popular photography 2014 - 03

5/21/2018 Popular Photography 2014 - 03.

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46 EPIC NAMIBIAOne of Africas most popular

tourist destinations, Namibia

draws photographers with its

iconic sub-Saharan wildlife,

breathtaking landscapes, and

comfy lodging options.

By Richard Bernabe

and Ian Plant

60GEAR MADETO ORDERWhy limit yourself to off-the-shelf equipment? Thehandcraft movement hascome to cameras, lenses,

and photo accessories. By Theano Nikitas

FEATURES52BEYOND THESELFIE Taking a trulymagnetic self-portrait is no

simple matter. Five creative

shooters tell you how theydo it. PLUS: The gear you

need to take self-portraits

to another level.

By Peter Kolonia

and Dan Richards

HOW TO MAKE GREAT PICTURES MARCH 2014 VOLUME 78, NO. 3

MARCH 2014 POPULAR PHOTOGRAPHPOPPHOTO.COM


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NEXT13WE WANT THIS PanasonicsLeica-branded, Micro Four Thirds portraitlens will definitely find a place in our studio.

14JUST OUT Sonys newest Alpha,a party printer, 35mm f/1.8 DX Nikkor,updated Samsung ILC flagship, and more.

16ROUNDUP The latest generationof wearable cameras may suit your style.

SHARE19PHOTO CHALLENGEA gaggle of high-spirited five-year-olds takesthis months (birthday) cake.

20MY PROJECT He explores whatit means to be a fashion animal.

22I, PHOTOGRAPHER On thestreet where you live: a Google shooter!

24LETTERSYour thoughts on aspectratios, dusty camera sensors, and Nikonsawesome D5300.

26YOUR BEST SHOT A tinysea creature, lovely bouquet, and fleet ofbeached boats win Marchs top prizes.

HOW

33CREATIVE THINKINGPut on your thinking cap if you want tosucceed in photo illustration.

34FIX IT FAST Flip the format toenergize a lackluster composition.

36TRAVELINGPHOTOGRAPHER Visit FloridasSanibel Island for some of the countrysbest seashell, surf, and bird photography.

38LIGHTING Try stroboscopic lightingto supercharge your party pictures.

40SOFTWARE WORKSHOPUse Lightroom to make creatively satisfyingand surprisingly inexpensive photo books.

44YOU CAN DO IT Discover howthe right background and lens can helpwith extreme sports action.

LAB67DSLR TEST Nikon DfThis retrobeauty has classic looks and cutting-edge

performance, but wheres the video?

72ILC TEST Fujifilm X-E2 Withbetter color and res, this X cam rocks.

76LENS TESTZeiss Otus APODistagon T* 55mm f/1.4 ZF An ab-normally large normal lens with style.

78LENS TESTRokinon 16mm f/2ED AS UMC CS This well-priced APS-Cultrawide could wean you from autofocus.

DONT MISS . . .8EDITORS LETTER10SHOWCASE90TIME EXPOSURE94BACKSTORY

POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), March 2014, Volume 78, Issue 3, is publishedmonthly by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage paid at New York, NY andadditional mailing offices. Authorized periodicals postage by the Post Office Department, Ottawa, Canada, andfor payment in cash. POSTMASTER: Send address changes to Popular Photography, P.O. Box 420235, Palm Coast,FL 32142-0235; www.PopPhoto.com/cs. If the postal service alerts us that your magazine is undeliverable, wehave no further obligation unless we receive a corrected address within one year. Publications Mail Agreement No.40052054. Return undeliverable Canadian addresses to: IMEX, P.O. Box 25542, London, ON N6C 6B2. SUBSCRIP-TION SERVICES: Visit www.PopPhoto.com/cs to manage your account 24/7.

N E

W S S T A N D C O V E R S A T O S H I ( N I K O N ) Q U A N T R E L L C O L B E R T

( S E L F P O R T R A I T ) S U B S C R I B E R C O V E R

R I C H A R D B E R N A B E ( T R E E ) Q U A N T R E L L C O L B E R T ( S E L F P O R T R A I T ) T H I S P A G

E B R I A N K L U T C H

44

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EDITORS LETTER

Its Not About NostalgiaOn the surface, the two cameras we subjected

to lab and eld tests this month have little in

common. The Nikon Df has the workings of a

top-of-the-line full-frame DSLR in a body that

harkens back to the classic lm SLRs of the 1970s;Fujilms rangender-style X-E2, while drawn on

familiar lines, wears its retro look less amboy-

antly than other APS-C-format interchangeable-

lens compacts in Fujilms X series. The much

larger Nikon far outweighs the Fujilm. And the two carry price tags about

$1,300 apart. Theyre certainly not meant to compete with one another.

Yet these two cameras have more in common than their sensors 16 mil-

lion or so pixels. In the larger scheme, both the Df and the X-E2 reward more

advanced photographers not only with the sheer quality of their images (in

terms of resolution, low noise, and color accuracy) but in the control and

exibility they provideparticularly in their adaptablity to older lenses.

Nikon quite self-consciously designed the Df for the kinds of photogra-

phers who prefer hard (as opposed to menu-based) control of all of a cam-

eras exposure settingsand who may have legacy Nikkor glass that they

havent been able to mount directly on a digital camera before. In his test

report on page 67, Philip Ryan explains the mechanics of the Dfs backward-

compatible lensmount and the simple steps youll need to take to match

vintage lenses to this high-end DSLRs exposure system. Its too bad that

Nikon doesnt make a split-screen optical viewnder anymorethis tool,

long ago standard in SLRs, makes focusing manually a snap.

Fujilm, on the other hand, did not create the X-E2, tested on page 72, to

cater to lens collectors. Yet with the right adaptor, rangender optics from

other camera systems work very well on this mid-level ILC. (The X-E2 is notunique in this compatibilityRyan often uses old rangender lenses on

ILCs, but they dont work with DSLRs.) In addition, Fujilm made manual

focusing much easier by improving its focus-peaking system and creating a

digital split-screen setting for its electronic viewnders.

By the way, manual focus isnt just for decades-old glass. Even autofocus

lenses generally allow manual override for critical focus, and DSLR videog-

raphy has opened up a new market for manual-only optics. In fact, both of

the lenses we tested this month focus solely manually.

The whole point of interchangeable-lens cameras, DSLRs and ILCs alike, is

the opening up of your optical options. Take advantage any way you can!

NEWSSTANDThe Nikon Df flaunts its

classic good looks in Satoshis photo, but

this photographic tool, tested on page

67, is made for heavy use.

SUBSCRIBER

Richard Bernabe shot this

dead camel thorn tree in the clay pan of

Deadvlei in Namibias Namib-Naukluft

National Park. Plan your tour, page 46.

POPPHOTO.COM8 POPULAR PHOTOGRAPHY MARCH 2014

FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS,such as Renewals, Address Changes, Email Preferences, Billing and Account Status,

go to:PopPhoto.com/cs.You can also call 800-876-6636, email us [email protected], or write to Popular Photography, P.O.

Box 420235, Palm Coast, FL 32142-0235

EDITOR-IN-CHIEFMIRIAM LEUCHTERART DIRECTORJason Beckstead

SENIOR EDITORPeter Kolonia

SENIOR EDITORDan Richards

FEATURES EDITORDebbie Grossman

TECHNICAL EDITORPhilip Ryan

TECHNOLOGY MANAGERJulia Silber

ASSOCIATE EDITORMatthew Ismael RuizGROUP PHOTO EDITORThomas Payne

ASSISTANT PHOTO EDITORLinzee Lichtman

DESIGNERWesley Fulghum

EDITORIAL COORDINATORJae Segarra

CONTRIBUTING EDITORSLaurence Chen, Tim Fitzharris,

Lori Fredrickson, Ian Plant, Jeff Wignall

POPPHOTO.COM EDITORStan Horaczek

ASSISTANT ONLINE EDITORDan Bracaglia

IN MEMORIAMHerbert Keppler

EXECUTIVE VICE PRESIDENTERIC ZINCZENKOPUBLISHERANTHONY M. RUOTOLO [email protected]

