

body gets an overhaul 

18–135mm f/3.5–5.6 Canon 

EF-S IS STM lens) boasts 

Canon’s Dual Pixel CMOS 

autofocus system 

74 

CANON 

EOS 7D 

MARK II 

20.2MP APS-C 

CMOS sensor 

65-point 

phase-detect, 

plus Dual Pixel 

CMOS AF 

10 fps bursts 

Video up to 

1920x1080p60 

$1,799, street, 

body only 

BRIAN KLUTCH 

POPPHOTO.COM 


LAB * DSLR TEST CANON EOS 7D MARK II 

AMATEUR 

PRO 

Locking 

mode dial 

AF area 

selection lever 

for focusing during video capture 

or live-view still shooting. This 

required a fundamental change 

to the sensor, though there’s 

only a modest bump in effective 

pixel count, to 20.2MP from its 

predecessor’s 18MP. The new 

camera’s traditional phase-detect 

AF system steps up to 65 selectable 

cross-type AF points with a dualcross 

type center point when using 

lenses faster than f/2.8. Canon 

boosted the burst rate to 10 frames 

per second from the 7D’s 8 fps. The 

body construction remains among 

Canon’s most rugged in terms of 

weather sealing and the toughness 

of the magnesium alloy chassis. 

Competitors? It has a few—sort 

of. Nikon’s aging D300s is still in 

stock at retailers. Pentax’s K-3 

and Sony’s Alpha A77 II round out 

this category of rugged APS-Cformat 

DSLRs, though at vastly 

lower prices. Samsung’s NX1, its 

flagship interchangeable-lens 

compact, came on particularly 

strong in our test (see page 69). 

In the Test Lab 

The Canon EOS 7D Mark II earned 

an Excellent rating in overall image 

quality from ISO 100 through ISO 

1600. As is often the case, part of 

this comes from its Excellent score 

in color accuracy, with an average 

Delta E of 7.5. The Pentax K-3, Sony 

A77 II, and the Nikon D300s all 

garnered Excellent ratings up to ISO 

800; the Samsung NX1 to ISO 3200. 

Although the camera’s resolving 

power isn’t the strongest we’ve 

ever seen, it’s enough to earn an 

Excellent rating in this test. At 

ISO 100, the 7D Mark II captured 

2660 lines per picture height, well 

CANON EOS 7D MARK II 

WHAT’S HOT 

Excellent image quality, rugged body 

WHAT’S NOT 

No Wi-Fi or articulating touchscreen 

WHO IT’S FOR 

Shooters looking for the best APS-Cformat 

body Canon offers 

PHILIP RYAN (LCD IMAGE) 


0.36 0.38 

0.42 0.44 

TEST RESULTS 

IMAGE QUALITY ISO 100–1600 

above our cutoff of 2500 lines for 

an Excellent rating. At ISO 800, 

resolution remained strong with 

2625 lines. At ISO 3200, it finally 

fell just below the threshold for 

our top honors, with 2490 lines. 

As sensitivity rises, noise and 

the effects of noise reduction 

technology—which we apply at 

default settings using the RAW 

conversion software that ships 

with the camera—conspire to 

reduce resolution. The 7D Mark 

II hit 2100 lines at ISO 12,800 and 

2000 lines at its top standard 

sensitivity of ISO 16,000. In its 

expanded ISO range, resolution 

dropped to 1950 lines at ISO 25,600 

and 1800 lines at ISO 51,200. 

This pattern shows in our noise 

tests, in which the 7D Mark II won 

our best rating of Extremely Low 

at ISO 100 and 200. It stepped to 

Very Low at ISO 400, then to Low 

at ISO 800 and 1600. From there 

noise builds steadily, scoring 

Moderately Low at ISO 3200 and 

climbing through Unacceptable 

range at ISO 6400 and above. 

Compared with Canon’s original 

7D, the new model produced 

cleaner shots at all shared ISOs 

save ISO 6400 but reached an 

Unacceptable noise rating one 

stop earlier. Looking closer, 

though, the cameras straddle our 

cutoff of 3.0 for this rating: The 7D 

scored a 2.8 at ISO 6400, while the 

7D Mark II turned in a 3.2. Sony’s 

A77 II can’t match this Canon’s 

noise control at lower ISOs, but 

beats it at ISO 800 and higher. 

The 7D Mark II proved cleaner 

than both the Nikon D300s and 

the Pentax K-3 at all shared ISOs. 

Jumping to a 65-point AF 

system from 19 points, the 7D 

Mark II showed consistent if 

modest improvement in speed. 

The best increases occurred in 

brighter light, mostly between 

EV 10 and EV 4. The camera 

barely breached the 1 second 

mark at the very dim level of EV 

–1 and showed above average 

consistency at EV –2. 

This may be due to higher 

sensitivity: the new AF system 

is rated to work in the neardarkness 

of EV –3. This surpasses 

the meter we use in our tests, 

which stops at EV –2, but when 

we dimmed the lights further, we 

were impressed that the 7D Mark 

II still focused reliably. 

In the Field 

While the 7D Mark II’s increase 

in focusing speed might seem 

nominal, the real benefit of the 

new AF system hits home once 

you take it out shooting. Its 65 

points cover a significantly larger 

portion of the frame than the 7D’s 

While some 

people 

might want 

to quibble 

over the 7D 

Mark II’s 

imaging 

test results, 

there’s no 

denying that 

Canon’s vast 

system of 

lenses and 

accessories 

is one of the 

best you can 

find. 

POOR 

EXCELLENT 

EXCELLENT 

RESOLUTION ISO 100 

1500 2000 2500 3000 3500 4000 

POOR 

2660 

COLOR ACCURACY 

HIGH 

NOISE 

UNACCEPTABLE 

EXCELLENT 

EXCELLENT 7.5 

HIGHLIGHT/SHADOW DETAIL 

LOW 

EXTREMELY LOW 0.8 

EXTREMELY LOW 1.0 

VERY LOW 1.3 

LOW 1.6 

LOW 1.8 

MODERATELY LOW 2.3 

UNACCEPTABLE 3.2 





EXTREMELY HIGH 

EXCELLENT 

EXCELLENT 

AT ISO 

100 

200 

400 

800 

1600 

3200 

6400 

12,800 

16,000 

25,600 

51,200 

3.0 2.5 2.0 1.5 1.0 0.5 

EXTREMELY LOW 


CONTRAST 

HIGH 

LOW 


AF SPEED 

0.51 

0.59 

0.68 

0.84 

1.02 

1.19 

SHOWN WITHOUT LENS

LAB * DSLR TEST CANON EOS 7D MARK II 

19-point system did. The broader 

coverage makes it easy to find a 

selectable focus point near the 

edge of the frame. 

Even the AF points farthest from 

the center are effective at f/5.6, 

so you can use them with a tele 

extender mounted on fast f/2.8 

zooms. The center point allows 

the use of lenses with an effective 

maximum aperture of f/8, letting 

you use tele extenders even 

on slower long primes without 

completely losing autofocus. 

With a well-shaped grip that 

has a subtle ridge on the inside 

for stability, the body feels good in 

the hand. The shutter button sits 

at an intuitive forward-pitched 

angle, and the smoothly arcing 

cutout for the shutter release lets 

your index finger fall naturally. 

Plenty of dedicated buttons make 

changing settings simple. Current 

Canon shooters should have no 

problem adapting to the layout, as 

it follows most of the norms set by 

previous bodies of this class. 

We missed the touchscreen, 

having used the EOS 70D’s to great 

effect in conjunction with Canon’s 

Dual Pixel CMOS AF. However, 

if you’re not shooting long 

video takes, you should do well 

controlling the AF with the small 

joystick on the camera back. 

We were glad Canon added a 

speed control to the Dual Pixel 

CMOS AF. While the 70D operated 

at only one speed, the 7D Mark II 

lets you select from five with this 

innovative AF system, a boon to 

videographers who want better 

control of focus during a take. 

Video shooters in particular 

might regret the lack of an 

articulating LCD. But the 7D 

Mark II is built to be rugged, so a 

twisting screen wouldn’t fit that 

profile. Serious videographers may 

likely opt for an external monitor, 

anyway, making a fixed screen the 

more sensible choice. 

At any rate, the video footage 


we captured using the 7D Mark II 

looked as good as we have seen 

from a DSLR, showing little in 

the way of visual artifacts or the 

dreaded Jello effect. 

Burst shooters should love the 

10 fps continuous drive mode. 

Even when using a standard CF 

card, you can get 130 Large, Fine 

JPEGs per burst, but with a UDMA 

7 card, you can up that to 1090 

frames per burst. The benefit of 

this higher-speed card format is 

less pronounced when capturing 

RAW files, but a UDMA 7 card will 

let you grab up to an impressive 31 

RAW frames per burst. 

If you often shoot with focus 

tracking and plan to use Canon’s 

iTR AF mode, you should note 

that the burst speed drops to 9.5 

fps when this system is employed. 

(This mode uses the 7D Mark II’s 

150,000-pixel metering sensor in 

conjunction with the 65-point AF 

to track subjects based on shape, 

color, and varying distance info.) 

We’re baffled by the decision to 

build in GPS while omitting Wi-Fi, 

but you can use an Eyefi Mobi SD 

card to transfer images to your 

smartphone for connectivity. 

The Bottom Line 

Canon has made a meaningful 

upgrade to the top of its APS-C line 

with the EOS 7D Mark II. While the 

main image quality improvements 

are modest, the strong enhancements 

to its capabilities add up 

to a camera able to handle more 

diverse shooting situations with 

an ease that you should expect 

from a camera in this class. It’s a 

no-brainer for any sports shooter 

at a college newspaper or website 

(despite the lack of Wi-Fi). 

If you shoot in tough conditions, 

want super-fast bursts, or need 

the robust tracking of this DSLR’s 

65-point AF system, you’ll be hard 

pressed to find a camera that 

provides what the 7D Mark II does 

at its price. —Philip Ryan 

The benefit 

of Canon’s 

Dual Pixel 

CMOS AF for 

enthusiast 

video 

shooters 

is huge. No 

other system 

gives such 

a smooth 

transition of 

focus with 

this level of 

control over 

focus speed. 

IMAGING: 20.2MP effective, 

APS-C sized CMOS sensor captures 

images at 5472x3648 pixels with 

14 bits/ color in RAW mode 

STORAGE: CompactFlash stores 

JPEG, CR2 RAW, sRAW, mRAW, 

and RAW + JPEG files 

BURST RATE: Using a UDMA 7 CF or 

UHS-I SD card: Full-sized JPEGs (Fine 

mode), up to 1090 shots at 10 fps; RAW, 

up to 31 (CF) or 26 (SD) shots at 10 fps; 

RAW + JPEG, up to 19 (CF) or 18 (SD) 

shots at 10 fps 

AF SYSTEM: TTL phase detection with 65 

illuminated focus points (all cross-type, 

center dual-cross at f/2.8); single-shot and 

continuous AF with Predictive AI Servo 

focus tracking. Tested sensitivity down 

to EV –2 (at ISO 100, f/1.4); Canon rated 

sensitivity down to EV –3. 

LIVE VIEW: Dual Pixel CMOS AF system 

SHUTTER SPEEDS: 1/8000 to 30 sec, 

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

200,000-cycle rating 

METERING: 252-zone TTL metering using 

150,000-pixel RGB+IR sensor; evaluative, 

centerweighted, partial (approx. 6% of 

viewfinder), and spot (approx. 1.8% of 

viewfinder). EV 0–20 (ISO 100). 

ISO RANGE: Normal, ISO 100–16,000 

(in 1- or 1/3-EV increments); expanded, 

ISO 100–51,200 

VIDEO: Records at up to 1920x1080p 

at 60 fps in MP4 or MOV format with 

selectable IPB or ALL-I compression; 

built-in mono microphone; stereo minijack 

input; clean HDMI out; maximum clip 

length: 29 min 59 sec 

FLASH: Built-in pop-up with E-TTL II 

autoflash and wireless control of 

optional flash units, GN 36.1 

(ISO 100, feet); flash sync to 1/250 

sec; dedicated Canon hot-shoe 

VIEWFINDER: Fixed eye-level pentaprism 

LCD: 3-in. TFT with 

1.04 million dot resolution 

OUTPUT: USB 3.0, mini HDMI video, 

composite video and analog audio 

BATTERY: Rechargeable LP-E6N Li-ion, 

CIPA rating 670 shots (with optical 

viewfinder) or 250 shots (live view) 

SIZE/WEIGHT: 5.9x4.4x3.1 in., 2.0 lb 

with a card and battery 

STREET PRICE: $1,799, street, body only 

INFO: usa.canon.com 

VIEWFINDER TEST: Accuracy, 100% 

(Excellent); magnification, 1.0X (Excellent)

LAB SAMSUNG NX1 

* ILC TEST AMATEUR PRO 

BIG LEAGUER 

A NEW FORCE TO BE 

RECKONED WITH 

IN THE TIME since interchangeablelens 

Wireless 

communication 

button 

compacts (ILCs) first hit 

the market, we’ve seen a rapid 

advancement in on-sensor 

autofocus, the adoption of Wi-Fi, 

the advent of high-definition (and 

more recently 4K) video capture, 

and much faster burst speeds. 

Samsung’s NX1 improves on all of 

these while presenting the first APS- 

C-sized back-side illuminated (BSI) 

CMOS sensor. Since the circuitry is 

on the back of the sensor, there’s 

more room on the front for larger 

pixels placed closer together, letting 

it capture more light than a traditional 

sensor could. Translation: 

more detail, less noise. 

We brought the NX1 ($1,500, 

street, body only; $1,700 with 

16–50mm f/3.5–5.6 Power Zoom ED 

OIS lens) into the Popular Photography 

Test Lab to see how it measures 

up. We also subjected it to rigorous 

field testing to see how it fares in 

tough shooting conditions. 

In the Test Lab 

While a BSI sensor allows for 

larger pixels on the same size chip, 

Samsung pushed the pixel count 

to its highest yet in the NX series: 

28.2MP. Thanks in part to the fact 

that the camera ships with Adobe 

Photoshop Lightroom 5 as its RAW 

conversion software, in our test 

images we saw lots of detail with 

relatively low noise across most 

of its sensitivity range. All of this, 

plus an Excellent rating in our color 

accuracy test, led to the NX1’s over- 

SAMSUNG NX1 

WHAT’S HOT 

Image quality, AF agility, pro 4K video 

WHAT’S NOT 

Large for an ILC 


Performance-oriented shooters 

looking for the very latest features 

PHILIP RYAN (LCD IMAGE) 

POPPHOTO.COM 


LAB * 

ILC TEST 

SHOWN 

SAMSUNG NX1 

all image quality rating of Excellent 

from ISO 100 through 3200. 

In our resolution test, the NX1 

captured 3015 lines per picture 

height at its lowest sensitivity of 

ISO 100. Even at ISO 6400, it still 

pulled in 2575 lines before falling 

to 2390 lines at ISO 12,800. At its 

highest sensitivity of ISO 51,200, 

the NX1 served up 2000 lines. 

To compare, Nikon’s 24MP 

D7100 ($897, street, body only) 

delivered 2820 lines at ISO 100, 

dipped to 2470 at ISO 6400, and 

got 2230 at its top sensitivity of 

ISO 25,600. Canon’s 20.2MP EOS 

7D Mark II ($1,799, street, body 

only), tested on page 65, served up 

2660 lines at ISO 100, 2490 at ISO 

3200, and 1800 at ISO 51,200. All 

in all, it seems that Samsung’s use 

of a BSI sensor paid off when it 

comes to capturing fine detail. 

Noise performance also seems 

to have benefitted from the new 

sensor. As always with cameras 

that ship with Lightroom, since 

there are no default settings, 

we applied varying amounts of 

luminance noise reduction (NR) 

during RAW conversion to find the 

best balance between noise and 

resolution in the resulting 16-bit 

uncompressed TIFFs. For our final 

test results, we applied 25 percent 

NR to images shot at ISO 100–400, 

50 percent to those at ISO 800, and 

75 percent at ISO 1600–51,200. 

This kept noise to a Low or better 

rating up to ISO 3200, rising to 

Moderately Low at ISO 6400, and 

reaching Unacceptable at ISO 

12,800 and above. 