ASSOCIATE PUBLISHER, MARKETINGMichael Gallic

FINANCIAL DIRECTORTara Bisciello

PHOTO AND TRAVEL MANAGERSara Schiano Flynn

NORTHEAST ADVERTISING OFFICE

Shawn Lindeman, Frank McCaffrey, Chip Parham

AD ASSISTANTAmanda Smyth

MIDWEST MANAGERSDoug Leipprandt, Carl BensonAD ASSISTANTLindsay Kuhlmann

WEST COAST ACCOUNTMANAGERBob Meth

AD ASSISTANTSam Miller-Christiansen

DETROIT ADVERTISING DIRECTORJeff Roberge

MANAGEREdward A. Bartley

AD ASSISTANTDiane Pahl

DIGITAL SALES MANAGERAdam Miller

ADVERTISING COORDINATORIrene Reyes Coles

DIRECTOR OF CUSTOM SOLUTIONS Noreen Myers

GENERAL MANAGER DIGITAL BUSINESS DEVELOPMENTShannon Rudd

DIGITAL OPERATIONS DIRECTORRochelle Rodriguez

DIGITAL CAMPAIGN MANAGERSAmanda Alimo, Wilber Perez

DIGITAL SALES MANAGER Elizabeth Besada

DIGITAL SALES COORDINATOR Mojdeh Zarrinnal

GROUP SALES DEVELOPMENT DIRECTORAlex Garcia

SALES DEVELOPMENT MANAGERSKate Gregory, Kelly Martin

GROUP CREATIVE SERVICES DIRECTOR Ingrid M. Reslmaier

MARKETING DESIGN DIRECTORSJonathan Berger, Gabe Ramirez

ASSOCIATE ART DIRECTOR Sarah HughesDIGITAL DESIGN MANAGERSteve Gianaca

GROUP EVENTS AND PROMOTIONS DIRECTORBeth Hetrick

PROMOTIONS AND EVENTS DIRECTORMichelle Cast

ASSISTANT EVENTS & PROMOTIONS MANAGERVanessa Vazquez

EVENTS COORDINATORChristine Detris

CONSUMER MARKETING DIRECTORBob Cohn

RETAIL SINGLE COPY SALES: PROCIRC RETAIL SOLUTIONS GROUPTony DiBisceglie

HUMAN RESOURCES DIRECTORKim Putman

PRODUCTION MANAGERBetty Dong

CORPORATE PRODUCTION DIRECTORJeff Cassell

GROUP PRODUCTION DIRECTORLaurel Kurnides

CHAIRMANJonas Bonnier

CHIEF EXECUTIVE OFFICER Dave Freygang

EXECUTIVE VICE PRESIDENT Eric Zinczenko

CHIEF CONTENT OFFICER David Ritchie

CHIEF FINANCIAL OFFICERNancy Coalter

CHIEF OPERATING OFFICERLisa Earlywine

CHIEF MARKETING OFFICERElizabeth Burnham Murphy

CHIEF HUMAN RESOURCE OFFICERLeslie Glenn

CHIEF BRAND DEVELOPMENT OFFICERSean Holzman

VICE PRESIDENT, CONSUMERMARKETINGJohn Reese

VICE PRESIDENT, CORPORATE COMMUNICATIONSDean Turcol

GENERAL COUNSELJeremy Thompson

THIS PRODUCT

IS FROM SUSTAINABLY

MANAGED FORESTS

AND CONTROLLED

SOURCES.


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igh end cinema cameras often require thousands of

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10 POPULAR PHOTOGRAPHY MARCH 2014

PHILIP

RYAN

SHOWCASE * NIKON Df


11/96

POPPHOTO.COM POPULAR PHOTOGRAPHY 11

I WISH I HAD A RIVER

Popular Photographys technical

editor, Philip Ryan, happened upon

this holiday projection on the side

of the Saks Fifth Avenue building

in New York City. Shot handheld at

night, the slow shutter speed led

to a funky effect for some of the

virtual skaters. Leaning against

a utility pole, he used the Nikon

Df and a 50mm f/1.8G Special

Edition AF-S Nikkor lens. The

exposure was 1/30 sec at f/4.5,

ISO 6400. For our full test of the

Nikon Df, see page 67.


12/96

PROMOTION

Photo:

JeffAllen

In partnership with

Popular Photographyand Cycle World, along with Sony, are excited to present a two-damotorcycle and photo/video event not-to-be-missed. Take this rare opportunity to mergyour passion for riding with your desire to capture an amazing riding experience.

As a participant you will receive the Sony Action Cam (HDR-AS30Va $299.99 value) tuse while riding alongside professionals. Enjoy a fast paced track day in Southern Californat Chuckwalla Valley Raceway and a picturesque ride through Joshua Tree National ParCycle World Photo Director Jeff Allen, and Sony Associate Artisan of Imagery and sporaction photographer, Scott Markewitz, will be on-hand to help you hone both your riding an}> i iwi`

Cost $1,299Includes a Sony Action Cam HDR-AS30V, editor meet-and-greet, presentationnational park fees, hands-on photo instruction, meals (two dinners and two lunches), privataccess to Chuckwalla Valley Raceway, entrance fees to each location during the event.Space is limited. Reserve your spot today.

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13/96

BRIANK

LUTCH

NEXTTHE HOTTEST NEW STUFF AND THE TECHNOLOGY TRENDS BEHIND IT

AN 85MMlens, with its medium-telephoto length and face-flattering compression, sits highon many a portrait photographerslist of go-to glassespecially when

PANASONIC

LEICA42.5MM

F/1.2

Micro FourThirds formatNine-bladeaperture14 elementsin 11 groupsPower O.I.S.$1,600, est.streetpanasonic.net

two aspherical, one ED, andone UHR element. Stabilized byPanasonics Power O.I.S. system,it sports a Nano coating to reduceghosting and flare. Minimumfocusing distance is just 1.64 feetwith a 29-degree angle of view.

Expected to street for $1,600,this lens sure looks pricey. But ifit performs as well as its sibling,Panasonics Leica 25mm f/1.4,were sure to be pleased.

WE WANT THIS

TINYTELEPanasonics ultra-fastLeica portrait lens

it also has a large maximumaperture to help blur out thebackground. This Leica-badged42.5mm Micro Four Thirds lensfrom Panasonic is equivalent toa full-frame 85mm, and with theaperture opening up to f/1.2, itsamong the brightest optics forPanasonic and Olympus ILCs.

The 3-inch long, 15-ounce,all-metal barrel houses 14 lenselements in 11 groups, including

POPPHOTO.COM MARCH 2014 POPULAR PHOTOGRAPHY 13

14

15

SONYS LIGHT LITTLE ALPHA ILC

A NIKON PRIME THATS FAST AND WIDE

T KE YOUR FINGER OFF THE SHUTTER

16


14/96


ONE

LINESONYS FIRSThint at the

merging of the NEX and Alpha

lines may have been the Alpha

7 and 7R, but with the release of

the new Alpha 5000, its official.

A natural progression from

the NEX-5 line, this E-mountinterchangeable-lens compact

sports a 20.1MP APS-C sensor

powered by Sonys BIONZ X

processing engine. With no

viewfinder, composing is done

on a tilting (90 degrees up or

Sony retires the NEX namefor new budget Alpha ILC

Sony Alpha 5000

$598, street, w/ 1650mm f/3.55.6 lens

store.sony.com

NEXT* JUST OUT

PARTY PRINTSAn instant Wi-Fi printer for smartphones

WANT TO BE the most popular

person at the party? Bring an

instant camera. But what about

the millions of photos we take

with our phones? Fujifilms

Instax Share SP-1 is a battery-powered wireless printer that

makes 2.4x1.8-inch prints from

your smartphone photos.

Take a picture with the Instax

Share app on your smartphone,

and the printer spits out 254-

dpi prints on Fujifilm Instax

Mini instant color film about 16

seconds later. It has all kinds of

cool features for personalizing

your prints, and it can connect

to eight different phones at the

same time. Now thats a party!

down), 3-inch LCD.

The a5000 uses Near Field

Communication (NFC) to

connect to smartphones and

tablets via Wi-Fi. A suite of

Sony claimsthe Alpha5000 is thelightest ILCwith Wi-Fi.

Fujifilm Instax Share SP-1

$200, estimated street

www.fujifilmusa.com

Liquid ShutterTo expose imagesreceived by Wi-Fionto instant film, theFujifilm Instax ShareSP-1 uses an RGB LEDexposure light with a

liquid crystal shutter.Commonly used in3D applications, thisshutter consists of asingle pixel that turnson and off, allowinglight to pass throughand react with thedeveloping chemicalsin the film.

INSIDE TECH

> If $200for that newFujifilm InstaxShare printerseems steep,try Polamatic4.0, a $1 iOS

app that letsyou watch youriPhone photosdevelop.

>If you wantto photographat any of the83 city parksthroughoutKansas, youllnow have tofork over $50for a 5-daypermit.

custom Sony PlayMemories

apps can be downloaded to the

camera, including a remote to

control shutter and exposure

settings from an iOS or Androiddevice with the app installed.

The a5000s 4-frames-per-

second burst rate isnt ideal for

sports or other fast subjects, but

the cameras sensor is sensitive

up to ISO 16,000 and captures

video at up to 1920x1080i60/p24.

Conveniently, the battery can

be charged in the camera using

a USB cable.


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full-frame equivalent boasts 11elements in 8 groups, NikonsSilent Wave autofocus motor,and its Super Integrated coatingto reduce ghosting and flare. The

lens offers a 63-degree viewingangle and focuses at 9.8 inches.

OVER THE past few years, Nikonhas steadily updated its lineupof f/1.8G prime lenses. The mostrecent, the 35mm f/1.8G ED, isalso the last, joining models at the

28-, 50-, and 85mm focal lengths.Those lenses offer fast aperturesat reasonable price points, andthe 35mm is no differentacomparable f/1.4 from Nikonstreets for $1,000 more.

Formatted for Nikons DXAPS-C) DSLRs, this new 52.5mm

FAST AND WIDENikon completes update of its f/1.8 primes

>GoPro isgetting its own

channel onMicrosoftsXbox Oneservice this

spring, but willeschewuser-generatedcontent in favor

of videoscommissionedby the action

cameracompany.

>AIMe is anew camera

mount fromJigabot thatuses abeacon toautomaticallycontrol thepositioning of amountedcamera.

>AdobesCreative Cloud

has an update.

New featuresinclude

PhotoshopsnewPerspectiveWarp, Linked

Smart Objects,and3D-printing

capabilities.The update isfree for current

Creative Cloudsubscribers.

> Oh, theplaces yourhidden camerawill go! Afalcon grabbedan egg-shapedcamera, takingan aerial videoof a penguincolony. Thecamera isbeing used tofilm BBC OnesPenguinsSpy

in the Huddle.

THE NX STEP

Nikon 35mm f/1.8G ED

$597, street

nikonusa.com

MAKING SENSE OF NOISEThe European Union's Joint Research

Center recently won an award for a

research paper that explores the use

of sensor pattern noise to identify

the camera used to create an image.

Identifying a camera through noise

has been looked into in the past, but

the JRCs paper explores the ability of

law enforcement to use images shared

through social networks to identify the

owner of a specific camera.

THE LOWDOWN

THE NEWflagship of SamsungsDSLR-styled line of ILCs, theNX30 upgrades its predecessor,

the NX20, with a 20.3MPsensor first seen in the

NX300. New featuresinclude a pull-out,tilting, 2,359K-dotelectronic viewfinderpaired with a swiveling,tilting, 3-inch, 720x480-pixel rear touchscreen.

Sensitivity rangesfrom ISO 10025,600,

and its DRIMeIV processorcaptures up to 9 frames persecond in continuous shooting

mode. Built-in Wi-Fi lets you useyour smartphone as a remoteviewfinder or transfer device,and the latest Adobe PhotoshopLightroom is included.

Shown here on the camera,Samsungs new 1650mm f/22.8 S ($1,299, street, as a kit) iseven more interesting. Openingup to f/2 at the wide end, its thefastest ILC zoom lens available.

A new Samsung NXbody and speedy zoom

Samsung NX30

$999 with 1850mm f/3.55.6 OIS

www.samsung.com

All About MMeFinder app for iOS

Appealing to thenarcissist in all of us,Kooboodles MeFinderapp automatically findsphotos of you on yourfriends devices andmakes it easy to swapthem for your picturesof your friendsor huntdown pictures you wandeleted. The app has yophotograph yourself, thinvites your friends to jo

If they accept, it scanstheir phones for pictureof you (and vice versa).After they are identifiedthe app transfers thephotos between phoneVisit mefinderapp.com sign up for early access


16/96

POPPHOTO.COM

>Hasselbladannounced

its new

50-megapixelH5D-50c

medium-formatcamera, the

first medium-format modelto use a

CMOS sensor.

> A group ofBrigham YoungUniversitystudents areaiming toturn humanvanity intocharity withSelfiePolice, amovement thatencouragespeople whopost selfies todonate $1 tothe educationcharity Vittana.

> Fujifilmcelebrated its

80th birthdaywith a teaserimage ofits newestX-mount ILC,a DSLR-styledmodel withlots of physicaldials andbuttons. Besure to checknext monthsPop Photo formore details.

> Nikonrecentlyannouncedthat it hasproduced morethan 85 millionlenses for itsfull range ofinterchange-able lenscameras.

FOR DSLRS that can capture4K video (Canon EOS-1D C)

or massive RAW files (NikonD800), a fast, high-capacitymemory card is an essentialtool to get the job done.Lexars newest CompactFlashcards fit the bill, claimingtheoretical transfer speedsof up to 160MBps (1066X) incapacities up to 256GB ($970)and up to 120MBps with the800X 512GB ($1,500) cardsfastenough for painless transfer

of a card full of 50MB RAWfiles or 4K video. Lexar alsoannounced 3333X CFast 2.0cards in capacities up to 256GB,but youll have to wait a bit touse onethere are currently nocamera models on the marketthat utilize the brand-newCFast 2.0 specification.

Lexars new CF cards bringspeed to high capacity

TOOLBOX

500MBps

SOURCE:Lexar

Looxcie 3 $100Connect this 1.8x1.8-inch square to theInternet via Wi-Fi, and you can livestream video directly to Facebook. It

records up to 1.5 hours of HD video at 1920x1080p30 directly to its

internal memory, but also takes micro SD cards as large as 64GB.

Panasonic HX-A100D $224The most action-cam-like model of the bunch, the HX-A100D has a lens that connects

by cable to the rest of the unit, allowing for creative placement. It

provides a very wide 160-degree angle of view.

Narrative $279This clip-on camera captures two geotaggedphotos per minute, recording orientation data that allows for upright

viewing regardless of how it is arranged on your body. Photos are

stored in the cloud and viewed via an iOS or Android mobile app.

Vergence Labs Epiphany Eyewear$299At first glance, the Epiphany appears to be a pair of spectacles.But the frames hide a discreet camera, USB port for charging

and transfer, and a button to adjust the tint of the eyeglasses.

Autographer $399Meant to be worn around the neck,the Autographer has five sensors that are meant to detect when you

are doing something interesting, then automatically take a photo. It

connects to smartphones via Bluetooth and computers via Wi-Fi.

Google Glass $1,500This augmented-reality device isessentially a limited-edition prototype of a wearable smartphone. The

camera can be triggered by voice, capturing video or stills

while using a heads-up display for directions and controls.

WE LOVE action cameras for their versatility and durabilitytheygo places most cameras cannot. But they are rarely discreet,

and typically unsuitable for all-day use. Now, a new breed of

wearable cameras has come to market, designed to ensure you

never miss another shot. Here are a few of the latest models:

1.2MBps transfer rate of its 8X CompactFcards, released in 1999

transfer rate of Lexars new3333X CFast 2.0 cards

I

SPEED

16 POPULAR PHOTOGRAPHYMARCH 2014

NEXT*ROUNDUP

EYE WEAR

BACK-UP STORYPhotos taken withthe Narrative are

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17/96

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18/96

The Sony Imaging Edge Food and Photography

workshop held from November 15-17, 2013 in

Charleston, South Carolina, was definitely an

experience you could sink your teeth into. Popular

Photography and Saveurmagazine created a 3-day

food and photography event that combined the joys

of fine and casual dining, one-of-a-kind Chefs Table

cooking demonstrations, and personalized hands-on

photography instruction.

The event began with presentations by Sony Artisan

of Imagery photographer Andy Katz and noted Saveur

food photographer Ariana Lindquist. The workshop

commenced with a photographic walking tour using

the Sony NEX-3N to capture Charlestons famed Historic

District. A meet and greet followed and dinner was

held at the acclaimed High Cotton Restaurant where

everyone took mouth-watering shots of the exquisitely

presented food before enjoying it.

The next day, the group headed for Charleston

Farmers Market to select and photograph fresh

ingredients to create their Snapper Crudo Salad.

Local Chef Robert Berry provided hands-on

instruction at Le Creuset Kitchen. After lunch there

was a review session with workshop photographers

who gave feedback on images. Later that evening,

a Low Country influenced dinner was prepared

with Chef Craig Deihl, executive chef of Cypress

Restaurant. After preparing the meal everyone used

their Sony NEX-3N to capture the perfect shot of

the dinner.

The last day of the workshop included a visit to

the historic Magnolia Plantation to photograph the

impeccably landscaped gardens and plantation.

The workshop concluded with a delicious brunch

at The Grocery Restaurant before everyone said

goodbye to this unique and delectable city.

A LOOK BACK AT A DELICIOUS PHOTO EXCURSIO

Inpartnershipwith

- April Taylor Philadelphia Pr P

I have been on a number ofph ot ogra ph y to ur s an d wo rk -shops and I would rankthis one as one of the very bes

The weekend exceeded all of

my expectations gourmet fooone of a kind Chefs Table cooking demonstrations, andpe rs on al iz ed ph ot ogra ph yinstruction! The culinaryexperiences, photographyexcursions, and allarrangements were expertlyarranged and trouble-free.