Comparisons? Using the default 

NR settings in Canon’s Digital 

Photo Professional 4 software, the 

7D Mark II kept noise to a Low or 

better rating up to ISO 1600 and 

reached Unacceptable at ISO 6400. 

Nikon’s D7100, again at default NR 

settings in its supplied software, 

kept noise to a Low or better rating 

up to ISO 1600 and reached Unacceptable 

at ISO 12,800. 

Both the Canon and Nikon 

maintained top honors of an 

Extremely Low noise rating longer 

than the NX1 did (Canon to ISO 

200 and Nikon to ISO 400), but 

judicious application of Lightroom’s 

NR should yield lower 

noise while matching or exceeding 

the resolving power of the Canon 

or Nikon, thanks to the NX1’s 

higher pixel count. At the settings 

we used, the NX1 served up 

2875 lines at ISO 400, beating the 

D7100’s 2820 at ISO 100. 

In the Field 

Forget the notion of compactness 

in an ILC. The Samsung NX1 is 

almost an inch wider and about 

half an inch taller than Canon’s 

While it’s a 

minor gripe, 

the NX1’s 

command 

wheels 

aren’t 

quite as 

comfortable 

as the ones 

on Canon’s 

EOS 7D or 

Nikon’s 

D300s. 

*25% noise reduction **50% noise reduction ***75% noise reduction 

TEST RESULTS 

IMAGE QUALITY ISO 100–3200 

POOR 

EXCELLENT 

EXCELLENT 

RESOLUTION ISO 100 

1500 2000 2500 3000 3500 4000 

POOR 

COLOR ACCURACY 

HIGH 

NOISE 

UNACCEPTABLE 

3015 

EXCELLENT 7.5 

HIGHLIGHT/SHADOW DETAIL 

LOW 

CONTRAST 

EXTREMELY LOW 0.9* 

VERY LOW 1.2* 

LOW 1.6* 

LOW 1.6** 

VERY LOW 1.3*** 

LOW 1.6*** 

MODERATELY LOW 2.2*** 

UNACCEPTABLE 3.3*** 




HIGH 

EXCELLENT 

EXCELLENT 

EXCELLENT 

AT ISO 

100 

200 

400 

800 

1600 

3200 

6400 

12,800 

25,600 

51,200 

3.0 2.5 2.0 1.5 1.0 0.5 

EXTREMELY LOW 


LOW 


WITHOUT LENS 

EOS Rebel SL1, the smallest DSLR. 

Sure, the NX1’s body is about 0.15 

inch shallower than the Canon’s, 

but this ILC isn’t tiny. And given 

that it’s aimed at higher-end users, 

we think this is a good thing. 

An advanced camera should 

have a firm grip, and a little bit of 

heft can be helpful when trying 

to shoot steadily, especially with 


SPECIFICATIONS 

IMAGING: 28.2MP effective, APS-C-sized 

BSI CMOS sensor captures images at 

6480x4320 pixels with 14 bits/color in 

RAW mode 

STORAGE: SD, SDHC, SDXC (up to 64GB). 

Stores JPEG, SRW RAW, RAW + JPEG 

VIDEO: Up to 4096x2160 24fps, 

3840x2160 30fps, or 1920x1080 60fps 

in HEVC (H.265) format; built-in stereo mic, 

stereo minijack mic input; continuous AF; 

maximum clip length approximately 29 

min 59 sec; clean HDMI output 

BURST RATE: Full-sized JPEGs (Fine 

mode): 15 fps up to 70 shots; RAW (14- 

bit): 15 fps up to 25 shots when using a 

UHS-3 memory card 

AF SYSTEM: TTL Hybrid with 209 

contrast and 205 embedded phase 

(153 cross-type) focus points. 

Single-shot and continuous with 

focus tracking, face detection. 

SHUTTER SPEEDS: 1/8000 to 30 sec 

(1/3-EV increments); shutter rated to 

150,000 cycles 

METERING: TTL-metering 221 segment 

system using Multi-segment (evaluative), 

centerweighted, and spot (size of spot not 

specified) metering; –4 through 20 EV (at 

ISO 100) 

ISO RANGE: ISO 100–25,600 

(in 1/3- or 1-EV increments); 

expanded ISO 100–51,200 

FLASH: Built-in pop-up flash with TTL 

autoflash, GN 36 (ISO 100, feet); flash 

sync to 1/250 sec 

EVF: Fixed eye-level 2.36 million dot OLED; 

100% accurate; 1.04X magnification 

LCD: Tilting 3-in. Super AMOLED 

touchscreen with 1,036,000-dot 

resolution; five-step brightness adjustment 

OUTPUT: SuperSpeed USB 3.0, 

micro-HDMI (type D) video, stereo 

headphone minijack 

BATTERY: Rechargeable 

BP-1900 Li-ion, CIPA rating 500 shots 

SIZE/WEIGHT: 5.5x4.0x2.7 in., 1.4 lbs 

with card and battery 

STREET PRICE: $1,499, body only; 

$2,799, with 16–50mm f/2–2.8 S ED OIS 

zoom lens 

FOR INFO: samsung.com 

a big lens. The NX1’s grip is quite 

comfortable and positions your 

fingers to be close to the command 

wheels and shutter release. 

The magnesium alloy chassis 

feels as if it can stand up to a 

decent amount of abuse. A nice 

Since the 

NX1 uses 

the new 

HEVC codec 

to record 

video, be 

sure to 

update your 

video editing 

software if 

HEVC is 

supported; 

otherwise, 

transcode 

the video 

before 

importing it 

to edit. 

collection of dedicated buttons 

and dials provides access to all the 

most important camera settings. 

Taking a page from the Nikon playbook, 

the NX1 has a dial on the left 

side of the camera top for drive 

mode and four dedicated function 

buttons. A status LCD display gives 

the camera more of an SLR feel 

while providing a less cluttered 

view through the OLED electronic 

viewer. This has a super-speedy 

5-millisecond refresh rate, making 

the EVF experience seem very 

natural, closer to an optical finder. 

The NX1’s autofocus is the 

fastest we’ve seen of any ILC, and 

tracking proved reliable with all of 

the subjects we shot. This is in part 

thanks to the sensor’s read-out 

speed of 120 frames per second 

coupled with the new DRIMe V 

processor that Samsung says is 2.8 

times as fast as its previous image 

processor. Its AF tracking talent is 

quite important, since the camera 

can capture bursts at up to 15 fps 

when using a UHS Speed Class 3 

SD card. Plus, the buffer can hold 

an impressive 25 RAW shots, or up 

to 70 Large, Fine JPEGs. 

The NX1 is the first camera to 

take advantage of the new H.265 

video codec. Also known as HEVC, 

it offers a higher level of compression 

than H.264 without compromising 

quality, and was developed 

with an eye toward 4K. The NX1 

will record 4K or standard highdef 

video directly to the memory 

card, and it also allows output of 

uncompressed 8-bit 4K to an external 

recorder through the camera’s 

HDMI port. Footage we captured 

in both 4K and 1920x1080p looked 

wonderful. The NX1 can capture 

4K at the professional DCI 

standard of 4096x2160 at 24 fps 

as well as at the UHD standard of 

3840x2160 at 30 fps and 24 fps. 

For sports shooting (and for 

Samsung to show off the camera’s 

processing power), the NX1 

includes the company’s new Auto 

Shot mode. So far limited to tracking 

baseball batters, this feature 

places a drawing of a batter and 

a vertical line on the screen. Place 

the drawing over a real batter in 

your scene, and the camera will 

watch for the ball to enter the 

frame, track it, and trip the shutter 

just as the bat and ball converge. 

We didn’t have much reason to use 

it, but it does deliver the goods. 

Wi-Fi continues to be one of 

Samsung’s strong points. This time 

the company included the latest 

802.11ac standard, which is said 

to be four times the speed of the 

more prevalent 802.11n. It can use 

Bluetooth 3 to create a constant 

connection to your smartphone 

without the big power drain of 

keeping Wi-Fi active at all times. 

Then, when Wi-Fi is needed to 

transfer an image to your smartphone 

(for instance, if you have the 

camera set to transfer all images 

as they’re shot), the Wi-Fi turns 

on, the image is transferred, and 

Wi-Fi once again powers down as 

Bluetooth takes over. 

The Bottom Line 

It’s pretty clear that Samsung is 

trying to make a big statement 

with the NX1. The camera is outfitted 

with the latest standards in all 

areas, has the largest BSI sensor 

of any consumer model, boasts 

an extremely fast burst speed, 

captures 4K video even at the 

DCI standard typically seen only 

on professional camcorders, and 

delivers beautiful image quality. 

And the company continues 

to add premium glass to its 

lens lineup (see our test of the 

50–150mm lens on page 72) and 

shows no signs of stopping. If you 

don’t have a collection of lenses for 

another system, Samsung’s NX1 

offers a compelling option outside 

of the Canon and Nikon stalwarts 

at a price that’s appealing, especially 

given everything the NX1 can 

accomplish. —Philip Ryan 


LAB * 

LENS TEST 

Thanks 

SAMSUNG 50–150MM F/2.8 ED OIS S 

UTILE ZOOM 

ANOTHER OPTION 

FOR SERIOUS 

SHOOTERS 

AS THE LARGE white-on-chrome S 

on its barrel announces, the 

50–150mm f/2.8 ED OIS S zoom 

($1,600, street) belongs to 

Samsung’s premier line of optics 

for its NX ILCs. This 75–225mm 

full-frame equivalent includes one 

high-refractive index and four 

extra-low dispersion glass 

elements, a fast maximum 

aperture, and extra weatherresistant 

seals. Its front element 

sports Samsung’s Hyper Shield 

(SHS) coating, to our memory the 

first claiming “to prevent lens 

fogging caused by humidity 

changes.” Its custom-settable 

focusing ranges are also novel. 

This handsome lens has a solid 

feel, though it is 2 inches shorter 

and a pound lighter than Sigma’s 

comparable 50–150mm f/2.8 OS 

for DSLRs. While it has no subject 

distance scale, our NX300 test 

camera’s LCD panel offered one. 

We’ve said that Samsung’s 

iFunction lens feature, which 

controls certain camera settings 

from the barrel, is a game changer, 

and it’s particularly true for this 

zoom. With each press of the 

iFunction button, you toggle 

through ISO, exposure, white 

balance, and digital zoom controls. 

This button, along with the other 

three lens controls, sits right under 

your left thumb. 

SAMSUNG 50–150MM F/2.8 ED OIS S 

WHAT’S HOT 

Sharp, fast, quiet, and handles well 

WHAT’S NOT 

Expensive; awkward manual focus 


NX shooters who want a workhorse 

70–200mm f/2.8 equivalent 

to its well-designed 

stepping motor, the lens’s autofocus 

is among the quietest we’ve ever 

heard. Its electronic manual focus, 

however, is saddled with a way-toolong 

700-degree turning arc. The MF 

works nicely with focus peaking 

engaged, though, and the manualfocus 

distance scale on the NX300 is 

one of the most precise out there. 

On the optical bench in the Popular 

Photography Test Lab, the Samsung 

produced higher SQF scores than the 

Sigma 50–150mm or the comparable 

Fujifilm 55–200mm f/3.5–4.8 OIS. 

However, in our distortion tests 

using DxO Analyzer 5.3, the Samsung 

slightly underperformed its peers. 

Likewise, its subject magnifying 

power (1:6.67) didn’t top the Fujifilm’s 

(1:4.72) or the Sigma’s (1:5.31). Its lack 

of edge falloff, though, tied the 

Fujifilm zoom for best in class. 

At a price about double or even 


50–150MM (51.30–149.98mm tested), 

f/2.8 (f/2.81 tested), 20 elements in 13 

groups. Focus ring turns 700 degrees. Zoom 

ring turns 70 degrees. Focal length marked 

at 50-, 60-, 85-, 100-, and 150mm. 

DIAGONAL VIEW ANGLE: 31–10 degrees 

WEIGHT: 2.02 lbs FILTER SIZE: 72mm 

MOUNTS: Samsung NX 

INCLUDED: Lenshood, tripod mount collar 

STREET PRICE: $1,600 

WEBSITE: samsung.com 

TEST RESULTS 

DISTORTION: At 50mm, 0.26% (Slight) barrel; 

at 100mm, 0.04% (Imperceptible) barrel; at 

150mm, 0.07% (Imperceptible) pincushion 

LIGHT FALLOFF: At 50mm, none; 

at 100mm, none; at 150mm, none 

CLOSE-FOCUSING 

DISTANCE: 29.93 inches 

MAXIMUM MAGNIFICATION RATIO: 

At 50mm, 1:8.83; at 100mm, 1:7.82; 

at 150mm, 1:6.67 

IMAGE STABILIZATION: 2.16 stops 

6.04 in. 

Internal 

focusing and 

zooming, the 

lens barrel 

neither 

extends 

nor rotates 

in use—a 

welcome 

feature in a 

large optic. 

50 

MM 

100 

MM 

150 

MM 

0.55 in. 

1.56 in. 

3.18 in. 

triple that of its rivals, this lens aims 

high. Its sharpness and sealing are 

both welcome, while its iFunction 

and super-silent autofocus hint at 

engineering brilliance. —Julia Silber 


SUPER 

COUPON! 

How Does Harbor Freight 

Sell GREAT QUALITY Tools 

at the LOWEST Prices? 

We have invested millions of 

dollars in our own state-of-the-art 

quality test labs and millions more 

in our factories, so our tools will go 

toe-to-toe with the top professional 

brands. And we can sell them for 

a fraction of the price because we 

cut out the middle man and pass 

the savings on to you. It’s just that 

simple! Come visit one of our 

550 Stores Nationwide. 

SAVE 

50% 

Item 

95275 

shown 

LIMIT 4 - Good at our stores or HarborFreight.com or by calling 800-423-2567. Cannot be used with other discount 

or coupon or prior purchases after 30 days from original purchase with original receipt. Offer good while supplies last. 

SUPER 

SUPER 

QUIET 

HARBOR FREIGHT 

QUALITY TOOLS AT RIDICULOUSLY LOW PRICES 

3 GALLON, 100 PSI 

OILLESS PANCAKE 

AIR COMPRESSOR 

LOT NO. 95275 

60637/69486/61615 

$ 

39 99 

REG. 

PRICE 

$79.99 

8750 PEAK/ 

7000 RUNNING WATTS 

13 HP (420 CC) 

GAS GENERATORS 

SAVE 

$ 

270 

$529 99 

LOT NO. 68530/ 69671 

LOT NO. 68525/69677 

CALIFORNIA ONLY 

$ 

599 99 

REG. PRICE 

$799. 99 

LIMIT 1 - Save 20% on any one item purchased at our stores or HarborFreight.com or by calling 

800-423-2567. *Cannot be used with other discount, coupon, gift cards, Inside Track 

Club membership, extended service plans or on any of the following: compressors, 

generators, tool storage or carts, welders, floor jacks, Towable Ride-On Trencher, 

Saw Mill (Item 61712/62366/67138), Predator Gas Power Items, open box items, 

in-store event or parking lot sale items. Not valid on prior purchases after 30 days 

from original purchase date with original receipt. Non-transferable. Original coupon 

must be presented. Valid through 5/13/15. Limit one coupon per customer per day. 



Non-transferable. Original coupon must be presented. Valid through 5/13/15. Limit one coupon per customer per day. 

SUPER 

COUPON! 

SUPER COUPON 

20% 

OFFANY SINGLE ITEM 

SUPER 

COUPON! 

SAVE 

$180 

Includes one 

18V NiCd 

battery and 

charger. 

WINNER 

26", 4 DRAWER 

TOOL CART 

Item 

95659 

shown 

$ 

99 

LOT NO. 95659 

61634/61952 

• 580 lb. Capacity 

REG. 

99 PRICE 

$279.99 

Truckin’ Magazine 

18 VOLT CORDLESS 

3/8" DRILL/DRIVER 

WITH KEYLESS CHUCK 

SAVE 

54% 

Item 

68239 

shown 

$ 

15 

LOT NO. 

68239 /69651 

REG. 