MJ G

A

prilTaylor

L

arryVeltman

To see more photos please visit

www.imagingedge.com/workshops

CHARLESTON, SOUTH CAROLINA

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19/96

20

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BESTIAL HUMAN PORTRAITS

GOOGLES STREET VIEW WIZARD

YOURBEST NATURE SHOTS

MARCH 2014 POPULAR PHOTOGRAPHY 1POPPHOTO.COM

HARECONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED

ALLSMILESAn uncle captures his familyswinning expressions

PHOTO CHALLENGE

JUNR

OJAS

JUN ROJAS wanted a group portrait

of his nieces and nephews but was

looking for a new angle. I didnt

want to photograph them in a stu-

dio where they would look posed,

he says. It should look natural. So

the 46-year-old operations man-

ager from Iloilo City, Philippines,

took a different perspective.

Rojas mademinoradjustments

to his scannedoriginalin AdobePhotoshopCS5 andLightroom 3.

away, he attached a Speedlite

380EX II to his Canon EOS Elan II

to ll in the afternoon shadows.

He called out, the kids looked up,

and the exposure (1/125 sec at

f/5.6 on Fujilm Superia 100 lm)

met our challenge for great group

portraits. Matthew Ismael Ruiz

Rojas set the children up on

the lawn at his sisters house,

plying them with burgers and

spaghetti as he took his camera

up to the veranda for a birds

eye vantage point. Zooming his

2880mm f/3.55.6 II Canon EF

lens wide as the kids munched

In You Can Do It (Tree Topper page 44), Scott Markewitz captures a mountain bikeragainst an elegant background. Show us your action shots with beautiful backgrounds

by March 31you could win $100, and your photo here. Rules: PopPhoto.com/contests.


20/96

Animal Instinct Miguel Vallinasis based inMedina delCampo, Spain.

See morework at www.miguelvallinas.com.

AFTER COMPLETINGSkins,a

portrait series of people in their

work attire, advertising and

industrial photographer Miguel

Vallinas pondered ways to

capture the different sides of

human nature. One day, hanging

out with his dog Leo, Vallinas

had the idea to capture his pets

human side by compositing it

with a self-portrait, giving birth to

his next series, Second Skins.

The idea is, If you were a

rabbit, what would you wear?

How would you pose? posits

Vallinas. Forty or so composites

later, he had created personalities

ranging from the average pigeon

to exotic beasts.

The Spanish photographers

initial subjects included both

live animals, scouted and

photographed from farms

in the local countryside, and

taxidermied animal heads

belonging to private owners or

Cross-species dressingin composite images

MIGUELVALLLINAS(10)


SHARE*MY PROJECT


21/96

the University of Vallodalids

collection. After photographing

these on location, Vallinas would

go back to the studio and choosea suitable outfit for each animal.

He photographed either his wife

Leticia or a friend wearing the

clothes, then composited the two

images together.

To get an accurate composite,

all of the technical details of the

two photos had to match, which

took a lot of trial-and-error. He

photographed both the animals

and the humans with a Canon

EOS 5D and 24105mm f/4L

Canon EF lens. He used sunlight

on farms and a single side light

and reflector to soften shadowswhen shooting taxidermied

subjects indoors.

Vallinas also kept the lighting

simple in the studio, using only

a single strobe and reflector.

Positioning these and his tripod-

mounted camera proved trickier,

and he always had to refer to the

initial animal photo. Finding the

angle and distance is the hardest

part, he says. First hed set the

correct tripod height, then adjust

placement of the equipment. The

models pose also needed to suit

the angle of the animals head.The photographer also did a lot

of finessing in Adobe Photoshop

CS6, mainly to line up the animal

and the neckline. Reproducing

the shadows between the clothing

and the animal skin is the most

delicate part, Vallinas says.

He is happy with the results: It

shows possible personalities not

available to us humans.

Lori Fredrickson

Vallinascreated themore than40 imagesthat make upSecond Skinsbetween thesummer of2012 andspring of 2013.



22/96

DOMINICKF.WONG/SOOPHOTOGRAPHY,IMANSTUDIOS

.NET

its all ingested. The computer

uses machine learning to

automatically detect what needs

to be blurred for privacy. We hel

it along by doing some image

enhancements like HDR and

noise reduction. Whats difficultis compensating for differences i

exposure between the cameras.

How do you stitch all the

images together?We have

the luxury of a fairly fixed

configuration. The lenses are

fixed focus, adjusted individually

and locked in place. We make

sure to orient the lenses precisel

so we only have one step of

calibration. We measure theprecise angle of all the cameras

in relation to each other. The

full rosette is then calibrated for

camera-to-camera positioning,

camera image space overlap,

and color, so you can take your

resulting rectangular image

and paste the pixels from the

different cameras into the right

spot. And that's very simple.

Right, simple. How do you adnavigation to the images?W

have petabytes of dataevery

block or so equates to around 10

megabytes after compression. W

complete 3D from laser data and

sometimes, from the imagery,

add the arrows and other things

youll see around the image. We

run optimizers for the GPS data

as well as all the sensors, such a

the accelerometer data and the

speed of the car.

Is there room for human

photographers in Street View

We train trusted photographers

for a project called Google

Business Photos. They market

their services and shoot Street

View-like pictures inside small

businesses, which get published

in Google Maps, Street View-styl

Interview by Elbert Ch

SHARE*I, PHOTOGRAPHER

POPPHOTO.COM22 POPULAR PHOTOGRAPHY MARCH 2014

How did you get involved in the

Google Street View project?

I was originally part of Googles

optical character recognition

efforts because of my machine

learning and computer visionbackground. I joined an early-

stage project to capture large

amounts of street-level imagery.

We launched Street View in 2007,

and now Im an engineering

director in charge of the project.

What are your cameras like,

and who operates them? Our

camera captures 75 megapixels

actually shot by 15 cameras that

are 5MP each, equipped with

5.1mm lenses with fixed f/2

apertures. Thats roughly 65MP

after we remove overlap regions.

We secure the camera rig on small

cars by racks usually used forbicycles or skis, outfitted with a

custom baseplate. We source local

drivers who know the streets well.

There are simple instructions

you know, avoid drive-throughs.

We lost a few cameras like that.

How do you obscure the

addresses and faces? The

drivers ship the hard drives of

images to data centers where

Luc Vincentis anengineeringdirectorat Google,based in itsMountain

View, CA,

office. Yousee theresult of his

teams workwhenever

you use theStreet Viewfunction ofGoogle Mapsat maps.google.com.

Googles EyeLuc Vincent leads the Street View team,with its robot and human photographers


23/96


24/96

xtra Wide

The Right Ratio (Tech Talk, February 2014)and Did You Know [in Februarys HOWsection] covered a lot of ground on aspectratios. One Ive used, the cinematic aspectratio of 2.39:1, can do some interesting thingsfor a landscape photo. Give it a try!

Wayne Woodruff

Chalfont, PA

IT IS ALWAYS interesting to seenew and unusual ways to create

images. However, Light Show

(You Can Do It, February) presents

one significant issue: even though

you did say to keep the body cap

in place when not shooting, I still

question leaving a sensor exposed

to the dust in the air when making

exposures that can be more than

10 seconds long. I have spent

enough time and money keeping

my sensors clean, and the thoughtof leaving it unprotected for more

than a few seconds gives me

nightmares. William Ruting

Lyons, IL

I JUST RECEIVED my February

issue in the mailgreat stuff,

as always. The Showcase image

of the upper stages of the

Saturn V rocket caught my eye

immediately. I was impressed

with the clarity and depth of fieldthat the Nikon D5300 captured in

such a relatively low-light setting,

and the exposure data1/250 sec

at f/13, ISO 6400seemed about

right for a spot-lit subject in an

otherwise darkened museum

space. I was interested to see the

D5300 review later in the issue.

Imagine my surprise when I got

to the test results and saw that

the cameras noise rating at ISO

6400 was Unacceptable. Im leftto conclude that either the rocket

shot was subjected to a lot of nois

reduction in postprocessing or

that theres a serious disconnect

between the lab test results criter

and the real world. Still, its a real

nice picture. Mike McKel

Fircrest, W

EDITORS NOTE: For our print edition

we convert images to CMYK and run

them at lower res than you would seat the full image size. This reduces

the appearance of noise. Also, our

Unacceptable rating is tough, and t

D5300 barely exceeded it at ISO 640

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HOW TO CONTACT USAddress your questions orcomments on editorialcontent to Popular

Photography, 2 Park Avenue,New York, NY 10016; e-mail,[email protected] letters may beedited for length and clarity.We regret that we cannotanswer all letters. Editorialcontributions sent by mailmust include return postageand will be handled withreasonable care; however, weassume no responsibility forreturn or safety ofphotographs, disks, ormanuscripts.

SUBSCRIPTIONSVisit PopPhoto.com/cs for allsubscription inquiries, call usat 800-876-6636, or emailus at [email protected].

Please allow at least 8 weeksfor a change of address;include both your old and newaddresses, and if possible an

address label from a recentissue. 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 foreign1 year, $38; 2 years, $76;3 years, $114. Occasionallywe share our information witother reputable companieswhose products and servicesmight interest you. If youprefer not to participate,please contact us [email protected] opopphoto.com/cs.

REPRINTS AND

EPRINTSFor Reprints email [email protected].


25/96

s u n p a k . c o m

The Sunpak DigiFlash 3000...

A brighter idea for

yourDSLR camera.The very capable Sunpak DigiFlash for DSLR cameras offers all the power you need, with the features professional

photographers demand. With complete TTL compatibility for your Canon or Nikon DSLR camera, the DigiFlash

3000 is perfect for portraits, groups, sporting events and stage productions. And it packs more flash power than

your DSLRs built-in flash, so you can capture perfect moments using longer zooms, for stunning results. And no

more running out of flash power when you need it.

The DigiFlash 3000 is loaded with professional features, such as a bounce and swivel head for the ultimate in

lighting control and creativity. To customize flash coverage, its built-in manual zoom head matches any 18 mm

to 70 mm DSLR lens. And with a low light autofocus assist, you wont miss another shot when light is poor.Big on power and high on features, the DigiFlash 3000 delivers what you need, at a fraction of the price of a

comparable camera-brand flash.

For more info on the Sunpak DigiFlash 3000, go to: sunpak.com/DF3000.

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Taken with built-in fl as

Taken witSunpak DigiFlash 3


26/96

atural World

Want toenter? Get

the officialrules andupload yourimages atPopPhoto.com/contests.

SHARE*YOUR BEST SHOT

3rd Place$100 Prize MARKNAKAMURA, TEACHER, SAN LUIS OBISPO,

CA Inspired by a Popular Photographyarticle

about using a lightbox for a backdrop, I

dusted off an old one I used to sort slides

with and photographed these flowersin my living room. To make sure the

backlight did not overpower the picture,

I used eTTL on the flash to balance the

exposure. TECH INFO:Canon EOS 5D Mark II,

2470mm f/2.8L II Canon EF lens, and Canon

Speedlite 580EX II; 1/100 sec at f/4.5, ISO 80.

RAW conversion in Adobe Photoshop Lightroom

5; color correction in Photoshop CS6.

2nd Place

$200 PrizeJEFFREY DE GUZMAN, 44, EXECUTIVE,MANILA, PHILIPPINES I took this photo

while diving at Nudi Falls in Lembeh,

Indonesia. My dive guide pointed out tiny

bubbles on a whip coral at 20 meters. He

insisted I look closer, and when I did, I was

shocked to see tiny eggs with eyes looking

back at me. TECH INFO:Nikon D800E with

105mm f/2.8G VR Nikkor lens; 1/320 sec at

f/32, ISO 50. Nauticam Super Macro Converter

(+13 Diopter) and housing, I-torch Carbonic II

focus light, and two Sea & Sea YS-250 strobes.

This months winners nd natures beauty in disparate settings



27/96

Choose your focus and well focus on you.

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SHARE*YOUR BEST SHOT

1st Place

$300 PrizeSURYO ONGKOWIDJAJA, 38, DESIGNER,SURYABA, EAST JAVA, INDONESIA

Kenjeran Beach is a famous spot for local

photographers to take photos of the sunrise.

During the day, local people visit for picnics

with family or rent fishermens wooden

boats for sailing along the beach. Early one

morning, I went out with a few friends,

hoping for high tide and a perfect mirror-

reflection shot. But we cant change the laws

of nature, and it was low tide. Disappointed,

I walked to the end of the docking bay untilI saw this dramatic scene of fishermens

ships parking along the beach, seemingly

stranded.TECH INFO:Sony Cyber-shot RX1 onCambophoto tripod; 1/2 sec at f/11, ISO 50. RAW

conversion in Adobe Camera Raw 8.3; bi-color

preset from Nik Color Efex 4 in Photoshop CS6.



29/96



30/96

REGISTER ONLINE AT MENTORSERIES.COM- For more information, call toll-free 888-676-64

Donnie Se

Donnie Se

Donnie Se Donnie Sexton


31/96

Special thanks to our premier sponso

Come to Montana and try out some of t

latest equipment that Nikon offers includi

their high-performance HD-SLRs, NIKKOR lens

the Nikon 1 System, and a variety of COOLP

compact digital cameras.

COOLPIX A D610D800

The Mentor Series is headed back to one of our most popular

destinations, Glacier National Park, Montana. Often referred to as

the Crown of the Continent, the park will be dressed in its summer

best, with carpets of multi-colored wildflowers set against the

backdrop of rugged peaks. Join Mentor Series and Nikon professional

photographers Reed Hoffmann, Tom Bol, and Bob Smith to learn the

ultimate photo tips and techniques for capturing all the beauty that

Montana and Glacier National Park have to offer.

Master the art of sunrise photography when you experience the first

colors of the day reflected in the waters of Two Medicine Lake. Add

to this a journey across the Going-to-the-Sun Road, an engineering

marvel completed in 1932 that affords sweeping views of Glaciers

iconic peaks. One of the stops will be at the summit of Logan Pass, a

popular hangout for marmots, mountain goats, and bighorn sheep.

An easy hike will take us to the Hidden Lake overlook.

One day is devoted to the Many Glacier valley, and includes boat

rides across Swiftcurrent and Josephine Lakes to the trailhead for

Grinnell Glacier. A healthy hike will get us off the beaten path and

into Glaciers backcountry. Watch for moose and bear that frequ

the area. The historic and massive Many Glacier Hotel offers up

chance to focus on architectural photography at days end.

Adding to the amazing photos ops in Glacier will be a visit to

Triple D Game Farm to shoot some big critters in their na

environment.

Another highlight of this trek will be a day devoted to the No

American Indian Days. Taking place on the Blackfeet Ind

Reservation, this native celebration offers up endless chances

capture vibrant dance competitions and drumming, as well

parade action. Drawing Native Americans from the United St

and Canada, this festive powwow provides a glimpse into the cult

of Native peoples. Adding to this day is the opportunity to sh

traditional rodeo and Indian relay action, taking place adjacen

the powwow grounds.

This action-packed workshop, with so much diversity for photogra

is not to be missed. Sign up today!

JULY9-132014

With additional support from:

SCHEDULED TO APPEARLimited to 15 Students per Mentor

REED HOFFMANN

USA TodayAssociated Press

BOB SMITH

National GeographicConservation Society

TOM BOL

National Geographic AdventureAlaska

Workshop Fee: $1,525Includes snacks and water on the bus, transportation to each shooting location, park

permit and entrance fees, in-field instruction, presentations, and digital review sessions.

Donnie Se Donnie Sexton Donnie Sexton


32/96


33/96

ERIKJ

OHANSSON

MARCH 2014 POPULAR PHOTOGRAPHY 33POPPHOTO.COM

HOWEXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS

MAKE YOUR OWN PHOTO BOOKS

36

40

EXPLORE SANIBEL ISLAND; FIND A BACKGROUND FOR ACTION

44

38

TRY STROBOSCOPIC LIGHTING

For more of

Johanssons

magical

composites,

visit

erikjohansson

photo.com.

CUT & FOLD is how Berlin-

based commercial photographer

Erik Johansson titled this

humorous image of one cyclists

road hazard from hell. Long

before he sat down to his

computer, the work to produce

the image began with a lengthy

process of observation and

imagination. He visited and

revisited ideas and concepts in

order to refine and strengthen

the images visual potential.

The process included asking

questions about how he might

mix up or flip around physical

relationships and viewers

expectations.

Inspiration is everywhere, h

says. Its more about being in

receptive mood, trying to think

CLIPPING PATHBefore picking up a camera, put on your thinking cap


34/96

PARFOCAL VS. VARIFOCAL ZOOMS

IN THISmonths test report of Nikons retro-style Df (page 67), Philip Ryan extols theDSLR for the ease with which it accepts older Nikon lenses. One reason photographers

might want to explore the option? The parfocal zoom. Older zooms often had parfocal

designs that let users zoom in and out while maintaining sharp focus. Perhaps the

main advantage this offers is the ability to zoom in on a subject, check focus, and

then zoom out for a wider view with confidence that the subject will remain sharp.

Conversely, almost all current zooms are varifocals. With these zooms, as the focal

length of the lens changes, so does the focus point. In a lens manual focus mode

especially, users must remember to refocus whenever the zoom setting changes.