99 PRICE 

$34 .99 

SUPER COUPON 

FREE 

LIMIT 1 - Cannot be used with other discount, coupon or prior purchase. Coupon good at our 

stores, HarborFreight.com or by calling 800-423-2567. Offer good while supplies last. Shipping 

& Handling charges may apply if not picked up in-store. Non-transferable. Original coupon 

must be presented. Valid through 5/13/15. Limit one FREE GIFT coupon per customer per day. 

LIMIT 5 - 

SUPER 

SAVE 

$ 

300 

WITH ANY PURCHASE 

1" x 25 FT. 

TAPE MEASURE 

Item 

69080 

shown 

"Voted the Best Deal in Winching" 

– Off-Road Magazine 

AUTOMATIC BRAKE 

LOT NO. 68142 /61256/60813/61889 

$299 99 $ 399 99 

Item 60813 shown 

REG. PRICE $599. 99 

purchase with original receipt. Offer good while supplies last. Non-transferable. Original 

coupon must be presented. Valid through 5/13/15. Limit one coupon per customer per day. 

3-IN-1 PORTABLE POWER PACK 

WITH JUMP STARTER 

SAVE 

25% 

• 900 Peak Amps 

LOT NO. 

38391 /60657 

62306/62376 

Item 60657 shown 

REG. 

99 PRICE 

$59 .99 

$ 

44 

ITEM 69080 

69030/69031 

$ 

6 99 

VALUE 

LIMIT 5 - 






SUPER 

COUPON! 

Not for 

overhead lifting. 


SAVE 

40% 

3/8" x 14 FT. GRADE 43 

TOWING CHAIN 

LOT NO. 

93888 /60497 

61899/62399 

SAVE 

44% 

Item 

97711 

shown 

LOT NO. 

97711/60658 

$ 

24 99 

REG. PRICE $44 .99 

MOVER'S DOLLY 


$ 

8 99 

REG. PRICE 

Item 93888 shown $14.99 







SUPER 

COUPON! 

LOT NO. 68048 /69227/62116 

RAPID PUMP ® Item 

68048 

shown 

3 TON 

HEAVY DUTY 

STEEL FLOOR JACK 

$ 

74 99 

REG. PRICE $159 .99 

• Weighs 74 lbs. 

SAVE 

$85 




SUPER 

COUPON! 

9" x 72" 2 PIECE STEEL 

LOADING RAMPS 


SAVE 

43% 

LOT NO. 

44649 

69591/69646 

Item 44649 

shown 

$ 

44 99 

REG. PRICE 

$79 .99 






SUPER 

COUPON! 

SAVE 

$ 

160 



SUPER 

COUPON! 

SAVE 

62% 

12" SLIDING COMPOUND 

DOUBLE-BEVEL MITER 

LOT NO. 69684/61776/61969/61970 

16 OZ. HAMMERS 

WITH FIBERGLASS 

HANDLE 

CLAW 

LOT NO. 47872 

69006/60715/60714 

Item 47872 

shown 

$ 

199 99 

$139 99 REG. PRICE 

Item 

69684 

shown 

YOUR CHOICE! 

REG. 

99 PRICE 

$7 .99 

$ 

2 

$299.99 

RIP 

LOT NO. 47873 

69005/61262 




• 100% Satisfaction Guaranteed 

• Over 25 Million Satisfied Customers 

• No Hassle Return Policy 

• Lifetime Warranty On All Hand Tools 

• 550 Stores Nationwide 

• HarborFreight.com 800-423-2567

LAB * 

LENS TEST 

bodies; 

SIGMA 18–300MM F/3.5–6.3 DC MACRO OS HSM/C 

BIG REACH 

3.09 in. 

BRIAN KLUTCH 

SIGMA BOOSTS 

ITS ZOOM RANGE 

THIS NEW 18–300mm f/3.5–6.3 DC 

Macro OS HSM/C from Sigma is a 

relatively compact multipurpose 

zoom for DSLRs with APS-C-size 

sensors. Its focal length range— 

spanning 16.6X, Sigma’s biggest 

ever—covers the full-frame 

equivalent of 27–450mm on most 

SIGMA 18–300MM F/3.5–6.3 DC MACRO OS HSM/C 

WHAT’S HOT 

Sharp, minimal edge falloff 

WHAT’S NOT 

Stiff zoom turn, short focus radius control 


Convenience-minded APS-C shooters who 

want a lot of zoom plus stabilization 

it covered 28.8–480mm on 

our Canon EOS Rebel T4i test 

camera. Part of Sigma’s 

Contemporary lens line, it offers a 

high degree of utility at an 

affordable price ($579, street). 

Among its many plusses: four 

fluorite-like FLD elements, an 

improved Optical Stabilizer system 

(for Canon and Nikon bodies), 

a quiet HSM focusing motor, 

and compatibility with Sigma’s 

unique USB dock for updates and 

adjustments. Its classy cosmetics 

include a large, finely ribbed zoom 

ring, attractive matte black finish, 

and crisp, legible (though small) 

barrel markings. Though the lens 

lacks a depth-of-field scale, it does 

7.32 in. 

3.98 in. 

0.25 in. 

1.42 in. 

sport a macro magnification 

scale—especially useful when you 

want to repeat a macro setup. 

The lens cast no shadow at any 

focal length or focusing distance 

when used with the built-in flash 

of our Rebel T4i. This is suprising 

since it is 7.3 inches when fully 

racked out. The zoom ring’s 

80-degree turn feels long, stiff, 

and uneven, while the manual 

focus ring, which also turns 80 

degrees, seems short enough to 

make precision a challenge. For 

autofocus fans this is a moot 

point, since AF is fast, quiet, 

smooth, and almost unfailingly 

able to latch onto a subject in 

average light ranges. 

On our optical bench in the 

Popular Photography Test Lab, 

the lens delivered Excellentrange 

SQF data for sharpness 

and contrast at 18mm, 35mm, 

and 100mm. At 300mm, SQF 

dropped into the Good category. 

Other broad-range APS-C 

zooms we’ve tested (including 

Sigma’s 18–250mm f/3.5–6.3 and 


Tamron’s 16–300mm f/3.5–6.3 and 

18–270mm f/3.5–6.3, all stabilized, 

as well as the non-stabilized Pentax 

18–270mm f/3.5–6.3) dropped even 

more, into Average SQF territory, 

at the farthest reaches of their 

telephoto ranges. 

In our distortion tests using DxO 

Analyzer 5.3, we found Visible 

barrel distortion at 18mm (0.50%) 

and Visible or Slight pincushion 

distortion at 35mm (0.32%), 100mm 

(0.24%), and 300mm (0.15%). Even 

better was the Imperceptible barrel 

distortion within the macro range 

(0.06%). These numbers slightly 

trumped the competition’s. 

Perhaps the Sigma’s most 

impressive feat was its ability to 

suppress darkness around the image 

edges. The 18mm zoom setting 

showed edge falloff to f/4, but the 

other three tested focal lengths 

showed no detectable vignetting, 

even at maximum aperture in either 

normal or macro focusing ranges. 

This matched or surpassed that 

of its competitors, particularly the 

Pentax, which registered light falloff 

at the edges to f/8 or f/9 at three out 

of four tested focal lengths. 

Our panel of three testers gained 

an average of 3.33 stops when 

handholding at 300mm with OS 

enabled. In Macro mode, the average 

improvement was 2.6 stops. 

The lens’s subject magnification 

in Macro mode tested better than 

Sigma’s published specs. It ranged 

from 1:10.03 at 18mm to 1:2.45 at 

300mm rather than the published 

1:3. Not enough magnifying power? 

You can get to 1:2 with Sigma’s $55 

supplementary close-up lens (model 

AML72-01) made for this zoom. 

By almost all metrics, this new 

Sigma 18–300mm equaled Tamron’s 

16–300mm. While the latter offers a 

broader zoom range, the Sigma hit 

slightly higher SQF scores through 

the range and has a slightly better 

build. At deadline, the Sigma 

streeted for about $50 less. Tough 

choice! 

—Julia Silber 

18 

MM 

35 

MM 

100 

MM 

300 

MM 


18–300MM (18.76–293.05mm tested), 

f/3.5–6.3 (f/3.44–n.a. tested*), 17 elements in 

13 groups. Focus ring turns 80 degrees. Zoom 

ring turns 80 degrees. Focal length marked at 

18-, 28-, 35-, 50-, 80-, 135-, 200-, and 300mm. 

DIAGONAL VIEW ANGLE: 

76.5–5.4 degrees 

WEIGHT: 1.3 lbs FILTER SIZE: 72mm 

MOUNTS: Canon AF, Nikon AF, Pentax AF, 

Sigma AF, Sony AF 

INCLUDED: Lenshood 

STREET PRICE: $579 

WEBSITE: sigmaphoto.com 

TEST RESULTS 

DISTORTION: At 18mm, 0.50% (Visible) 

barrel; at 35mm, 0.32% (Visible) pincushion; 

at 100mm, 0.24% (Slight) pincushion; 

at 300mm, 0.15% (Slight) pincushion 

MACRO DISTORTION: At 300mm, 0.06% 

(Imperceptible) barrel 

LIGHT FALLOFF: At 18mm, gone by f/4; 

at 35mm, none; at 100mm, none; 

at 300mm, none 

MACRO LIGHT 

FALLOFF: At 300mm, none 

CLOSE-FOCUSING 

DISTANCE: 12.15 inches 

MAXIMUM MAGNIFICATION RATIO: 

At 18mm, 1:10.03; at 35mm, 1:6.94; at 

100mm, 1:2.83; at 300mm, 1:2.45 

IMAGE STABILIZATION: 3.33 stops 

MACRO STABILIZATION: 2.6 stops 

POPPHOTO.COM POPULAR PHOTOGRAPHY 75 

*TESTED MEASUREMENT NOT AVAILABLE DUE TO INSTRUMENT LIMITATIONS. 

REFLECT. 

DIFFUSE. 

CREATE. 

sunbounce@hasselbladbron.com

TIME EXPOSURE * 

FEBRUARY 1955 

market. Now, Dresden, Germanybased 

Ihagee introduced a postwar 

version, the Exakta 66. At a 

price of $319.50, it was loaded with 

features but lacked the reliability 

required by professionals and 

advanced amateurs. It also lacked 

virtually all the elements that 

made the Hasselblad the leader 

in this category, so it passed away 

almost unnoticed and unmourned. 

Gifted Reader 

Many of our readers proved 

to be talented photographers, 

as evidenced by their photos. 

Here, Harold Berry of Wellesley, 

Massachusetts, captured the feel 

of the fishing town of Gloucester, 

Mass. For 

this dockside 

shot, he used 

a Kodak 35 

loaded with 

Kodachrome 

Daylight film. 

The exposure 

was 1/100 sec 

at f/5.6. 

Beach Blanket Binki 

This month’s cover girl was 

3-year-old “Binki” Gessner, 

pouting behind a strategically 

placed towel. This appealing 

photo was taken by Ruth 

Bushman of Philadelphia using 

a 4x5 Super-D Graflex fitted 

with a 190mm Ektar f/5.6 

lens. Bushman used three #22 

flashbulbs and “open flash” 

technique, in which the shutter 

was opened in ambient light, 

60 

YEARS 

AGO 

We reported 

on the launch 

of Tri-X, 

Kodak’s new 

super-fast, 

highquality 

film. 

the bulbs fired, and the shutter 

then closed. Her exposure on Kodak 

Ektachrome Type B film was f/16 

with an 81EF color balancing filter. 

Medium-Format 

“Klunker” 

The potential value 

of a medium-format 

SLR had long been 

recognized, with 

several well-regarded 

models on the pre-war 

Profile of a Master 

One of the most significant 

features in this issue was a 

portfolio of photographs by 

Edward Weston, one of the 

greatest camera artists ever. Here 

is an excellent but less famous 

example of his work, characterized 

by both simplicity and superb 

image quality. The sheer beauty of 

Weston’s images was due in part 

to his use of 8x10 view cameras, 

as fully described in a technical 

profile by features editor Arthur A. 

Goldsmith Jr. —Harold Martin 


800-947-9980 

212-444-6666 

Fax: 212-239-7770 

420 Ninth Avenue 

Corner of 34th Street 

New York, N.Y 10001 

Store & Mail Order Hours: Sunday 10-5 | Mon-Thurs 9-7 | Friday 9-1 EST/9-2 DST | Closed Saturday 

The Professional’s Source 

Over 300,000 products, at your leisure 

www.BandH.com 

B&H Online 

- Search Capabilities 

Find products fast 

- Podcasts 

B&H experts provide essential 

product information in video interviews 

- Product Demos 

View products from every angle, 

right on your computer screen 

- Customer Reviews 

Useful feedback from other 

customers to help you decide 

- Live Help 

Chat online with support staff 

When in New York, 

Visit our SuperStore 

- Over 70,000 square feet of the latest gear 

- The most knowledgeable Sales Professionals 

- Hands-on demos 

- Convenient free parking available 

We Buy, Sell, and Trade 

888-520-3010 

Speak to a Sales Associate 

www.BandH.com/used 

Shop conveniently online 

Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) 

printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp. 