DID YOU KNOW?

HOW* CREATIVE THINKING


about ideas all the time, and

trying to see differently than

you do in your day-to-day life.

The inspiration for this

image struck during a visit to

the photographers parents in

Gtene, Sweden. It was therethat he encountered the idyllic

scene that would form the

base image for Cut & Fold.

Upon viewing the image, he

wondered how he might morph

this flat landscape into hills,

and that led him to ask how

he might render the scene to

resemble something other than

a conventional landscape.

I thought that transforming

it to appear paper-like wouldallow me to open up the

scene somehow, Johansson

remembers.

He sketched ideas in his

notebook, but it wasnt

until later when he noticed

cut here dotted lines in a

magazine advertisement that

the aha! moment happened.

Suddenly, the whole concept

came together, along with

a cyclist to help viewers putthemselves in the scene.

In a fascinating time-

lapse video (posted at

youtu.be/TiCLMePjK-Y),

Johansson compressed 15

hours of postprocessing into

approximately five minutes.

Viewing it, one is struck by

his meticulous zooming in

and out to achieve just the

right look for the grass, rocks,

and roots. The photographersays he really doesnt use any

advanced editing techniques,

just an sharply focused eye for

detail and realism.

Like a fine wine, Johanssons

work takes time. For images

like this, you really have to

have a lot of patience, he says.

I can only produce about eight

or ten of them each year.

Laurence Chen

MID-

TROTSTOPWe ip the format

FIX IT FAST

Swensonsexposure:1/1400 secat f/2.4 onan AppleiPhone 5.She mademinoradjustmentsin AdobeCameraRaw.

THE GREAT advantage of cell-

phone cameras, of course, isthat you can grab a shot almost

anywhere, as Sarah Swenson did

astride her horse on Antelope

Island in the Great Salt Lake. And

as usual, the Fix It Fast Team

wanted to tweak the tonality and

composition.

Using the photographers

original JPEG in Adobe Photoshop

CCs Adobe Camera Raw, we

reduced the overall exposure

and decreased the highlights fora more saturated effect. Then

we increased shadow detail to

see a bit more of the bison, and

added clarity in the horses hair

for a bit more detail. For a bluer

color balance, we took down the

yellow a little bit overall.

The shot looked somewhat

off-kilter to us, so we rotated

it slightly counterclockwise to

level the line of the background

clouds. We tried it as a square

composition, which reduced

extraneous space and added to

the slightly humorous effect.

So we decided to take it a notch

further to a 4:3 vertical, which

we think intensifies the images

focus. Total fix time: 15 minutes.

Dan Richards

and Debbie Grossman

SARAHSWENSON


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SARALOPEZ,THROUGHTHELENSGALLERY.COM

HOW*TRAVELINGPHOTOGRAPHER


DONT MISSthe opportunities

to photograph birds as you cross

the causeway onto Floridas GulfCoast islands of Sanibel and

Captiva, says Florida nature pro

Sara Lopez. There are pelicans,

royal terns, least terns, and

ospreys fishing in the waters next

to the three-mile road.

More than two-thirds of these

adjoined islands are wildlife

sanctuary and are home (or a

migration stopover) to nearly 300

bird species, according to Lopez

shooting (and life) partner DickFortune. You wont find fast-

food restaurants, stop lights, or

any buildings higher than a palm

tree, he says. But there is a lot

to photograph, including the

endangered Florida woodstork,

manatees, dolphins, butterflies,

flowers, and crocodiles.

Among their favorite stops:

the 6,300-acre J. N. Ding Darling

National Wildlife Refuge. There

are more than four miles of

wildlife drives where you can

stop to photograph, says Lopez.

She suggests grabbing a map and

tide chart at the visitors center.

Low tide is best for wading birds

and when this happens in the

golden hours it is magical. The

refuge is open from 7 a.m. to 6

p.m. in March (closed Fridays). Aparticular highlight: the roseate

spoonbill roost. They preen there

in morning and then return again

at the end of the day, she says.

Two other productive venues:

The Sanibel lighthouse and the

fishing pier. Beaches at the

lighthouse provide access to

wading birds and the dolphins

when theyre around, says Lopez.

Jeff Wignall

Nature makes a splashon Sanibel Island

GULF GAME

SEEING MORE SANIBELBecause much of Sanibel and Captiva is eitheinaccessible by land or best explored withguides, here are four popular tour operatorswho can show you the hidden sights:

OADVENTURES IN PARADISE CRUISES www.adventurein-

paradiseinc.com.It specializes in narrated morning, afternoon,

and sunset dolphin cruises, sea life and shelling excursions, as

well as holiday and fishing charters. You can also take a two-hou

history-related trolley tour of Sanibel.

OCAPTIVA CRUISES capitvacruises.com.It offers a variety of

nature cruises, including dolphin- and wildlife-watching rides

on nearby Pine Island Sound, plus sunset, beach, and shelling

cruises to secluded Cayo Costa State Park and other inaccessib

out-island sites.

O JENSENS TWIN PALMS RESORT + MARINA 15107 CaptivaDr., Captiva.Visit here for boat rentals (from 16-foot skiffs to

24-foot pontoon boats), private boat excursions, fishing guides

and excursions, water taxi service to out islands including Cayo

Costa State Park, historic Boca Grande, and Pine Island, home t

the historic Calusa Indian Shell Mound.

OTARPON BAY EXPLORERStarponbayexplorers.com. This

is the officially licensed concessionaire within the Ding Darling

National Wildlife Refuge and offers a variety of guided kayak an

canoe tours, as well as rental kayaks, canoes (including electric-

motor canoes), standup paddleboards, and bikes. It also rents

20-foot pontoon boats that hold up to eight people. You can sta

your own photo workshop!

Sara Lopez captured a great egretforaging in Sanibels Ding Darlingwildlife refuge. She shot with a Canon

EOS-1D Mark III and 300mm f/2.8LCanon EF lens with teleconverter.Exposure: 1/800 sec at f/7, ISO 200.


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38/96

can perform another useful

function. The club owners who

hire me want the venues to look

busy and crowded. To do that,

I have to minimize any empty

space between people, he says.

Because each stroboscopic pop

produces a separate exposure,

For moreof Joycesclub photos,visit www.lukejoycephotography.com.

STROBOSCOPIC FLASHlighting

has lots of great uses, not the

least of which is stoking your

creative juices. Its most often

used to capture movement, as in

the classic multi-pop renderings

of golf swings or pirouetting

dancers. As Luke Joyce, a music

performance shooter from

Belfast, Ireland, knows, when

shooting events that draw

crowds, stroboscopic lightingLUKEJOYCE

When it comes to crowds, think stroboscopic


*LIGHTINGHOW

RAVE LIGHTING


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Using the

clubsstrobes asa main lightsource, Joycehandheld thisexposure for0.8 sec at ISO500 (apertureunrecorded).

individuals can appear two or

three times in a single image, ifonly as a blur. These multiple

images can fill any empty space,

exaggerating both the size and

energy of a crowd.

Joyce will sometimes produce

his stroboscopic lighting with an

on-camera flash. For this shot,

though, that wasn't necessary.

Being a regular at this club, I

know the lighting technician

well. These guys can really help

you if youre struggling with the

lighting, says Joyce. At this event,the technician indicated whenever

the rooms numerous strobe lights

would fire. It gave Joyce time to

position himself, open the shutter,

and wait for the strobe blasts.

Using the clubs strobes made

for a larger and more even light

source than my on-camera flash

could have produced, says Joyce.

Other tips for stroboscopic flash:

Move your camera. If you

dont move the camera during

the strobe bursts, each exposureoverlays the last, warns Joyce.

Use small apertures.Its easy tooverexpose images when using

stroboscopic lighting, so I set sma

apertures and slow ISOs to preven

it, says Joyce.

Up your chances. Joyce usuallyopens the shutter at least three

times per strobe burst and then

selects the best from the set.

Peter Kolon

SIMPLE COMPLEX

STROBOSCOPIC LIGHTING TIPS

KRISH

OLLAND/MAFICSTUDIOS(ILLUSTRATION)


A

BC C

C

To light the jubilant crowd at Belfasts Stiff Kitten night club, photographeLuke Joyce mounted a Canon Speedlite 430EX II (B)on a Canon EOS 40D(A), a camera since replaced by the EOS 60D. Joyce used the on-cameraflash at power to add front fill light. His main lights were three of theclubs ceiling-mounted strobe lights (C). Joyce set the cameras shutterspeed, aperture, and ISO to correctly expose the scene in a process oftrial-and-error. The clubs strobes were firing at about five pops per seconwhich didnt work. I asked the lighting technician to dial the frequencyback and after a series of tests that took about five minutes, I settled onthree pops at 0.8 sec, says the photographer. The hardest thing aboutshooting night club crowds, he says, isnt the lighting. Its capturing

flattering facial expressions among the ecstatic patrons. Thank goodnethere arent too many strange ones in this shot! says Joyce.