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

1 J4 Mirrorless System Camera 

• Weather-Resistant Body Construction 

• Uses Fujifilm X Mount • SDHC/SDXC Card Slot 

• 3.0" LCD • Intelligent Hybrid AF & Focus Peaking 

• 8 fps Continuous Shooting • Built-In Wi-Fi 

• Full HD 1080p Video Recording at 60 fps 

Body Only #FUXT1B 

with 18-55mm Lens #FUXT11855B 

16 Mega 

Pixels 

• EXPEED 4A Image Processor • Built-in Wi-Fi 

• microSD, microSDHC, microSDXC Card Slot 

• Uses Nikon 1 Lenses • 3.0" Touchscreen LCD 

• 20 fps Shooting with Full-Time AF 


• Available in Black, Orange, Silver or White 

with 10-30mm Lens #NI1J41030* 

18 Mega 

Pixels 

X-E2 Mirrorless System Camera 

1 V3 Mirrorless System Camera 


www.BandH.com 



420 Ninth Ave. 


New York, N.Y. 10001 

• Uses Fujifilm X Mount Lenses • SDHC/SDXC Card Slot 

• 3.0" LCD • Digital Split Image and Focus Peaking 

• 7 fps Continuous Shooting • Built-In Wi-Fi 

• Intelligent Hybrid AF System • Full HD 1080p Video 

Recording at 60 fps • Available in Black or Silver 

Body Only #FUXE2* 

with 18-55mm Lens #FUXE21855* 

X-M1 Mirrorless System Camera 

• Magnesium Alloy Body • SD/SDHC/SDXC Card Slot 

• Uses Fujifilm X Mount Lenses • Focal Plane Shutter 

• 3.0" Tilt LCD • Built-in Wi-Fi • 100-25600 ISO 

• Full HD 1080p Video with Stereo Sound 

• Available in Black, Brown or Silver 

Body Only #FUXM1* 

with Silver XC 16-50mm Lens #FUXM11650* 

NX Mini Mirrorless System Camera 

• Micro 4/3 System • 6 fps RAW Continuous Shooting 

• 3.0" Tilting Touchscreen LCD • Built-In Wi-Fi with NFC 



• Available in Black, Brown, Mint Green, Pink or White 

with NX-M 9mm Lens #SANXM9L* 

with NX-M 9-27mm Lens #SANXM927* 

16 Mega 

Pixels 

16 Mega 

Pixels 

20 Mega 

Pixels 

• EXPEED 4A Image Processor • Built-In Wi-Fi 


• Uses Nikon 1 Lenses • 3.0" Tilting Touchscreen LCD 

• Movie e-VR Stabilization • Hybrid AF System 

• 20 fps Shooting with Full-Time AF • ISO 12800 


with 10-30mm Lens #NI1V31030 

• TruePic VII Image Processor • Micro 4/3 System 

• 3.0" Tilting LCD Touchscreen • Full HD 1080p Video 

• SDHC/SDXC Card Slot • Built-In Wireless 

• FAST Dual Phase- & Contrast-Detection AF 

• 10 fps and 1/8000 sec. Top Shutter Speed 

• Dust/Splash/Freezeproof Magnesium Alloy Body 

Body Only #OLEM1 

• TruePic VII Image Processor • Micro 4/3 System 

• 3.0" Tilting Touchscreen LCD • 8 fps Shooting 

• SDHC/SDXC Card Slot • Built-In Wi-Fi 

• In-Body 3-Axis Image Stabilization 


• Available in Black or Silver 

with 14-42mm Lens #OLEM101442* 

18 Mega 

Pixels 

OM-D E-M1 Mirrorless System Camera 

16 Mega 

Pixels 

OM-D E-M10 Mirrorless System Camera 

16 Mega 

Pixels 

LENSES AND FLASHES for DSLR & Mirroless Cameras 

Over 70,000 square feet 

of the latest gear 

The most knowledgeable 

Sales Professionals 

Hands-on demos 

Convenient free parking 

available 

BandH.com/catalog 

212-444-6633 

Page 2 

14/2.8 XF R ..........899.00 

18/2.0 XF R ..........599.00 

23/1.4 XF R ..........899.00 

27/2.8 XF .............449.00 

35/1.4 XF R ..........599.00 

Mirrorless System Lenses 

56/1.2 XF R ..........999.00 

60/2.4 XF Macro ..649.00 

10-24/4 XF R OIS .999.00 

16-50/3.5-5.6 XC OIS 399.00 

18-55/2.8-4 XF R OIS . 699.00 

55-200/3.5-4.8 XF R LM OIS .............................699.00 

50-230/4.5-6.7 XC OIS .....................................399.00 

10/2.8 AW ............196.95 

10/2.8 .................246.95 

18.5/1.8 ..............186.95 

32/1.2 .................896.95 

6.7-13/3.5-5.6 VR ....496.95 

10-30/3.5-5.6 VR ....186.95 

Nikon 1 Mirrorless Lenses 

10-30/3.5-5.6 VR PD .296.95 

10-100/4.0-5.6 VR ...546.95 

11-27.5/3.5-5.6 AW .146.95 

11-27.5/3.5-5.6 ...186.95 

30-110/3.8-5.6 VR ...246.95 

70-300/4.5-5.6 VR ...996.95 

Mirrorless System Lenses 

10/3.5 Fisheye ....... CALL 30/2.0 NX Pancake . CALL 

16/2.4 Pancake ...... CALL 45/1.8 ................... CALL 

20/2.8 Pancake ...... CALL 45/1.8 [T6] 2D/3D .. CALL 

60/2.8 Macro ED OIS SSA .....................................CALL 

85/1.4 ED SSA ....... CALL 

12-24/4-5.6 E ........ CALL 

16-50/3.5-5.6 ED OIS ... CALL 

16-50/2-2.8 S ED OIS ....CALL 

Lumix G Vario Mirrorless System Lenses 

8/3.5 Fisheye .......639.95 14/2.5 Aspherical .324.95 

15/1.7 Aspherical Leica DG Summilux ................597.99 

20/1.7 II Aspherical ............................................427.99 

25/1.4 Aspherical Leica DG Summilux ................597.99 

42.5/1.2 Asph. Power OIS Leica DG Nocticron ...1,597.99 

45/2.8 Asph. Mega OIS Leica DG Macro-Elmarit.....897.99 

7-14/4.0 Asph. .....968.00 12-35/2.8 X Asph. 997.99 

12-32/3.5-5.6 Asph. 347.99 35-100/2.8 .......1,497.99 

14-42/3.5-5.6 Aspherical Mega OIS ...................167.00 

14-42/3.5-5.6 X PZ Power OIS (Silver)................319.00 

14-45/3.5-5.6 Aspherical Mega OIS ...................289.00 

14-140/4.0-5.8 HD Aspherical Mega OIS ............449.95 

14-140/3.5-5.6 Aspherical Power OIS .................629.99 

45-150/4-5.6 Asph. 249.00 

45-175/4-5.6 X OIS .379.00 

18-55/3.5-5.6 OIS ..... CALL 

18-200/3.5-6.3 ED OIS .. CALL 

20-50/3.5-5.6 ED II ..... CALL 

50-200/4-5.6 ED OIS II .. CALL 

45-200/4-5.6 OIS .....269.00 

100-300/4.0-5.6 OIS 597.99 

Flash System 

FL-300R Flash ......136.95 RF-11 Ring Flash ..249.95 

FL-600R Flash ......299.95 SRF-11 Ring Set ...559.95 

FL-50R Flash ........499.95 TF-22 Twin Flash ..449.95 

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

M.Zuiko Micro 4/3 Mirrorless Lenses 

9mm f/8.0 Fisheye Body Cap Lens........................99.00 

15mm f/8.0 Fisheye Body Cap Lens......................49.00 

12/2.0 (46ø).........799.00 

17/2.8 (37ø).........299.00 

17/1.8 (46ø).........499.00 

25/1.8 (46ø).........399.00 

45/1.8 (37ø) .........399.00 

60/2.8 Mac ED (46ø) ...499.00 

75/1.8 ED (58ø) ....899.00 

9-18/4.0-5.6 (52ø) ....699.00 

12-40/2.8 Pro ED (62ø) .....................................999.00 

12-50/3.5-6.3 ED EZ (52ø) ................................499.00 

14-42/3.5-5.6 EZ ED (37ø) ................................349.00 

14-42/3.5-5.6 II R (37ø) ....................................299.00 

14-150/4-5.6 (58ø) ...........................................599.00 

40-150/4-5.6 ED R (58ø) ...................................199.00 

75-300/4.8-6.7 II ED (58ø) ................................549.00 

AF Flash System 

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

DA Digital AF Lenses 

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

14/2.8 ED IF (77ø) ........... 35/2 AL (49ø) .................. 

21/3.2 AL Limited (49ø) ... 40/2.8 Limited (49ø)........ 

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

40/2.8 HD Limited (49ø)... 

50/1.8 (52ø).................... 

55/1.4 SDM (58ø)............ 

70/2.4 HD Limited (49ø)... 

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

300/4.0 ED IF SDM (77ø)... 

560/5.6 ED AW (112ø) ..... 

10-17/3.5-4.5 ED IF (77ø) .... 

12-24/4 ED AL IF (77ø) .... 

16-50/2.8 ED AL SDM (77ø) .. 

17-70/4.0 AL IF SDM (67ø) ... 

18-55/3.5-5.6 AL WR (52ø) ... 

18-135/3.5-5.6 ED AL (IF) DC WR (62ø) ........................ 

18-270/3.5-6.3 ED SDM (62ø)...................................... 

20-40/2.8-4 HD Limited ED DC WR (55ø) ...................... 

50-135/2.8 ED SDM (67ø).... 50-200/4-5.6 ED WR (52ø)... 

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

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

"FA" AF Lenses for 35mm & Digital SLRs 

31/1.8 Limited ................. 50/1.4 (49ø).................... 

35/2.4 AL (49ø) ............... 50/2.8 Macro (52ø).......... 

43/1.9 Limited (49ø)........ 

77/1.8 Limited (49ø)........ 

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

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

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

Flash System 

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

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

E-Mount Mirrorless Lenses 

16/2.8 (49ø).........248.00 

20/2.8 (49ø).........348.00 

24/1.8 (49ø)......1,098.00 

30/3.5 Mac (49ø) .278.00 

35/1.8 OSS (49ø) .448.00 

35/2.8 ZA (49ø) ....798.00 

50/1.8 OSS (49ø) .298.00 

55/1.8 ZA FE (49ø) ...998.00 

10-18/4 OSS (62ø) ............................................848.00 

16-50/3.5-5.6 OSS (40.5ø)................................348.00 

16-70/4 ZA OSS (55ø).......................................998.00 

18-55/3.5-5.6 (49ø)..........................................298.00 

18-105/4 G OSS (72ø).......................................598.00 

18-200/3.5-6.3 (67ø)........................................898.00 

18-200/3.5-6.3 OSS (62ø).................................848.00 

18-200/3.5-6.3 PZ OSS (67ø).........................1,198.00 

24-70/4 ZA OSS (67ø)....................................1,198.00 

28-70/3.5-5.6 OSS (55ø)...................................498.00 

55-210/4.5-6.3 OSS (49ø).................................348.00 

70-200/4.0 G OSS (72ø).................................1,498.00 

Digital Lenses 

16/2.8 Fish-eye ....998.00 20/2.8 (72ø).........748.00 

24/2 Carl Zeiss (72ø) .....................................1,398.00 

30/2.8 DT Macro (49ø) .......................................198.00 

35/1.4 G (55ø)...1,498.00 50/1.8 DT (49ø)....168.00 

35/1.8 DT (55ø)....218.00 

50/1.4 (55ø).........448.00 

50/1.4 Carl Zeiss ZA (72ø) ..............................1,498.00 

50/2.8 Mac (55ø) .598.00 85/2.8 (55ø).........298.00 

85/1.4 Carl Zeiss (72ø) ...................................1,698.00 

100/2.8 Macro (55ø)..........................................798.00 

135/1.8 Carl Zeiss (77ø) .................................1,798.00 

135/2.8 STF (72ø) ..........................................1,398.00 

300/2.8 G APO II (42øR)..................................7,498.99 

500/4 G (42øR) ............................................12,998.00 

11-18/4.5-5.6 DT (77ø).....................................798.00 

16-35/2.8 ZA SSM (77ø).................................1,998.00 

16-50/2.8 DT (40.5ø) ........................................798.00 

16-80/3.5-4.5 DT (62ø).....................................998.00 

16-105/3.5-5.6 DT (62ø)...................................698.00 

18-55/3.5-5.6 DT SAM II (55ø) ..........................218.00 

18-135/3.5-5.6 (62ø)........................................498.00 

18-250/3.5-6.3 DT (62ø)...................................648.00 

24-70/2.8 Carl Zeiss (77ø)..............................1,998.00 

28-75/2.8 (67ø) ................................................898.00 

55-200/4.0-5.6 DT (55ø)...................................198.00 

55-300/4.5-5.6 DT (62ø)...................................298.00 

70-200/2.8 G SSM II (77ø)..............................2,998.00 

70-300/4.5-5.6 G (62ø).....................................998.00 

70-400/4-5.6 G2 ...........................................2,198.00 

1.4x Teleconverter .548.00 2x Teleconverter ....548.00

Lumix DMC-GM1 Mirrorless System Camera 

• Venus Engine Image Processor • Micro 4/3 System 

• 3.0" Touchscreen LCD • SDHC/SDXC Card Slot 

• Full HD 1080i AVCHD Video at 60 fps • ISO 25600 

• 5 fps Continuous Shooting • Built-In Wireless 

• Highly Compact Magnesium Alloy Body 

• Available in Black or Orange 

Alpha A6000 Mirrorless System Camera 

• 3.0" Tilting LCD • Uses Sony E-mount Lenses 

• SDHC, SDXC, MS Pro Duo, MS PRO HG Duo 

Card Slot • Up to 11 fps Shooting • ISO 25600 

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

• Built-In Wi-Fi Connectivity with NFC 


with 12-32mm Lens #PADMCGM1* 

16 Mega 

Pixels 

Kit with 16-50mm OSS Lens #SOA6000* 

24 Mega 

Pixels 

Lumix DMC-GX7 Mirrorless System Camera 

• Micro 4/3 System • 3.0" Tilting LCD Touchscreen 

• SDHC/SDXC Card Slot • 90° Tilting EVF 

• Full HD 1080p AVCHD Video at 60 fps 

• Focus Peaking and Magnification Windows 

• Built-In Wireless and NFC Connectivity 


with 14-42mm II Lens #PADMCGX7K* 

16 Mega 

Pixels 

• Full Frame Exmor CMOS Sensor • 3.0" Tiltable LCD 


Card Slot • Uses Sony E-mount Lenses 

• Built-In Wi-Fi and NFC • Direct Access Interface 

• Full 1080/60p with Uncompressed Output 

Body Only #SOA7B 

Kit with 28-70mm Lens #SOA7KB 

24 Mega 

Pixels 


• DCI 4K 4096x2160 at 24p • Full HD up to 60p 

• UHD 4K 3840x2160 at 30p/24p • 3.0" LCD 

• Live View Finder • High-Speed 49-Point AF 

• 4:2:2 8-Bit or 10-Bit HDMI Output 

• Support for 59.94p, 23.98p, 50p, & 24p 

• Magnesium Alloy, Weather-Sealed Body 

Lumix DMC-GH4 4K Mirrorless System Camera 

• 2.7" Tilting LCD • Uses Sony Alpha mount Lenses 


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

• 5fps Full Resolution Continuous Shooting 

• SteadyShot INSIDE Image Stabilization 

• ISO 100-16000 with Noise Reduction 

Over 300,000 products, 

at your leisure 

www.BandH.com 

Body Only #PADMCGH4* 

16 Mega 

Pixels 

DT 18-55mm SAM II Lens #SOSLTA58K 

20 Mega 

Pixels 

K-3 DSLR Camera 

• PRIME III Image Processor • 3.2" LCD 

• Pentax K Lens Mount • Dual SD Card Slots 

• In-Camera Shake Reduction Stabilization 

• Full HD 1080i/p Video Recording 

• Continuous Shooting up to 8.3 fps 

• Weather-Sealed Magnesium Alloy Body 

• 3.0" 3-Way Tilting LCD • 12fps Shooting 

• Uses Sony Alpha mount Lenses 


• SDHC, SDXC, MS Pro Duo, MS PRO HG Duo, 

XC-HG Duo Card Slot • ISO 25600 

• Built-In Wi-Fi Connectivity with NFC 

Body Only #PEK3 

23 Mega 

Pixels 

Body Only #SOA772 

24 Mega 

Pixels 

LENSES AND FLASHES for DSLR & Mirroless Cameras 

Six-Year Warranty 

Di for both digital and fi lm SLR cameras 

Di-II for Digital SLRs Only Di III for mirror-less cameras Only 

Rebates Expire 12-31-14 

C = Canon N = Nikon P = Pentax SA = Sony Alpha SE = Sony E Mount 

** Price After Rebate SKU # Avail. for Rebate Price 

Di-II 60mm f/2.0 LD IF Macro (55ø) #TA602DI* C, N, SA — 524.00 

Di 90mm f/2.8 Macro (55ø) #TA9028M* C, N, P, SA — 499.00 

Di 90mm f/2.8 SP Macro VC USD (58ø) #TA9028VC* C, N — 749.00 

Di 180mm f/3.5 LD IF Macro (72ø) #TA18035* C, N, SA — 739.00 

Di-II 10-24/3.5-4.5 (77ø) #TA102435* C, N, P, SA — 499.00 

Di-II 16-300/3.5-6.3 VC PZD (67ø) #TA1630035DI* C, N, SA $30 599.00** 

Di-II 17-50/2.8 XR LD IF Asph (67ø) #TA175028* C, N, P, SA — 499.00 

Di-II 17-50/2.8 XR VC LD IF Asph. (67ø) #TA175028*Q C, N — 649.00 

Di-II 18-200/3.5-6.3 (62 ø) #TA1820035* C, N, P, SA — 199.00 

Di-III 18-200/3.5-6.3 VC (62 ø) #TA1820035S* SE Black or Silver 739.00 

Di-II 18-270/3.5-6.3 VC PZD (62 ø) #TA18270* C, N, SA $50 399.00** 

Di 24-70/2.8 VC USD (82ø) #TA247028* C, N, SA $100 1,199.00** 

Di 28-75/2.8 XR (67ø) #TA287528* C, N, P, SA — 499.00 

Di 28-300/3.5-6.3 XR LD (62ø) #TA2830035XD* C, P, SA — 419.00 

Di 28-300/3.5-6.3 VC PZD (67ø) #TA2830035DI* C, N, SA — 849.00 

Di 70-200/2.8 LD IF Macro (77ø) #TA7020028M* C, N, P, SA — 769.00 

Di 70-200/2.8 SP VC USD (77ø) #TA7020028* C, N, SA $100 1,399.00** 

Di 70-300/4-5.6 LD Macro (62ø) #TA70300M* C, N, P, SA — 199.00 

Di 70-300/4-5.6 VC USD (62ø) #TA70300* C, N, SA — 449.00 

Di 150-600/5-6.3 VC USD (95ø) #TA1506005* C, N, SA — 1069.00 

1.4x SP AF Pro Teleconverter #TA14XP* C, N — 224.00 

2x SP AF Pro Teleconverter #TA2XP* C, N — 254.00 

Touit Mirrorless Lenses 

These fully-compatible lenses with autofocus expand the capabilities of both 

the Sony NEX and Fujifi lm X camera systems with outstanding optical quality. 