Canon EF-S1785mmf/45.6 IS

($599,street)

CanonSpeedlite430EX II($299,street)

CanonEOS 60D($699,street)


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HOW*SOFTWARE WORKSHOPSIMPLE COMPL

DANB

RACAGLIA

(BOOK)

Theres

nothing like

seeing yourphotographs

in a book,

and

Lightroom

makes it

simple.

ALL TOO OFTEN,our pictures

languish on our hard drives or fall

out of view soon after we sharethem. Books are a great venue

for prints, but trying out different

book-making services, uploading

your files as JPEGs, and negotiating

often-cumbersome layout

software can be frustrating.

It is far easier to make a book

via your primary editor/organizer

(whether Adobe Photoshop

Lightroom or other software with

a book-making engine, such as

Apples Aperture), where you can

access and edit all of your photos.

Lightrooms book modulewas added in version 4 and is

necessarily limited, though the

one in version 5 offers slightly

more flexibility, including the

ability to modify built-in page

templates. Let the limitations

work for youits easy to avoid

silly themes, and fewer options

make the design process faster.

Output to PDF, as a JPEG file, or, as

in this tutorial, upload for printing


Book It Publish your pictures easily withAdobe Photoshop Lightroom

to Blurb. In LR5, you can now

choose Blurbs least expensive

paper, which is useful for bookdrafts or giveaways.

The smallest books printed

via Blurb can be surprisingly

inexpensive; search for a

coupon code before you order

to save extra. But give it a try

if you keep your focus narrow,

building a book wont take long

And it will be such a pleasure

to see your pictures published.

Debbie Grossman

AFTER


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Step 1Start by gathering yourimages. If you have beenfastidious with your folder-or collection-making, andyou already have a group

of favorites ready to addto a book, just click tohighlight your group andhead right to the Bookmodule. If you need tocollect the pictures, doso while in the Library.Since the book were

making here will sum up

a year, create a collection

set for the year, then

make collections for

each month. Drag yourfavorites from each monthinto their respective folders.

Step 2Click on your Collection set, then click

on the Book module.Unless you have

turned the option off in Preferences, LR will

automatically populate your book with the

images in your set. Since it lays the pictures

out according to the current selected

preset, you may run out of room.

Step 3The default, single-shot, automatic-population option works well whenyou want a simple layout. But ifyou are making a book with

multiple images per page and somefull-page shots, youll need morelayout variety for a good design.Click Clear Book, in the top-right

corner of the screen, to start

from scratch.Then fill in your BookSettings. With an empty book, youll beable to see the base prices. They startanywhere from a small square (7x7inches) on standard paper for $12.99to a large landscape (13x11 inches) onProLine Pearl Photo paper for $79.49.

Choose your outputPick whether youll use Blurb, save a PDF, or

create a JPEG. With the latter two, you can

adjust resolution and sharpening amount.



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Step 4The fastest way to get all your

pictures into the book with a varied

design is to make an Auto Layout

preset out of your favorite templates.To pick them, click the down-

pointing arrow in the Page panel.

For consistency, choose favorites from

a single themed category, such as

Clean. Then click the radio buttons to

favorite the ones you want to use (in

LR4, right-click to add faves).

Step 5Next go to the Auto Layout panel,

use the Preset pulldown menu to

choose Edit Auto Layout Preset,

and fill in your preferences for

your new preset. Then use the

Preset pulldown menu to select

Save Current Setting as New

Preset, name it, click Create, then click

Done. Be sure your main collection

is selected, then click Auto Layout tofill your pages.When youre finished,

youll have a basic book which contains

all your images and is ready to be

modified and customized.

Final StepBefore you go any further, click the

Create Saved Book button in the top-

right of the screen to preserve your

work. Then double-click on any spread

to view it larger and customize. If youwant to switch two photos, drag one

on top of the other. Fill in any text

boxes that you wantdont worry,

the dummy text wont print. Use the

Type panel to change size, typeface,

and color. To change a pages layout,

click the down arrow under a page,

and choose a different layout.Stick to

picking from your list of favorites for

design consistency. When youre done,

click Send Book to Blurb to order it.


HOW*SOFTWARE WORKSHOP

Edit your Auto LayoutUse the pulldown menu to choose Random

From Favorites, and pick the number of

photos for each side of your spread.


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here

fastest

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st stThefastestglassandthefastestservicecome

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44/96


SCOTTMARKEWITZ

IMAGES OFskiing, mountain

biking, and other active outdoor

pursuits need more than sharply

frozen athletes and eye-grabbing

kinetic energy. Action shots need

great backgrounds, too. I always

pay attention to whats happening

behind my subjects, says outdoor

specialist Scott Markewitz of Salt

Lake City. I use backgrounds to

make the subject stand out, or to

unify or pull together the overall

composition. I like clean, fairly

uniform locations, and I avoid

scenes that are busy or cluttered.

For this image of pro rider Eric

Porter, Markewitz was drawn

to a grove of aspens. The nice

thing about aspens is they have a

clean, linear look, especially when

you shoot straight up at them.

Bushier trees like some firs or

maples hide their trunks behind

layers of foliage and wouldnt

work for a shot like this. Aspens

point straight up like arrows, say

the photographer. If you position

yourself with a little care and hav

the right lens, those arrows can

point straight to your subject.

To immerseyourselfin ScottMarkewitzskiller actionphotos, go

to scott-markewitz.com.

TREETOPPED

HOW*YOU CAN DO IT

Give action subjectsgreat backgrounds


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To take a photo like this,

Markewitz suggests that you:

Pick the right tricks.When the

rider performs complicated tricks

with flips or spins, it can look great

in video but confusing in stills.

Keep the tricks simple, with poses

the rider can hold for a second,

says Markewitz.

Shoot in continuous mode.You

need to be able to pop off between


Markewitzwill teach aPop Photoworkshop,sponsoredby Sony, inPalmSprings,CA, thismonth. Visitimaging-edge.com/workshops.

Step 1Line up a subject. You cant askjust anyone to get on a bike, y off

ramp, strike a pose, and land safely

says Markewitz. Only experienced

riders need apply.

Step 2Find a location. Look for dense,evenly wooded stands of aspens,

red pines, or other tall trees with

bare trunks and thinly foliated

canopies.

Step 3Get the right gear.Markewitz

opted for a fisheye lens for thedepth and drama it created.

Athough the biker appears to fly

high, he was only five feet above t

photographer, who laid flat on the

ground and shot up on his subject

The fisheyes 180-degree angle of

view also captured the entire leng

of the tree trunks, creating strong

converging lines that all lead to th

subject. Your camera should offer

fast burst speed, to at least 5 fps.

Step 4Wait for the right light.Overcasskies will produce more even

lighting with highlight and shadow

levels relatively close. If you

must shoot under direct sunlight,

go when the sun is low on the

horizon as Markewitz did here.

This shot might also work with su

immediately behind the subject.

Final StepCompose with care and fireaway.For this shot, centeringthe subject was important for the

overall composition, but I also

needed him close to the center

because I was shooting with that

fisheye lens, said Markewitz. Wi

fisheyes, the image center shows

much less distortion than its edge

SIMPLE COMPLEX

5 and 10 frames per second

in order to capture a perfect

moment.

Start with practice runs.Have

your subject go through a set of

trial runs so you will know where

to position yourself.

Use manual focus.Prefocus

in manual at a point where you

know the athlete will soon be.

Peter Kolonia

Markewitz shotwith a Nikon D3S(since replacedby the D4, A), and

the 16mm f/2.8 AFNikkor fisheye (B).His exposure was1/1000 sec at f/2.8,ISO 400.

A

B


46/96



47/96

mibi

EpicRight between the Namib and Kalaharideserts, and getting less rain than anyother country in sub-Saharan Africa,Namibia is a land of contrasts and

extremes. It is also a photographersdream, packed with stunning scenery,surprising wildlife, and surreal views. Photos & text by Richard Bernabe & Ian Plant

SAND DUNE,

SOSSUSVLEI,NAMIB-

NAUKLUFT

NATIONAL PARKRichard Bernabe

climbed anadjacent dune

for this view,

captured witha 100400mm

f/4.55.6L Canon

EF IS lens on aCanon EOS 5D

Mark III, 1/80 secat f/11, ISO 100.


WATERand its absencedeneslife in this southwestern Africancountry. Namibias Coastal Desertis one of the planets oldest, withpowerful winds sculpting the

highest sand dunes in the world.While the country is hot and aridin the interior, the coast is cooland moist. As for the restof Namibia, you nd life onlywhere it nds water.