Fujifilm X Sony NEX Price 

12mm f/2.8 (67ø) #ZET2812X #ZET2812E 999.00 

32mm f/1.8 (52ø) #ZET1832X #ZET1832E 720.00 

50mm f/2.8M (52ø) #ZET5028MX #ZET5028ME 999.00 

DX – for Digital SLRs Only FX – Designed for full frame DSLRs 

Canon EOS Nikon AF Price 

FX 100mm f/2.8 Pro D Macro (52ø) #TO10028PCAF #TO10028PNAF 399.00 

DX 10-17mm f/3.5-4.5 ATX Fisheye #TO101735CAF #TO101735NAF 599.00 

DX 11-16mm f/2.8 Pro (77ø) #TO111628PDXC #TO111628PDXN 449.00 

DX 11-16mm f/2.8 Pro II (77ø) #TO111628PCII #TO111628PNII 525.00 

DX 12-28mm f/4.0 Pro (77ø) #TO12284DXC #TO12284DXN 489.00 

FX 16-28mm f/2.8 Pro #TO1628FXC #TO1628FXN 639.00 

FX 17-35mm f/4 Pro (82ø) #TO1735F4FXC #TO1735F4FXN 499.00 

** Price After Rebate Rebates Expire 12-31-14 

DC – for Digital SLRs Only DG – Optimized for Digital SLRs DN – Designed for Mirrorless Cameras. C = Canon MFT = Micro 4/3 N = Nikon O = Olympus P = Pentax SI = Sigma SA = Sony Alpha SE = Sony E 

H – HSM Model with Canon, Nikon, Sigma Mount SKU # Rebate Price R – Rear Slip-in Gelatin Filter Slot Mount SKU # Rebate Price 

DC 4.5/2.8 EX Circular Fisheye HSM R C, N, P, SI, SA #SI4528EX* — 899.00 DC 10-20/3.5 EX HSM (82ø) C, N, P, SI, SA #SI102035* — 649.00 

DG 8/3.5 EX Circular Fisheye R C, N, SI, SA #SI835* — 899.00 DG 12-24/4.5-5.6 EX Asph. HSM II C, N, SI, SA #SI122445* $75 874.00** 

DC 10/2.8 EX Fisheye HSM R C, N, P, SI, SA #SI1028EXDC* — 649.00 DC 17-50/2.8 EX OS HSM (77ø) C, N, P, SI #SI175028* $150 519.00** 

DG 15/2.8 EX Diagonal Fisheye R C, N, P, SA #SI1528DG* — 609.00 DC 17-70/2.8-4.0 OS Mac HSM TSC (72ø) C, N, P, SI, SA #SI1770284* — 499.00 

DN 19/2.8 (46ø) Black or Silver MFT, SE #SI1928DN* — 199.00 DC 18-35/1.8 HSM (72ø) C, N, P, SI, SA #SI183518DC* — 799.00 

DG 20/1.8 EX DF RF Aspherical (82ø) C, N, SI, SA #SI2018* — 629.00 DC 18-200/3.5-6.3 OS II HSM (72ø) C, N, P, SI, SA #SI1820035* — 499.00 

DG 24/1.8 EX DF Asph. Macro (77ø) C, N, P, SI, SA #SI2418M* — 549.00 DC 18-200/3.5-6.3 OS Macro HSM (62ø) C, N, P, SI, SA #SI1820035D* — 399.00 

DG 28/1.8 EX DF Asph. Macro (77ø) C, P, SI, SA #SI2818M* — 449.00 DC 18-250/3.5-6.3 OS Macro HSM (62ø) C, N, P, SI, SA #SI1825035M* $200 349.00** 

DN 30/2.8 (46ø) Black or Silver MFT, SE #SI3028DN* — 199.00 DG 24-70/2.8 EX IF HSM (82ø) C, N, P, SI, SA #SI247028* — 899.00 

DC 30/1.4 HSM (62ø) C, N, P, SI, SA #SI3014DCHSM* — 499.00 DG 24-105/4.0 OS HSM (82ø) C, N, SI, SA #SI24105* — 899.00 

DG 35/1.4 HSM (67ø) C, N, P, SI, SA #SI3514* — 899.00 DC 50-150/2.8 EX APO OS HSM (77ø) N #SI5015028* — 989.00 

DG 50/1.4 EX HSM (77ø) H C, N, SI, SA #SI5014* $100 399.00** DG 50-500/4.5-6.3 APO OS HSM (95ø) C, N, P, SI, SA #SI505004563* $150 1,509.00** 

DG 50/1.4 HSM (77ø) H C, N, SI, SA #SI5014A* — 949.00 DG 70-200/2.8 EX APO OS HSM (77ø) C, N, P, SI, SA #SI7020028* $200 1,199.00** 

DG 50/2.8 EX Macro (55ø) C, N, SI, SA #SI5028MDG* — 369.00 DG 70-300/4-5.6 Macro (58ø) C, N, P, SI, SA #SI703004* $25 144.00** 

DN 60/2.8 (46ø) Black or Silver MFT, SE #SI6028DN* — 239.00 DG 70-300/4-5.6 APO Macro (58ø) C, N, P, SI, SA #SI703004DG* — 179.00 

DG 70/2.8 EX Macro (62ø) C, N, P, SI #SI7028MDG* — 499.00 DG 120-300/2.8 OS HSM (105ø) C, N, S #SI120300* — 3,599.00 

DG 85/1.4 EX HSM (77ø) C, N, P, SI, SA #SI8514* — 969.00 DG 120-400/4.5-5.6 APO OS HSM (77øR) C, P, SI #SI120400* — 899.00 

DG 105/2.8 EX Macro OS HSM (62ø) C, N, SI, SA #SI10528MDG* $300 669.00** DG 150-500/5-6.3 APO OS HSM (86ø) C, N, P, SI, SA #SI150500* $200 869.00** 

DG 150/2.8 EX APO Macro OS HSM (72ø) C, N, SI, SA #SI15028AMO* — 1,099.00 DG 1.4x EX APO Tele-Converter C, N, S #SI14XDG* — 249.00 

DG 180/2.8 EX APO Macro OS HSM (86ø) C, N, SI, SA #SI18028AMEO* — 1,699.00 DG 2x EX APO Tele-Converter C, N, S #SI2XDG* $50 249.00** 

DG 300/2.8 APO EX HSM (46ø Rear) C, N, P, SI, SA #SI30028DG* — 3,399.00 SIGMA FLASHES 

DG 500/4.5 APO EX HSM (46ø Rear) C, N, P, SI, SA #SI50045DG* — 4,999.00 DG EF-610 ST C, N, P, SI, SA #SIEF610ST* $30 135.00** 

DC 8-16/4.5-5.6 HSM C, N, S #SI8164556* $50 649.00** DG EF-610 Super Flash C, N, P, SI, SA #SIEF610* $30 225.00** 

DC 10-20/4-5.6 EX HSM (77ø) C, N, P, SI, SA #SI102045D* $80 399.00** DG EM-140 TTL Ringlight C, N, P, SI, SA #SIEM140DG* — 379.00 

Fax: 

212-239-7770 

Store & Mail Order Hours: 

Sunday 10-5 • Mon.-Thurs. 9-7 

Friday 9-1 EST/9-2 DST 

Saturday Closed 






We Buy, Sell and Trade 

Page 3 

012015


www.BandH.com 












available 


212-444-6633 

Page 4 

Digital Rebel T5i DSLR 

• 3.0" Vari-Angle Touchscreen LCD 

• Uses Canon EF Lenses (1.6x factor) 

• SD/SDHC/SDXC Card Slot 

• STM Lens Support for 

Quiet AF in Movies 

• Full HD 1080 Video with Continuous AF 

• ISO 100-12800, Expandable to 25600 

Rebates Expire 1-3-15 Price Rebate Final Cost 

Kit with 18-55mm IS STM #CAEDRT5IK ....................849.99 ........$150 .......699.99 

T5 Kit with 18-55mm IS II #CAEDRT5K .....................549.99 ........$100 .......449.99 

T3i Kit with 18-55mm IS #CAEDRT3IK .....................599.99 .........$50 ........549.99 

EOS-70D DSLR 

• Dual Pixel CMOS AF with Live View 

• DIGIC 5+ Image Processor 


• Uses Canon EF & EF-S Lenses 

• 3.0" Vari-Angle Touchscreen 

• 7 fps Continuous Shooting 

• Built-In Wireless Connectivity 

• Full HD 1080p Video 

20 Mega 

Pixels 


Body Only #CAE70D ............................................... 1,199.00 ........$200 .......999.00 

Kit with 18-55mm STM #CAE70D1855 ..................1,349.00 ........$200 .... 1,149.00 

EOS 60D Body Only #CAE60D ..................................899.99 ........$200 .......699.99 

EOS 60D Kit with 18-135mm IS #CAE60D18135 ... 1,199.00 ........$200 .......999.00 

EOS-7D Mark II DSLR 

• 3" Clear View II LCD • Native ISO 16000 

• Dual Pixel CMOS AF with Live View 

• Dual CF and SDHC/XC Card Slots 

• Continuous 10 fps Shooting 

• Built-In GPS Receiver & Digital Compass 

• Full HD 1080p/60 Video 

& Movie Servo AF 

20 Mega 

Pixels 

SLR Lenses and Flashes 

EOS Flash System MAP Rebate Final 

270EX II ...................................................169.99........$30 .......139.99 

320EX ............................................................................... .................. 

430EX II ...................................................299.99........$50 .......249.99 

600EX-RT.................................................549.99........$50 .......499.99 

MR-14EX II Ringlight .................................549.99........$50 .......499.99 

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

Not compatible 

Mail-in 

EF-S Digital Lenses with full frame 

cameras 

MAP Rebate Final 

60/2.8 USM Macro (52ø) ...........................469.99........$50 .......419.99 

10-18/4.5-5.6 IS STM (67ø)......................299.00.............. .................. 

10-22/3.5-4.5 USM (77ø) .........................649.99........$50 .......599.99 

15-85/3.5-5.6 IS USM (72ø) .....................799.99......$100 .......699.99 

17-55/2.8 IS USM (67ø) ............................879.99........$80 .......799.99 

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

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

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

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

55-250/4-5.6 IS USM II (58ø) ....................249.99.............. .................. 

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

Mail-in 

EF Lenses MAP Rebate Final 

20/2.8 USM (72ø) .....................................539.99........$50 .......489.99 

24/2.8 IS USM (58ø) .................................599.99........$50 .......549.99 

28/1.8 USM (58ø) .....................................509.99........$60 .......449.99 

28/2.8 IS USM (58ø) .................................549.99........$50 .......499.99 

35/2 IS USM (67ø) ....................................599.99........$50 .......549.99 

40/2.8 STM Pancake (52ø)........................199.99........$50 .......149.99 

50/1.8 II (52ø) ..........................................125.99........$20 .......105.99 

50/2.5 Macro (52ø)...................................299.99........$30 .......269.99 

50/1.4 USM (58ø) .....................................399.99........$50 .......349.99 

MP-E 65/2.8 1x-5x Macro (58ø) .............1,049.00......$100 .......949.99 

85/1.8 USM (58ø) .....................................419.99........$50 .......369.99 

100/2 USM (58ø) ......................................499.99........$50 .......449.99 

100/2.8 USM Macro (58ø) .........................599.99........$50 .......549.99 

400/4.0 DO IS II USM (52ø) ....................6,899.00.............. .................. 

24-105/3.5-5.6 IS STM (77ø)....................599.00.............. .................. 

28-135/3.5-5.6 IS USM (72ø) ......................CALL.............. .................. 

70-300/4-5.6 IS USM (58ø) ......................649.99......$250 ... 399.99** 

70-300/4.5-5.6 DO IS USM (58ø) ...........1,399.00.............. .................. 

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

75-300/4.0-5.6 III USM (58ø) ....................234.99.............. .................. 

$150 

REBATE! 

18 Mega 

Pixels 

$200 

REBATE! 

NEW 


Body Only #CAE7D2 ...............................................1,799.00 ............ ....................... 

EOS 7D Body Only #CAE7D ....................................1,499.00 ........$500 .......999.99 

EOS 7D Kit with 18-135mm IS #CAE7D18135 .......1,799.00 ........$500 ....1,299.99 

EOS 7D Kit with 28-135mm IS #CAE7D28135 .......1,699.00 ........$600 ....1,099.99 

EOS-6D DSLR 

• Full-Frame CMOS Sensor • 3.0" LCD 


• Uses Canon EF Lenses 


• Built-In Wi-Fi and GPS Connectivity 

• Full HD 1080p with Manual Controls 

• Extended ISO Range of 50-102400 

• Up to 4.5 Full Resolution FPS 

• Built-In HDR & Multiple Exposure Modes 

Rebates (Mail-in) Expire 1-3-15 Price Rebate Final Cost 

Body Only #CAE6D ................................................1,899.00 ........$300 ....1,599.00 

Kit with 24-105mm f/4 L #CAE6D24105 ................2,499.00 ........$300 .... 2,199.00 

• 3.2" Clear View High Resolution LCD 


• 61-Point High Density AF 


• Dual CF, SD Card Slots 

• Full HD 1080/30p & 720/60p Formats 

• Extended ISO Range (50-102400) 

• Built-In HDR & Multiple Exposure Modes 

$300 

REBATE! 

$300 

REBATE! 


Body Only #CAE5D3* .............................................3,399.00 ........$300 ....3,099.00 

Kit with 24-105mm L IS #CAE5D324105 ................3,999.00 ........$300 ....3,699.00 

EOS-1Dx DSLR 

• Dual DIGIC 5+ Image Processors 

• Magnesium Alloy Body 

• Eye-Level Pentaprism Viewfinder 

• 3.2" LCD Monitor 


• Dual CF card slots 

• 1920 x 1080 HD Video Capture 

• Live View Still and Video Recording 

• 61-Point High Density Auto Focus 

20 Mega 

Pixels 

22 Mega 

Pixels 

$800 

REBATE! 

18 Mega 

Pixels 


Body Only #CAE1DX*..............................................6,799.00 ........$800 ....5,999.00 

Rebates (Mail-in) Expire 1-3-15 — Call for Current Rebates & Promotions 

TSE MF Lenses MAP Rebate Final 

17/4.0 L ................................................2,249.00.............. .................. 

24/3.5 L II .............................................1,999.00.............. .................. 

45/2.8 ..................................................1,399.00.............. .................. 

90/2.8 ..................................................1,399.00.............. .................. 

Mail-in 

EF "L" Lenses MAP Rebate Final 

14/2.8 USM II ........................................2,249.00......$100 ....2,149.00 

24/1.4 II (77ø) .......................................1,649.00......$100 ....1,549.00 

35/1.4 USM (72ø) ..................................1,479.00......$150 ....1,329.00 

50/1.2 USM (72ø) ..................................1,549.00......$150 ....1,399.00 

85/1.2 USM II (72ø) ...............................2,099.00......$100 ....1,999.00 

100/2.8 IS USM Macro (67ø) .....................949.99........$50 .......899.99 

135/2.0 USM (72ø) ................................1,049.00........$50 .......999.00 

180/3.5 USM Macro (72ø) ......................1,499.00........$50 ....1,449.00 

200/2.8 USM II (72ø) ................................779.99........$30 .......749.99 

200/2.0 IS USM (52ø) ............................5,999.00.............. .................. 

300/4.0 IS USM (77ø) ............................1,449.00......$100 ....1,349.00 

300/2.8 IS USM II (52ø rear) ...................6,599.00.............. .................. 

400/5.6 USM (77ø) ................................1,339.00......$100 ....1,239.00 

400/2.8 IS II (52ø rear) .........................10,499.00.............. .................. 

500/4 IS USM II (52ø rear) ......................9,499.00.............. .................. 

600/4.0 IS II (52ø rear) .........................11,999.00.............. .................. 

8-15/4.0 Fish-eye USM ..........................1,349.00........$50 ....1,299.00 

16-35/4 IS USM (77ø) ............................1,199.00......$100 ....1,099.00 

16-35/2.8 USM II (82ø) ..........................1,699.00......$200 ....1,499.00 

17-40/4.0 USM (77ø) ...............................839.99......$140 .......699.99 

24-70/4.0 IS USM (77ø) ............................999.99......$200 .......799.99 

24-70/2.8 II USM (82ø) ..........................2,099.00......$150 ....1,949.00 

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

28-300/3.5-5.6 IS USM (77ø) ................2,549.00.............. .................. 

70-200/4.0 USM (67ø) .............................709.99......$100 .......609.99 

70-200/4.0 IS USM (77ø) .......................1,299.00......$200 ....1,099.00 

70-200/2.8 USM (77ø) ..........................1,449.00......$150 ....1,299.00 

70-200/2.8 IS II USM (77ø) ....................2,299.00......$150 ....2,149.00 

70-300/4.0-5.6 IS USM (67ø) ................1,449.00......$100 ....1,349.00 

100-400/4.5-5.6 IS USM (77ø) ..............1,699.00......$200 ....1,499.00 

EF Teleconverters MAP Rebate Final 

1.4x III ......................................................449.99.............. .................. 

2x III .........................................................449.99.............. .................. 

** with purchase of EOS-6D, 7D, 7D mkII, 70D, or 60D

D3300 DSLR 

• EXPEED 4 Image Processor 

• Full HD 1080p Video Recording 

• 3.0" LCD • 5 fps Shooting 

• Uses Nikon AF Lenses (1.5x factor) 


• Expandable ISO 25600 

• Easy Panorama Mode and Guide Mode 

• Nikon Inc. limited warranty included 


$150 

REBATE! 

24 Mega 

Pixels 

D3300 is available in Black, Grey or Red Price Rebate Final Cost 

Kit with 18-55mm VR II #NID33001855* ......................646.95 .... $150 .......496.95 

D3200 Kit Black w/18-55mm VR #NID32001855* ....529.95 ..... $80 ........449.95 

D750 DSLR 

NEW 

• FX-Format (Full-Frame) CMOS Sensor 



• Built-In Wi-Fi Connectivity 



$600 

REBATE! 

24 Mega 

Pixels 


Body Only #NID750 ...................................................2,296.95 .......— ................ — 

Kit with 24-120mm VR #NID75024120 ......................3,596.95 .... $600 ....2,996.95 

D610 Body Only #NID610 .......................................1,996.95 .... $400 ....1,596.95 

D610 Kit with 24-85mm VRt #NID6102485 ............2,596.95 .... $600 ....1,996.95 


D5300 DSLR 


• Full HD 1080p Video at 60 fps 

• 3.2" Vari-Angle LCD • ISO 100-25600 

• Uses Nikon AF Lenses (1.5x factor) 


• Built-In Wi-Fi and GPS Connectivity 



D7100 DSLR 

• Magnesium Alloy Body 

• Moisture Resistant 


• 1080p Full HD Video Capture 

• Accepts Nikon AF Lenses 

(1.5x factor) • 3.2" LCD 

• Dual SD/SDHC/SDXC Card Slots 

• Built-In Flash with Commander Function 


Up to $300 

REBATE! 

D5300 18-55 Kit is available in Black, Grey or Red Price Rebate Final Cost 

Kit with 18-55mm VR II (B, G, R) #NID53001855* ........896.95 .... $100 .......796.95 

Kit with 18-140mm VR (Black) #NID530018140 ........1,299.95 .... $300 .......999.95 

D5200 Kit with 18-55mm VR #NID52001855* ..........799.95 .... $200 .......599.95 

Up to $500 

REBATE! 

24 Mega 

Pixels 


Body Only #NID7100 .............................................. 1,199.95 .... $300 ..........899.95 

Kit with 18-140mm VR DX #NID710018140 ............1,696.95 .... $500 ....... 1,196.95 

D810 DSLR 

• FX-Format CMOS Sensor • 3.2" LCD 


• Optical Low-Pass Filter 

• CF & SD Dual Card Slots 

• Nikon F Mount Lens Mount 

• Expandable Sensitivity to ISO 51200 

• Full HD 1080p Video at 60/30/24 fps 

• External Mic and Headphone Inputs 

• Continuous Shooting to 5 fps in FX Mode 


Body Only #NID810 ..................................3,296.95 

D4s DSLR 

• FX-format (full-frame) CMOS Sensor 

• 14-Bit RAW Files & 12-Bit RAW S 

Format • 3.2" LCD 

• Full HD 1080p Video at 60 fps 


• Compatible with Most Nikkor Optics 

• 11 fps Shooting for 200 Shots 

with AE/AF • ISO 50-409600 

• CF Type 1 & XQD Compatible 

• 1000 Base-T Gigabit Wired LAN Support 


Body Only #NID4S ....................................6,496.95 

36 Mega 

Pixels 

16 Mega 

Pixels 



www.BandH.com 

SLR Lenses and Flashes 

Rebates Expire 12-3-14 — Call for Current Rebates and Promotions 

Instant Savings on Lenses with purchase of any Nikon DSLR 

AF Flashes Price Rebate Final 

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

SB-500 ....................................................246.95........ $20 .......226.95 

SB-700 ....................................................326.95........... ..................... 

SB-910 ....................................................546.95........ $50 .......496.95 

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

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

DX ED-IF Lenses for Digital Only Price Rebate Final 

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

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

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

85/3.5 G ED VR Micro ...............................526.95....... $100 ......426.95 

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

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

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

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

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

18-55/3.5-5.6 G AF-S VR (52ø).................196.95........... ..................... 

18-55/3.5-5.6 G AF-S VR II (52ø) ..............246.95........... ..................... 

18-105/3.5-5.6 G AF-S VR *.....................396.95........... ..................... 

18-140/3.5-5.6 G AF-S VR ** ...................496.95.....$200 **....296.95 

18-200/3.5-5.6 G AF-S VR II .....................596.95....... $100 ......496.95 

18-300/3.5-5.6 G AF-S ED VR (77ø)..........996.95........... ..................... 

18-300/3.5-6.3 G AF-S ED VR (67ø)..........896.95....... $200 ......696.95 

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

55-200/4-5.6 G AF-S VR ..........................246.95....... $100 ......146.95 

55-300/4.5-5.6 G AF-S VR .......................396.95....... $200 ......196.95 

D-Type AF Lenses Price Rebate Final 

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

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

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

20/1.8 G AF-S ED (77ø) ............................796.95........... ..................... 

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

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

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

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

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

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

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

35/1.8 G AF-S ED (58ø) ............................596.95........ $80 .......516.95 

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

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

50/1.8 G AF-S (58ø) .................................216.95........ $20 .......196.95 

D-Type AF Lenses Price Rebate Final 

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

50/1.4 G AF-S (58ø) .................................484.95........ $85 .......399.95 

58/1.4 G AF-S (72ø) ..............................1,696.95....... $200 1,496.95^ 

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

60/2.8 G AF-S ED Micro (62ø) ...................599.95....... $100 ......499.95 

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

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

85/1.4 G AF-S (77ø) ...............................1699.95....... $200 . 1499.95^ 

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

105/2.8 G AF-S ED-IF VR Micro (62ø) ........984.95....... $135 ... 849.95^ 

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

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

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

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

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

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

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

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

600/4.0 G AF-S VR ED (52ø)............................................ ..................... 

14-24/2.8 G AF-S ED-IF .........................1,996.95....... $300 1,696.95^ 

16-35/4.0 G AF-S ED VR (77ø) ...............1,256.95....... $260 ... 996.95^ 

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

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

24-70/2.8 G AF-S ED-IF (77ø)................1,886.95....... $300 1,586.95^ 

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

24-85/3.5-4.5 G AF-S ED VR ....................596.95.... $100 ^^ ...496.95 

24-120/4.0 G AF-S ED VR (77ø) .............1,296.95........... ..................... 

28-300/3.5-5.6 G AF-S ED VR ...............1,046.95....... $250 ... 796.95^ 

70-200/4.0 G AF-S ED VR (67ø) .............1,396.95....... $400 ... 996.95^ 

70-200/2.8 G AF-S ED-IF VR II (77ø).......2,396.95....... $400 1,996.95^ 

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

70-300/4.5-5.6 G-AFS VR ........................586.95....... $200 ......386.95 

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

80-400/4.5-5.6 G AF-S ED VR (77ø)........2696.95....... $300 2,396.95^ 

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

TC-14E III (1.4x) Teleconverter ......................................... ..................... 

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

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

** When purchased with a D3200, D3300, D5200, D5300, D7100 

^ When Purchased with D7100, D610, D750, DF, D810 D4s 

^^ When purchased with D610 Rebate is $200 

Fax: 

212-239-7770 











Page 5 


Powershot G16 

• 3.0" LCD • Full HD 1080/60p Video 

• 5x Optical Zoom • 4x Digital Zoom 

• 6.1-30.5mm f/1.8-2.8 (35mm equiv: 

28-140mm) • SD/SDHC/SDXC Card Slot 

• Enhanced Wi-Fi Capabilities 

• Continuous Shooting at 9.3 fps Expires 1-3-15 

#CAPSG16 .................... 499.99 ......Less $50 Rebate ....449.99 

$50 

REBATE! 

12 Mega 

Pixels 

Stylus XZ-2 iHS 

• 3.0" Swiveling Touchscreen LCD 

• 4x Optical Zoom • 2x Digital Zoom 

• 6-24mm f/1.8-2.5 (35mm equiv: 

27-108mm) Lens • 11 Art Filters 


• Full HD 1080p Video Recording 

#OLXZ2B 

12 Mega 

Pixels 


www.BandH.com 






X30 

• 2.8" LCD • Die-Cast Magnesium Alloy 

• Full HD 1080 Video at 60fps 

• 4x Optical Zoom • ISO 100-12800 

• 7.1-28.4mm f/2-2.8 (35mm equiv: 

28-112mm) • SD/SDHC/SDXC Card Slot 

• Film Simulation and Advanced Filters 

Black or Silver #FUX30* 

Coolpix A 

• 3.0" LCD • No Optical Low-Pass Filter 

• Manual Focus Ring Adjustment 

• 18.5mm f/2.8 (35mm equiv: 28mm) 


• Full HD 1080p Video with Stereo Sound 

• Capture Photos in RAW Format 

Black or Silver #NICPA*.....................1,099.95 

MEMORY CARDS 

CFast 2.0 High Speed 

High-speed file transfer to meet the demands 

of broadcast, cinema, and photography. 

CF Compact Flash 

12 Mega 

Pixels 

16 Mega 

Pixels 

Lumix DMC-LX7 

• 3.0" LCD • SDHC/SDXC Card Slot 

• Full HD 1080 Video Recording 

• 3.8x Optical Zoom • 7.5x Digital Zoom 

• 4.7-17.7mm f/1.4-2.3 (35mm equiv: 

24-90mm) Leica Vario-Summilux Lens 

• RAW and RAW+JPEG Recording Options 

Black or White #PADMCLX7* 

CyberShot DSC-RX100 III 

• 3.0" Multi-Angle Xtra Fine LCD 

• 2.9x Optical Zoom • 11x Digital Zoom 

• 8.8-25.7mm f/1.8-2.8 (35mm equiv: 

24-70mm) Carl Zeiss Vario-Sonnar T* Lens 

• MS Pro Duo/Pro HG-Duo, SDHC/SDXC Card 

Slot • Full HD Video • Built-In Wi-Fi with NFC 

#SODSCRX100M3 

Delkin Kingston Lexar Sandisk 

500x 700x 1000x 1050x 

Ultimate Ultimate 

Ultra Extreme Extreme Pro 

800x 1066x 

266x 600x 

50MBs 120MBs 160MBs 

16GB 29.95 37.95 49.95 — 20.95 33.95 40.95 48.95 49.95 48.00 69.95 

32GB 44.50 54.99 79.95 89.95 30.95 49.95 54.95 82.99 94.99 69.50 99.95 

64GB 84.50 72.50 139.95 159.95 49.95 — 74.95 139.99 — 98.95 199.50 

128GB — 199.95 229.95 254.95 — — 194.95 249.98 — 210.00 349.99 

256GB — — — — — — 399.95 543.91 — — 649.95 

512GB — — — — — — 899.00 — — — — 

SANDISK 

60GB .............. $399.95 

120GB ............ $799.95 

32GB ........$179.99 

64GB ........$399.99 

LEXAR 

128GB ......$879.99 

259GB ...$1,299.99 

10 Mega 

Pixels 

20 Mega 

Pixels 

XQD High-Speed for Nikon D4 

Lexar 

Sony 

Professional N Series S Series G Series 

1100x 1333x 125MBs 180MBs 400MBs 

32GB 189.95 222.49 99.95 195.06 163.50 

64GB 308.95 349.95 189.95 294.97 359.95 

SDHC Secure Digital High Capacity 

Delkin Kingston Sandisk 

Pro 

Micro 

Class10 

Class 4 

Standard 

Mobility 

Class 4 

Micro 

Class 4 

4GB 7.95 — 4.95 5.95 

8GB 9.95 7.09 5.95 6.95 

16GB 10.95 11.46 8.79 8.95 

32GB 17.95 17.99 17.95 16.95 

SDHC 

SDXC 

UHS1 Ultra High Speed UHS1 Speed Class 3 (U3) UHS2 

Delkin Kingston Lexar Sandisk Sony Delkin Kingston Sandisk Sony Delkin Sandisk 

600x 

Class 10 

300x 

Class 10 Micro Extreme Extreme Pro Micro Class 10 

400x 600x 633x 80MBs 95MBs 80MBs 94MBs Micro 

633x 90MBs 

Extreme 

60MBs 

Extreme Pro 

90MBs 

95MBs 

U3 

280MBs 

Extreme Pro 

280MBs 

8GB 16.95 — 9.95 — — 17.41 21.95 — 13.49 7.95 17.95 — — — — — — 

16GB 19.95 14.50 14.95 19.95 23.95 26.95 33.76 26.73 19.95 11.95 31.95 22.95 14.99 — — 99.95 64.99 

32GB 29.95 24.50 23.95 29.95 34.95 37.95 47.95 39.74 33.50 16.99 44.95 39.95 28.95 — 39.91 199.95 115.98 

64GB 54.95 41.71 36.95 46.35 66.95 74.95 97.00 74.95 66.95 36.95 84.95 79.95 54.99 — 74.95 — 224.99 

128GB 119.95 90.20 79.95 93.95 — 139.95 — — 124.95 — 149.95 — — 189.95 — — — 

256GB — — — 299.95 — — — — — — 359.95 — — 359.95 — — — 

512GB — Note: Not all devices support SDXC cards — — — — — — — 729.00 — — — 







available 


212-444-6633 

Page 6 

AT-3421 

You're On Steady Ground 

CT-3481 

CT-3561 

Model 

Tripods with Ball Head 

• Detachable Leg and Column Form Monopod 

• Non-Rotating Twist-Lock Legs 

• Grooved center column • Bubble Level/s 

• Rubber Feet & Retractable Metal Spikes 

• Included padded carry bag 

Ball Head 

Load 

Capacity 

Max. 