How to Get AroundA safe place to visit, Namibias

tourism industry is quite well-

developed. Start your trip by ying

into Hosea Kutako International

Airport. U.S. tourists wont need tosecure a visa ahead of time.

Rent a carthere are plentyof optionsand remember todrive on the left! Namibias roadstend to be in good condition,and paved highways take you tomost of the popular destinations.Secondary routes consist of well-graded gravel. You probably wontneed a four-wheel-drive vehicle,although its useful in a few areas

(including Deadvlei, next page).Bring cash, since many servicestations dont take credit cards.

English is the ofcial language

and is widely spoken (although

many older Namibians speakit poorly). Namibians also

commonly speak Afrikaans and

German as well as a number of

indigenous languages.

The local currency is the

Namibian Dollar (NAD). Withdraw

NADs from the ATM machines

available in most towns, cities,

and tourist destinations. In

general, you can choose from a

range of quality lodging wherever

you visit (including hotels andcomfortable campsites).

Places to See & Shoot

ETOSHA NATIONAL PARKRenowned for its spectacularand abundant wildlife, this parkis the most important wildlifesanctuary in Namibia, as wellas one of the largest savannahconservation areas in all ofAfrica. Elephants, zebras, black


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49/96

ZEBRAS,

ETOSHA N.P.

Bernabeused a 5D

Mark III,500mm f/4L

lens, and1.4X telecon-verter; 1/640

sec at f/11,ISO 640.

DEAD CAMEL

THORN TREE,

DEADVLEI

Bernabe shotwith the 5D

Mark III and1635mm

f/2.8L CanonEF lens, 1/13sec at f/16,ISO 160.

GIRAFFE,

ETOSHA N.P.

Plant useda 1.4X tele-

converteron a 500mmlens; 1/1000

sec at f/5.6,ISO 400.


and white rhinos, leopards, lions,

cheetahs, springbok, giraffe, and

wildebeest all call Etosha home in

plentiful numbers.In the dry months (approx-

imately May through November),

head to the water holes to nd the

highest concentration of animals,

especially early and late in the day.

Stay at one of the three walled

rest camps inside the park; they

range from deluxe to campsites.

Each camp has an adjacent water

hole with a viewing area and

oodlights that light up the night.

There, get your camera ready tocatch amazing photographs in

sunrise, sunset, and twilight. Sure,

you can stay at lodges outside of

the park, but youll need to drive

farther to reach wildlife-rich areas.

During the day, a two-wheel-

drive vehicle will do the trick for

park exploration. You are not

allowed to exit your car. Since you

wont be able to get closer on foot,

pack a telephoto zoom.

NAMIB-NAUKLUFT NATIONAL PARKEncompassing much of Namibias

southern coast and the Namib,

this park combines some of thecountrys most surreal natural

landscapes with a surprising

amount of wildlife.

Sossusvlei is an area in the

southern Namib characterized by

enormous red sand dunes. Look

for patterns, lines, and shapes

combined with low-angled side

lighting for best results. Use a

longer lens when zooming in on

patterns of dunes from down

below; if you have the legs forclimbing, bring a wide-angle for

sweeping scenes that include a

foreground of rippled sand.

Deadvlei is another clay pan

near Sossusvlei thats entirely

surrounded by gigantic red sand

dunes. Photograph the dozens of

stark-looking camel thorn trees

that have been dead for centuries

but are saved from decomposition

by the arid climate. Early morning

and late evening light is best,

when the warm, low-angled

sunlight intensies the dunes

bright orange and red hues. Bringboth wide-angle and telephoto

lenses: get in close to the trees

with a wide-angle and include

plenty of sky, or step back and

zoom in with a telephoto, pinning

the dead trees against the red

dunes in the background.

Features and Creatures

QUIVER TREE FOREST Near thesouthern town of Keetmanshoop

lies a unique forest of quivertrees. These are not actual trees,

but rather species of aloe large

enough to be called trees by the

locals, who once used them to

make quivers for their arrows.

The plants candelabra-like shape

creates ideal silhouettes against

a sunrise or sunset. The forest

is also perfect for starscapes or

star trails, and streaking clouds

through a moonlit sky.

GHOST

TOWN,

KOLMAN-

SKOP

Ian Plant set

his CanonEOS 5DMark III with

2470mmf/2.8 TamronSP VC lens

on a tripodto make the

exposure of8 secondsat f/14, ISO

400.


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NAMIB DESERT HORSES Onthe eastern edge of the Namib

Desert near the town of Aus

is a population of feral deserthorses. This group of about 100

has captured the imagination

of photographers for years, as

they survive in some of the

harshest desert conditions.

The best place to see them

is at the Garub waterhole,

located off of National Road

B4, which connects Lderitz

and Keetmanshoop.

KOLMANSKOPOnce a thrivingsettlement built around adiamond mine, Kolmanskop

has been a ghost town since

production ceased in 1954. With

colorful walls and sand dunes

engulng entire rooms, the ghost

town should be on everyones

list when touring Namibia. The

juxtaposition of the manmade

and the forces of nature make for

compelling photography.

The town is part of a restricted

area, so you will need a permit

to get in to take photos, which

you can get in the tourism

ofce in Lderitz. The best timeto photograph Kolmanskop is

in the early morning or late

afternoon, when light from

outside is reected within the

buildings, giving the rooms a

colorful glow. Footprints can be

a challenge, so be careful where

you step to avoid leaving tracks

in a great composition.

CAPE CROSS SEAL RESERVECape Cross Seal Reserve

lies about 80 miles north ofSwakopmund along Namibias

Skeleton Coast, and is home to

the largest colony of cape fur

seals in the world. If youre not

too distracted by the cacophony

and the putrid aroma that

permeates the shore, Cape

Cross offers some of the best

wildlife photography in Africa.

Take the elevated boardwalk to

get face to face with many of

the colonys members. Although

your impulse might be to grab

a tele, try a wide angle for

creative compositions.DOROB NATIONAL PARKThis coastal park is a great

place to photograph many

different bird species, especially

in the lagoon near the town of

Walvis Bay. Some 75 species

ock to this coast, often in

massive numbers. Walvis Bay

plays host to thousands of

amingos and white pelicans,

along with numerous others.

Finally, the most importantadvice we can offer on visiting

this country: Make sure to give

yourself plenty of time to see all

that Namibia has to offer!

Richard Bernabe and Ian Plant are

nature photography pros. See more

of their images in their free e-book,

Namibia: Two Photographers,

One Vision, available on both

richardbernabe.com and ianplant.com.

SPRINGBOK,

ETOSHA

NATIONAL

PARK

A 500mmf/4L Canon

EF IS tele

let Richard

Bernabe

capture this

portrait at

1/500 sec

at f/6.3, ISO

160 with a

Canon EOS

7D body.

CAPE

FUR SEAL

COLONY,CAPE CROSS

Ian Plant

shot with a

500mm f/4L

Canon EF

IS lens on

his EOS 5D

Mark III for

this group

portrait at

1/125 sec

and f/22, ISO

800.

QUIVERTREES,

KEETMAN-

SHOOP

Ian Plant

used a

flashlight to

paint light

on the near

tree during

a 30-second

exposure at

f/11 and ISO

1600 with a

Canon EOS

5D Mark IIIand adapted

1424mm

f/2.8 AF

Nikkor on a

tripod.


51/96

FERAL

HORSES

NEAR AUS

Plant used

the EOS 5DMark III and70200mm

f/2.8 TamroSP VC zoomfor his

exposure o1/1250 sec

at f/5, ISO400.


52/96

LIUBOLIN,COURTESYOFKLEINSUNGALLERY,NEWY

OR

K

BEYOND


We can all point acamera at ourselves.But to make a trulythought-provoking,beautiful, andmagnetic self-portrait is anothermatter. Read on tosee how some top

photographers arelifting self-portraitureto new heights, andlet their stunningwork inspire you tomake your own.

By Peter Kolonia

THE CURRENTrage for selesamong shooters of all ages and

backgrounds comes as no surprise.

Self-portraiture has exerted an

irresistible appeal to photographers

from the mediums earliest years,

and, with smartphones, its easier

than ever to shoot one. And today

talented photographers continue to

focus on themselves with amazing

results that far surpass most of

what slides through your Instagram

feed. The ve interviewed here havecollectively spent decades using

themselves as models. Heres how

they do it, and why they are their

own best subjects.

Why Self-Portraits?Liu Bolin of Beijing, China, whom

you can (just barely) make out in

the image at right, uses the self-

portrait for unusually elevated ends:

as a political tool in the struggle

PARISIANGRAFFITI

For a videoof Liu Bolincreatingone of hischameleon-like self-portraits, got

popular photography 2014 - 03

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