Height Folded Weight SKU # Price 

Anodized Aluminum Tripods 

AT-3421 BA-106T 6.6 lb 59" 16.8" 2.7 lb #OBAT3421106T $159.95 

#OBAT3431108T $199.95 

63.4" 17.5" 3.5 lb #OBAT3441111T $249.95 

#OBAT3451113T $289.95 

#OBAT3461117T $299.95 

6x Carbon Fiber Tripods 

CT-3431 BE-108T 8.8 lb 59.5" 17" 2.5 lb #OBCT3431108T $399.95 

CT-3451 BE-113T 13.2 lb 61.3" 17.1" 2.5 lb #OBCT3451113T $479.95 


CT-3481 BE-126T 26.4 lb 68" 18.9" 3.8 lb #OBCT3481126T $499.95 



CT-3551 BE-113T 13.2 lb 62.4" 16" 2.6 lb #OBCT3551113T $469.95 


CT-3581 BE-126T 26.4 lb 67.9" 16.9" 3.9 lb #OBCT3581126T $369.95

BATTERY 

GRIPS 

• Accepts 2 lithium-ion batteries 

to effectively double the 

camera's battery life 

(Batteries not included) 

• The included AA battery 

holder allows you to use 

6 AA batteries for added 

convenience (except BG-N3) 

• Alternate shutter release 

button, main and sub 

command dials, and an 

AE-L/AF-L button are 

provided to facilitate 

shooting in a vertical 

orientation 

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

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

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

for Canon 70D .............................BG-C10 #VEBGC10 ..... $84.95 

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

for Canon T5i, T4i, T3i, T2i .....BG-C5.2 #VEBGC52 ..... $67.95 

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

for Nikon D5300 ......................... BG-N13 #VEBGN13 ..... $59.95 

for Nikon D3300, D3200 .......... BG-N12 #VEBGN12 ..... $59.95 

for Nikon D600, D610 .............. BG-N10 #VEBGN10 ..... $79.95 

for Nikon D800, D800E ...............BG-N7 #VEBGN7 ....... $89.95 

PHOTOGRAPHY ACCESSORIES 

lighting equipment and accessories 

Whether it's fashion, wedding or portrait 

photography, the best way to achieve 

professional-looking results in the field 

is by adding flash to the ambient light. 

flashes without adaptation. 

LiteTrek 4.0 DC Monolight 

Instant Savings on LiteTrek 4.0 

Monolight Kits (Expires 1-31-15) 

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

Mini LiteTrek (LT) Battery Pack #IMMLTPBP .......................................................$549.95 

Mini LiteTrek (LT) Pack & Charger Kit with CKE Nikon Cable #IMMLTPBPK1 ...$573.95 

Mini LiteTrek (LT) Pack & Charger Kit with CZ Canon Cable #IMMLTPBPK2.....$577.95 

LiteTrek Accessories 

Charger for Mini LiteTrek #IMCBP...$49.95 

IM-CKE Nikon Flash Cable #IMCKE.$39.95 

IM-CZ Canon Flash Cable #IMCZ.....$39.95 LiteTrek 4.0 Flash Tube #IMFTFH.....$79.95 

Reflector Adapter (Bowens Adapter) #IMBAFH ...........................................................$24.95 




www.BandH.com 

FILTERS 

in stock 

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

52mm 58mm 67mm 72mm 77mm 

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

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

Linear Polarizer 16.99 25.00 38.85 36.85 44.90 

Circular Polarizer 23.95 29.95 34.95 42.95 38.90 

Circular Polarizer HMC 39.95 49.00 55.90 69.00 104.90 

“Moose” Warm Circular Polarizer 35.75 39.55 53.90 55.65 91.50 

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

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

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

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

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

Star 6, Star 8 16.89 22.50 43.35 49.90 46.68 

Made exclusively with glass from Schott (Zeiss) 

the world’s finest optical glass supplier. 


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

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

Circular Polarizer, Slim Circular Polarizer 115.99 121.99 151.99 180.99 195.99 

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

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

Digital Filter 176.99 180.99 222.99 261.99 301.99 

FILM – B&W AND COLOR 

Superia 

CA 200 135-24 ..........2.69 

CH 400 135-24 ..........3.49 

CH 400 135-36 ..........3.99 

CZ 800 135-24 ..........3.99 

Pro 

400H 135-36 ...........10.99 

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

Gold Max 

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

GC 400 135-36 ..........3.29 

COLOR PRINT 

Ektar 

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

100 120 Roll ..............4.90 

Portra 

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

160 120 Roll ..............5.50 

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

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

400 135-36 ...............7.35 

400 120 Roll ..............5.79 

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

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

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

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

Provia 

RDP 100F 135-36 ...10.51 

135-36PP (5) .......52.55 

RDP 100F 120 Roll ....7.19 

135-36PP (5) .......35.95 

COLOR SLIDE 

B&H SPECIAL! Buy 3 or more 

B+W Filters & Get 5% Off. 

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

UV Haze SC 18.50 24.95 28.99 31.95 34.00 39.99 

UV Haze MRC 010M 35.50 31.50 36.30 42.90 49.89 71.75 

Circular Polarizer SC 83.95 85.95 83.50 80.00 73.95 99.00 

Circular Polarizer MRC 78.00 87.53 82.50 109.99 89.99 119.99 

Circular Polarizer Slim 56.95 49.99 68.00 69.99 59.99 80.00 

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

Digital Pro UV MC 41.95 41.95 44.00 — — — 

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

Neutral Density 106 56.00 60.95 97.95 105.95 121.95 137.95 

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

Ten -Year Warranty 

Made in USA 

Multicoated Filter 

Technology 

Digital Essentials Kits 

DIGITAL HT FILTERS 

In Stock 


812 Warming 48.95 74.95 99.95 109.95 129.95 

Grad ND 0.6 74.95 63.95 82.90 119.95 139.95 

Circular Polarizer 74.10 89.95 119.90 129.95 199.99 

Ultra Clear 34.95 38.95 45.95 54.95 54.95 

Haze 86 38.95 47.95 56.90 64.95 99.95 

ND 1.2 41.50 56.95 74.90 109.95 129.95 

ND 0.6 48.95 50.95 69.95 99.95 119.95 

Soft FX3 56.95 63.95 82.90 119.95 139.95 

Star 4 pt 2 64.95 56.95 74.90 109.95 129.95 

Velvia RVP 

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

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

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

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

PROCESSING MAILERS 

Slide 

36 Exposures 

(35mm) ..................10.59 

Print C41 35mm ......13.49 

Print C41 120 Roll ...15.49 

Print C41 220 Roll ...30.95 

BLACK & WHITE PRINT 

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

Pan F+ 50 120 Roll ....4.75 

FP4+ 125 135-36 ......4.99 

FP4+ 125 120 Roll .....4.39 

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

HP5+ 400 120 Roll ....4.09 

Delta Pro 

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

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

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

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

3200 135-36 ...........10.99 

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

XP-2 Super 

400 135-36 ...............6.49 

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

Infrared 

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

SFX 200 120 Roll .......6.99 

Acros 100 135-36 .....6.25 

Acros 100 120 Roll ....5.15 

Tri-X 400 135-36 ......4.89 

Tri-X 400 120 Roll .....4.85 

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

TMX 100 120 Roll ......4.49 

TMY 400 135-36 .......4.95 

TMY 400 120 Roll ......4.59 

BW 400CN 135-36 ....8.99 

Fax: 

212-239-7770 











Page 7 


® 

The leader of tripod head 

design for over 45 years 

creates a new revolutionary 

Knobless ballhead. 

It’s called Knobless because 

the traditional locking knobs 

have been removed. 

Equipped with our patented 

(planetary) p-system, 

ARCA-SWISS p is a unique 

tripod head design that 

combines precision, ease 

of use, and a powerful, 

concentric, uniform locking 

force. Featuring our patented 

gravitational force compensation, 

sudden camera 

movements altering camera 

position are prevented. The 

ARCA-SWISS p is stylish, 

precise and strong, yet 

weighs under 10 ounces. 

A hand of steel in a velvet 

glove! 

ARCA-SWISS monoball® p series 

OMNI-BOUNCE 

Used by Professionals around 

the world, to achieve soft natural 

lighting with most of the popular 

brand flash units. Ideal for wide 

angle shots, macro work, portraits 

and news coverage. Cus tom 

mounting with no Velcro required. 

Specify your strobe when ordering. 

Only $19.95 + $2.50 shipping, 

Visa, MasterCard & AMEX 

STO-FEN PRODUCTS 

800-538-0730 

P.O. Box 7609, Santa Cruz, CA 95061, USA 

www.stofen.com 

A R C A 

S W I S S 

ARCA-SWISS INC 

Phone: 480 755-3364 

E-mail: support@arca-swiss.com 

TURN YOUR PHOTOS INTO 

GREETING CARDS! 

Step 2: 

Fold to conceal 

back of photo. 

For personal use or as a business 

opportunity. Professional, quick and 

affordable in over 500 designs. 

Contact us for a free catalog. 

25% off for first time customers. 

Make Your Own Photo 

Buttons! 

It’s fast and easy with our 

Starter Kit. Make 2 1 /4" 

photo buttons for as little 

as 19¢ each and sell them 

for $3 or more! 

For only $86.50 $29.95, 

our Starter Kit contains 

everything you need 

to make your first 

ten 2 1 /4" buttons. 

Request your FREE catalog or 

order your Starter Kit today! 

* FREE Shipping 

On Sale 

Save 65%!! 

Dept. PP215, 345 N. Lewis Ave., Oglesby, IL 61348 

800.223.4103 

www.badgeaminit.com 

www.photographersedge.com 

800-550-9254 

PLEASE NOTE: It is impossible for us to verify all the 

claims of advertisers, including product availability 

Ǥϐvertiser 

is authorized to sell a product, we suggest 

you contact the manufacturer directly.

New, Used, Refurbished, Preowned Collectables At Discounted Prices 

We Buy, Trade, Export, Import Anything Photographic, Online Sales & Wholesale 

WE WILL BEAT AND MEET DISCOUNT PRICES! 

CALL OR EMAIL US AND WE WILL SAVE YOU $$$$$$$$$$$$$$$$$” 

LENSES, FLASHES, SCREENS 

PAPER AND ACCESSORIES 

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

Panasonic, Pentax, Polaroid, Samsung, Sanyo, Sigma, Sony, Vivitar, Etc - 

Delkin, Kington, Lexar, SanDisk, Nikon 

Memory Cards 

Fuji, Olympus, Sony, Panasonic, Etc............CALL 

Large selection of BATTERIES available at discount prices....CALL 

for the iPhone 

& Samsung Galaxy 

includes the iPhone 

4, 4s, 5 & 5S & Samsung Galaxy S4 as well as the 

iPad2, iPad Mini, Mini Retina & iPad Air too. 

High ResolutionTop Quality Lenese 

2X Telephoto Lens Macro Lens 

Wide Angle Lens All for 

4.5mm F2.8..........838.95 

8mm F3.5.............828.95 

10mm F2.8...........598.95 

15mm F2.8...........568.95 

19mm F2.8...........178.95 

20mm F1.8...........588.95 

24mm F1.8...........498.95 

28mm F1.8...........308.95 

30mm F1.4...........278.95 

LARGE SELECTIONS OF NEW AND USED 

LENSES AND ACCESSORIES IN STOCK AT LOW DISCOUNT PRICES! 

Agfa, Alpa, Ansco, Arca-Swiss, Bolex, Bronica, Canon, Contax, Contarex, Edixa, 

Exa, Exakta, Fuji, Fujica, Gami, Hasselblad, Kodak, Konica, Kowa, Leica, Leitz, Linhof, 

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

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

Sea & Sea, Stereo Realist, Tessina, Topcon, Toyo, Voigtlander, Wollensak, Yashica, Zeiss, Etc. 

25mm T2.1 Xenon FF Lens 





LENSES 

We Offer MORE THAN 1,000 DIFFERENT 

LENSES at LOW DISCOUNT PRICES!!! 

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

Vivitar, Schneider, Mamiya, Hasselblad, Rodenstock, Zeiss, etc. 

50mm F1.4..........358.95 

50mm F2.8..........234.95 

70mm F2.8..........468.95 

105mm F2.8........458.95 

150mm F2.8.......688.95 

180mm F2.8.......1488.95 

300mm F2.8.......2998.95 

500mm F4.5.......4598.95 

10-20mm F4-5.6....478.95 

30 mm F2.8……174.95 

10-20mm F3.5........548.95 

35mm F1.4…….848.95 

10-20mm F4…….398.95 

60mm F2.8...........278.95 

400mm F5.6…….299.95 

17-70mm F2.8-4.5...458.95 

85mm F1.4...........848.95 18-35mm F1.8….748.95 

800mm F5.6.......6698.95 18-200mm F3.5-5.6..238.95 

12-24mm F4.5-5.6..748.95 18-250mm F3.5-5.6.358.95 

18-50mm F2.8-4........188.95 24-70mm F2.8.....798.95 

18-50mm F2.8............375.95 17-50mm F2.8 

8-16mm F4.5-5.6 DC...618.95 

EX DCOS HSM..548.95 

28-70mm F2.8.....318.95 

28-70mm F2.8-4....88.95 28-300mm F3.5-6.3...234.95 

28-200mm F3.5-5.6...174.95 

50-150mm F2.8....698.95 

35-135mm F4-5.6...99.95 

55-200mm F4-5.6...124.95 

50-150mm F2.8…968.95 

50-200mm F4-5.6.148.95 

70-300 F4-5.6......138.95 

50-500mm F4-6.3...948.95 70-300mmDGOS.248.95 

70-200mm F2.8....888.95 100-300mm F4-5.6...99.95 

70-300 F4-5.6 APO...188.95 120-300mm F2.8...2698.95 

70-200/2.8OS…..1148.95 150-500mm F5-6.3...948.95 

100-300mm F4....1098.95 120-400 F4.5-5.6...938.95 

200-500mm F2.8 APO EX DG...................25998.95 

300-800mm F5.6 EX BE HSM.....................7698.95 

1.4X APO............218.95 2X APO...............278.95 

$229 

NEW SERIES 1 LENSES 

7mm F3.5…..324.95 13mm F2.8…409.95 

35mm F1.4…499.95 85mm F1.4…199.99 

500mm F8….99.99 500mm F6.3..124.99 

650-1300mm F8-16 

Zoom Lens...239.99 

800mm F8...189.00 

8mm F3.8....189.00 

IF YOU DO NOT SEE 

IT, IT DOESN’T MEAN 

WE DO NOT HAVE IT, 

A S K 

1-800-221-2253 

Large selections of NEW & 

USED LEICA cameras, lenses, 

filters and accessories at low discount 

prices ASK for Joseph 

DIGITAL CAMERA 

Print your pictures 148.99 

LARGE SELECTION 

OF PROJECTION 

BULBS...CALL ALEX 

1-800-221-2253 

INSTRUCTION MANUALS/BOOKS 

WE DO HAVE MORE THAN 

5000 INSTRUCTION BOOKS 

IN STOCK CALL US AT 

1-800-221-2253 AND ASK 

FOR PAUL OR EMAIL US AT 

SPECIALS 

OF THE MONTH 

NEW SIGMA LENSES for 

MINOLTA MAXXUM & 

SONY ALPHA FILM & 

DIGITAL CAMERAS 

24-70mm F3.5-5.6 AF ASPHERICAL..........129.99 

50 

Years of 

Experience 

WE PAY FOR YOUR RETIRED GEAR! 

TOP DOLLAR$$$ 

Nothing is too Small or too Large Anything Photographic !!!!! 

Estate Sales Welcome!!! You can mail your gear or we can pick your gear up. 

You can trade-in your gear or we will pay you with a check or with Paypal. 

CALL 1-800-221-2253 and ask for Simon Or Email us at 

sales@cambridgeworld.com. Send your equipment for a FREE evaluation to: 

Cambridge World 60-18 Fresh Pond Rd., 

Maspeth, Queens, N.Y. 11378 

TOP QUALITY EXPERIENCED 

REPAIR SERVICE! 

AT DISCOUNT PRICES! Send your equipment for a 

FREE repair estimate to: Cambridge World 

60-18 Fresh Pond Rd., Maspeth, Queens New York 11378 

We have more than 30,000 Used items. Email us your Wish Listat 

sales@cambridgeworld.com or CALL 1-800-221-2253 and we will 

assist you and SAVE you $$$$$$. No item is too small or large. 

NEW FLASHES 

16M…………19.95 DF 183 AF….44.95 

Listing is very partial. 

DF 283 AF…89.95 285HV……...87.00 

Bronica S2A, EC...... Call Bronica GSI...............399.50 Canon 24mm F1.4 ........989.00 

DF 293 AF…89.95 DF 383 AF…124.95 

Bronica ETR...........99.95 Bronica SQ camera.....199.99 

385 HV.........149.95 DF 483 AF…159.95 

Canon 50mm F1.4 ..........79.50 

Canon A2E .............79.99 Canon 1V....................499.99 

Canon 85mm F1.2 .....1,299.00 

Canon Elan.....49.99 Canon 1X......................69.99 

Canon 300mm F2.8 ...2,199.00 

28-105mm F3.8-5.6 AF UC III COMPACT ...99.99 Canon rebel 2000......89.99 Canon Elan....................69.99 

28-200mm F3.8-5.6 AF COMPACT................99.99 

Canon 16-35mm F2.8 ...889.00 

Canon F1...............119.99 Canon VT....................299.99 

35-135mm F4-5.6 AF UC COMPACT............79.99 

Canon rebel XT.....299.99 Canon XTi .................399.99 

Canon 24-105mm F4 ....789.00 

Contax G2.............699.99 

Contax N1…...........…349.99 Canon 28-300mm F3.5 ...1,299 

Exakta RTL................149.99 Canon 70-200mm F2.8 ...1,199 

Contax RTS III........699.99 

Headquaters 

Fuji Digital S3…...….299.95 Canon 100-400mm F4.5 ....1,199 

* Large selsctions of new Exakta VX..............99.99 

Exakta VX 1000......…129.50 Canon 430EX ...............129.00 

Fuji S5 digital.......599.95 

and used Rollei and Rolleiflex 

Hasselblad 503CW.....499.95 Canon 580EX................269.00 

Hasselblad 500C..149.99 

cameras,lenses and accessories 

Retina Reflex ................99.99 Canon 24-70mm F2.8 ...899.95 

LENSES FOR MOST MANUAL 

Kodak Retina IIIc...99.95 

at discount prices!!!!! 

Leica IIIG....................699.99 50mm F1.4 Zeiss Planar...209.00 

Leica IF.................499.99 

& AUTOFOCUS AF CAMERAS 

Leica M3.....................499.99 80-200mm F4 sonnar.....199.00 

CALL William 1-800-221-2253 Leica IIIF...............299.99 Leica R8......................749.99 Hasselblad 150mm F4 ..299.00 

8mm F3.5.............199.99 14mm F2.8..........349.99 

Special Prices on Leica R3................199.99 Minolta X700................99.99 

24mm F2.8.............79.95 135mm F3.5..........29.95 

Leica 35mm F2 Summicron M...899 

28mm F2.8.............49.95 135mm F2.8..........49.95 

Rollei 6000 Series Mamiya RB67.......199.99 Mamiya 110mm RZ lens...229.99 Leica 50mm F2 Summicron M...399 

Minolta XTi............59.95 Maxxum HTsi..….........69.99 

35mm F2.8.............39.95 200mm F3.5..........79.95 

Leica 135mm F4.5 Hektor Screw..129 

50mm F1.8.............69.95 300mm F5.6..........99.95 

Maxxum 7000.........49.95 Maxxum 5000...............39.95 

Adapters Lenses 

Leica 50mm F2 Summicron R..349.50 

50mm F1.4...........189.95 400mm F6.3..........99.95 NOVOFLEX Accessories..................CALL Maxxum 9000.........69.95 Maxxum 700I.............119.95 

Mamiya 55mm F2.8 ........99.00 

85mm F1.4...........308.95 500mm F8.............99.95 

Maxxum 5D..........199.95 Maxxum 7D................299.99 

100mm F3.5.........119.95 500mm F6.3........124.95 

Nikkormat FTN.......99.95 Nikkormat FT2...........119.94 

Mamiya 180mm F4.5....149.00 

800mm F8............219.95 1000mm F11.......799.95 

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

Nikon F...................99.99 

Nikon F2.....................119.99 

Minolta 50mm F1.7.........19.00 

500mm 1000mm combination.........................129.95 

Nikon F100.................199.99 Minolta 80-200mm F4.5..69.00 

19-35mm F3.5-4.5....149.95 28-80mm F3.5-5.6...79.95 

Polaris, Shepard, Soligor, Spectra, Wein, Etc. - CALL Nikon FA..............169.99 

Nikon FM10...............129.99 Minolta 5400HS...............79.00 

Nikon F3...............129.99 

28-105mm Zoom...99.95 28-210mm F3.5-5.6...99.95 

Ansmann, BRNO, Canon, 

Nikon D40..................199.99 Maxxum 50mm F1.7 .......69.95 

Nikon F5...............349.99 

28-300mm F4-6.3..169.95 35-105mm Zoom.....119.95 Cambron, Elinchrome, Gary Fong, Metz, Minolta, 

Nikon N55....................66.99 Nikon 50mm F1.4............69.00 

70-210mm Zoom...79.95 75-150mm F3.5.......49.95 

Nikon D200..........499.99 

Multiblitz, Nikon, Novacon, Norman,Novatron, 

Nikon N8008................79.95 Nikon 18-200mm F3.5..349.00 

75-300mm F4.5 Macro Zoom Lens..................89.95 Olympus, Pentax, Photogenic, Quantum, Sigma, 

Nikon N90..............99.99 Nikonos II.....................79.95 Nikon 80-200mm F2.8 ......399 

100-300mm F5.6-6.7....99.95 100-500mm F5.6-8...395.95 Stroboframe,Stratos, Smithvictor, 

Nikonos V.............179.99 Olympus OM4............179.99 Nikon SB600 ................269.00 

650-1300mm F8 Long Zoom Lens...................249.95 Sunpak, Sony, Vivitar, Etc. CALL 

Olympus OM1........99.99 Pentax 80-160mm645zoom.229.99 

1000-4000mm zoom.........................................349.95 

Pentax K1000..........99.99 Pentax 120mm 645macro..399.99 

1.4X Teleconverter..............................................99.95 Braun, Canon, Epson, GEPE, Kodak Carousel & Pentax 645.............249.99 Pentax LX...................299.99 

2X Teleconverter......29.95 3X Converter...69.95 

Ektagraphic,Kaiser, Panasonic, Optoma, Sanyo, Rolleicord V..........149.99 Rollei 35M..................119.99 

1.5X Teleconverter...69.95 1.7X.Converter..99.95 Sharp, Telex, Da-Lite Screens, 

Topcon super RE…249.99 Rolleiflex F3.5............499.99 

0.42X Fisheye Lens............................................39.95 

Slide Mounts,Vue-all Etc. CALL 

Voigtlander Bessa...599.99 

Topcon UNI..................79.95 

0.45X Wide Angle Lens.....................................39.95 

Vitomatic II..................99.95 

Voigtlander Bessamatic...129.99 

Vittesa......................99.95 

Beseler, Durst, Fujimoto, KAISER, LPL, Yashica FX3............69.99 

Yashica FR1..................69.95 

Omega, Etc. Enlarging Lenses & Darkroom 

14mm F2.8...........989.99 90mm F2.8..........348.95 

Zeiss Contarex.........299.99 

Zeiss Icarex................149.99 

28mm F2.5.............99.99 180mm F3.5........628.95 Accessories. Large selection of papers available Canon 5D……….....999.00 Nikon 35TI…….…....369.50 

24mm F2.5.............79.95 500mm F8...........198.95 (Kodak, Ilford, Fuji, Forte, Etc.) Canon 40D……….299.00 Nikon FM 3A……….399.00 

CALL 

11-18mm F4.5-5.6...434.95 10-24mm F3.5-4.5...429.95 

Contax Aria………299.95 Nikon F4…………….299.00 

Exakta 66………....999.99 

18-200mm F3.5-6.3...158.95 17-50mm F2.8.....334.94 

Nikon D300……........699.00 

Leica M6……...…..999.99 Nikon D200…….…...499.00 

18-270mm............398.95 18-250mm F3.5-6.3...414.95 Alpa, Arca Swiss, Bronica, Contax, Fuji, Cambron, 

Minolta SRT 101…..69.95 Olympus E-520…..…249.00 

20-40mm F2.7-3.5...298.95 19-35mm F3.5=4.5...159.95 Hasselblad, Linhof, Kiev, Mamiya, 

16-28mm F2.8 .....748.00 

24-135mm F3.5-5.6...398.95 Pentax 645D Digital Camera, Rollei, 

12-28mm F4……598.95 28-105mm F2.8....298.95 

300mm F6.3…….299.95 

28-200mm F3.8-5.6...118.95 Rolleiflex, Toyo, Wista, Yashica, Etc. CALL 

17-35mm F4........719.00 24-70mm F3.3-5.6...89.95 

10-17mm F3.5-4.5...444.95 100mm F2.8.........384.95 

28-75mm F2.8.......348.95 

24-70mm F2.8......1195.00 

11-16mm F2.8......564.95 28-200mm F3.5-5.6....99.95 

28-300mm F3.8-5.6...294.95 

Arca Swiss, Bogen, Cambron, Cullman, Berlebach, 

28-80mm F3.5-5.6...68.95 We offer one of the Largest selections of BINOCULARS, 

12-24mm F4.........424.95 50-135mm F2.8....674.95 

70-300mm F4-5.6 329.95 

Giottos, Davis & Sanford, Gitzo, Impact, Linhof, 

28-300mm F3.8-5.6 

16-50mm F2.8......594.95 80-400mm F4.5-5.6....638.95 

VC....584.95 TELESCOPES, RANGEFINDERS AND RIFLESCOPES 

200-400mm F5.6......298.95 

Manfrotto, Slik, Sunpak, Tiltall, 

at LOW DISCOUNT PRICES!!! We also offer you more 

KENKO TELECONVERTER 55-200mm F4-5.6...128.95 75-300mm F4-5.6...128.95 

Vanguard, Velbon, Etc. - CALL than 500 DIFFERENT BINOCULARS!!!!!!! 

1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95 70-200mm F2.8...664.95 200-500mm F5-6.3..758.95 

BUSHNELL, BAUSCH&LOMB, 

SAMYANG/ROKINON/BOWER 60mm F2 Macro........399.95 10-24mm F3.5-4.5....458.99 

CAMBRON, CANON, CARSON, 

7.5mm F3.5...299.00 8mm F3.5…299.00 14mm F2.8…399.00 1.4X Converter....124.95 2X Tele Converter.....138.95 Kodak, Ilford, Fuji, Polaroid, AGFA, Etc. CALL CELESTRON, DOCTER, FUJI, FUJINON, 

35mm F1.4…499.00 85mm F1.4…299.00 500mm F8...99.99 

JASON, KOWA, LEITZ, LEICA, LEOPOLD, MEOPTA, 

1.4X SP Converter...178.95 2X SP Converter...208.95 

500mm mirror..119.99 500mm F6.3..159.99 800mm F8...219.99 

MINOLTA, MINOX, OLYMPUS, PENTAX, SAMSUNG, 

150-600mm F56.3 for $999.99 

24mm F1.4...$699.00 24mm F3.5 Tilt and Shift…..999.00 

650-1300mm f8-16 Zoom Lens....279.99 

NEW SCHNEIDER PC TS LENSES 

Billingham, BobLBee, Domke, Lowepro, SPALDING, STEINER, SWIFT, TASCO, VANGUARD, 

VIVITAR, VIXEN, VORTEX, WEENS & PLATH, ZEISS, 

CINE LENSES 

50/2.8 HM Super Angulon.........................................3498.99 

Pelican, Rimowa, Tamrac, 

8mm T3.8...329.00 14mm...T3.1...449.00 24mm T1.5 749.00 90/4.0 HM Makro-Symmar.......................................3198.99 

3.5mm T1.5...549.00 85mm...T1.5...349.00 

120/5.6 HM Aspheric Apo-Digitar...........................4698.99 

Tenba, Zero Halliburton CALL 

CALL 

TESTIMONIAL OF THE MONTH 

EXCELLENT-DELIVERED ON TIME- 

WELL PACKAGED. 

EXACTLY AS DESCRIBED. 

WESLEY F., 

COXSACKIE, NY 12051 

See more testimonials on our website. 

Olympus XA........79.99 

Minolta 160.......69.99 

Minolta 70........49.99 

Canon 120.........79.99 

Canon 105.........49.99 

Leica minilux.....199.99 

Contax T2.........199.99 

Yashica T4.........99.99 

Nikon lite touch...49.99 

Konica 120.........49.99 

Nikonos II.........99.99 

Olympus 140........49.99 

Pentax 115.........59.99 

Minox GT...........199.99 

Rollei 35..........129.99 

Canon rebel X.......49.99 

Minota 7000.........39.99 

Petri V.............79.99 

Exa.................69.99 

Praktica TL.........69.99 

Ricoh XRP...........99.99 

Canon canonet.......49.99 

Canon dial..........49.99 

Canon P............239.99 

Hasselblad x-pan...999.99 

Mamiya 500 DTL......79.99 

Leica c-lux.........299.99 

Leica C1........... 199.99 

Mamiya 7............699.99 

Mamiya 645E.........199.99 

Mamiya C220..........99.99 

Yashicamat..........129.99 

Minolta 70...........59.99 

Minolta 9Xi..........149.99 

Kodak C800............49.99 

Samsung 170...........69.99 

Pentax auto 110.......69.99 

Nikon F100............169.99 

Olympus IS.............79.99 

Miranda FV.............99.99 

Pentax PZ1.............109.99 

Contax IIa.............139.99 

Contarex...............249.99 

Nikon SB900 ................349.00 

Olympus 50mm F1.8 Zuiko...39.00 

Olympus 70-210mm F4.5.......99.00 

Olympus 50mm F1.4.......99.95 

Panasonic 14-50mm F2.8....479.00 

Pentax 28-80mm F3.5.....39.00 

Pentax 35-80mm F4........44.00 

Sigma 70mm F2.8.........379.00 

Sony 16-80mm F3.5......499.00 

Sony 55-200mm F4.........99.00 

Vivitar 500mm F8 ..........69.00 

Vivitar 283 Flash..................29.95 

2X Teleconverter Extended Lens..29.95 Nikon 35Ti.............299.50 

3X Teleconverter Extended Lens..39.95 Nikon 28Ti.............349.95 

FILTERS 

WE HAVE MORE THAN 10,000 FILTERS 

IN STOCK. CALL ADAM 1-800-221-2253 

Top Quality screw in optical Glass Filters 

19-37mm……19.95 67-82mm……..19.95 

40-49mm……..9.95 86-95mm……..59.95 

52-62mm…….14.95 105-122mm…129.95 

Sun Shade Lens Hoods 

19-37mm……...9.95 67-82mm……..19.95 

40-49mm……...6.95 86-95mm……..69.95 

52-62mm……...9.95 105-122mm…..99.95 

3 Lens Close-up Macro Lens Sets 

19-37mm……..29.95 52-62mm…….29.95 

40-49mm……..19.95 67-82mm…….39.95 

B+W, HELIOPAN, CANON, CAMBRON, COKIN, 

HOYA, KENKO, LECIA, NIKON, 

SINGH-RAY,TIFFEN, ZEISS, 

CALL 

ETC 

email: Sales@CambridgeWorld.com

HORSE TALE 

Erika 

Larsen captures 

enduring traditions 

ERIKA LARSEN 

I WAS TAKEN with how significant 

the horse still is to many Native 

American cultures: Horse skills are 

coveted and horse adornments are 

precious. It’s common for families to 

pass down clothes through generations, 

keeping them as sentiments 

that represent their people. I took this 

photo of Katie Harris, a member of 

the Confederated Tribes of the Umatilla 

Indian Reservation, in Pendleton, 

Oregon, in 2011. She had made the 

dress and most of her horse’s regalia. 

She spent a year crafting new pieces, 

because what little her family had 

was ruined in a flood. Rather than 

viewing this as a loss, she turned 

toward the future, saying, “I’m creating 

my own family history now—this 

shows that my culture is living.” 

—As told to Sara Cravatts 


&9&.1-"3: 

The new standard for high performance 

zoom lenses. 

With a constant F4 aperture and Optical 

Stabilization, this highly requested lens 

with a versatile zoom range yields 

gorgeous images. 

NN'%(04)4. 

Case and Hood LH876-02 included. 

USA 4 Year Service Protection 

4*(."64#%PDL 

Update, adjust & personalize. Customization 

never thought possible. Sold separately. 

SIGMA Corporation of America | 15 Fleetwood Court | Ronkonkoma, NY 11779, U.S.A. | Tel: (631) 585-1144 | www.SigmaPhoto.com 

Follow us Twitter @sigma_photo and Facebook.com/sigmacorporationofamerica

Popular Photography - February 2015 USA

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?