Shutterbug 2010 08

EXPERT ADVICE: HOW TO PROTECT YOUR GEAR
AUGUST 2010
TOOLS, TECHNIQUES & CREATIVITY
US $4.99 CAN $5.99
shutterbug.com
2010, Sam Gray, All Rights Reserved
A SOURCE INTERLINK MEDIA PUBLICATION
WARPING THE
TIME/TECHNOLOGY
CONTINUUM
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To Request Information on RS# 269, See Page 6.
CONTENTS
August 2010
Volume 39
Number 10
Issue 479
TOOLS
Digital Innovations
30 Tools Of The Trade

by Joe Farace
Roundup
40 Covering
The Photo Beat
by C.A. Boylan
Buying Smart
46 Tele-Converters
by Jon Sienkiewicz
Classic Cameras
56 More
Greatest Cameras Of All Time
by Jason Schneider
Help
68 Digital
Q&A For Digital Photography
by David B. Brooks
2010, Jack Neubart
All Rights Reserved
Report: Nikons AF-S

82 Test
Nikkor 16-35mm f/4G ED
Page 126
VR Zoom
Ultra-Wide For FX, Moderate Wide For DX

Nikon D-SLRs
by George Schaub
Report: Tamrons
92 Test
17-50mm F/2.8 Lens
A Constant Aperture, Image
Stabilized Zoom
by Jack Neubart
Report: Carl Zeiss

102 Test
Distagon T* 18mm f/3.5
TOOLS
Awards 2010
120 TIPA
Technical Image Press Association Results
Help!
176 Q&A
For Traditional Photography
by Robert E. Mayer
by Joe Farace
Report: Nikons AF-S

112 Test
Nikkor 70-200mm f/2.8G
ED VR II Lens
A Fast, Constant Aperture Zoom With

Vibration Reduction
by Stan Trzoniec
Business Trends
70 Model
Releases
by Maria Piscopo
Pros Choice
76 Tony
Arrasmiths Convincing Composites
by Jack Neubart
Reader Response
And Distagon T* 21mm

f/2.8 Lenses
Open Wide, Wider StillThats It!
TECHNIQUES
Facts
126 Fisheye
& Fantasies
Get The Most From Fisheye Lenses
by Jack Neubart
Use our website to quickly find

and request free information on
products and/or services. Visit
www.shutterbug.com and click
on Free Product Information or
see the insert on page 66 in
this issue.
The Digital Challenge

130 Protecting
Images And Gear On The Road
by Jim Zuckerman
Your Cameras
134 Protect
And Lenses
Important Tips From World Travelers
by Roger W. Hicks
Columns, Reader Pages and more on page 8

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August 2010 SHUTTERBUG
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CONTENTS
August 2010
Volume 39
Number 10
Issue 479
CREATIVITY
Picture This!
12 Monthly
Photo Assignment
by The Editors
Talking Pictures
20 Whats
A Little Water?
by Bruce Birch
Student Union
24 Profiles
Of The Up And Coming
by Jay McCabe
Web Profiles
26 Great
Photo Sites Reviewed
by Joe Farace
Book Reviews
118 Latest
Photo Books Reviewed
by C.A. Boylan
Gray,
138 Sam
Master Photographer
Classic Style And Technique
by Steve Bedell
The RV Digital Darkroom

167 Takin
It On The Road
by Art Rosch
DEPARTMENTS
10 Editors Notes
160 Trade Shows
161 Workshops
READER SERVICES
183 Advertisers Index
158 Classified Index
164 Photo Lab Showcase
116 Product Portfolio
66 Reader Response
166 Shutterbug Service
Directory
162 Shutterbug Shopper
2010, Karen Boyer Guyton

All Rights Reserved
Page 12
On The Cover
This month our focus is on lenses and we have tips and reviews that cover the
optical gamut, from fisheyes to teles to super-wide zooms. Lenses aside, we also
have expert advice on how to properly protect your gear, which will certainly come
in handy if you decide to take the RV digital darkroom challenge of writer Art Rosch,
who currently resides in a 38-foot motorcoach. Finally, we have the results from the
Technical Image Press Association (TIPA) Awards, which feature the best imaging
products of 2010 as voted on at the TIPA General Assembly.
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EDITORS NOTES
AUGUST 2010: George Schaub
oint of view is determined by

many factors, and is one of the
most important aspects of making
photos that define who you are
and how you see. It can be where you
stand, whether you are photographing
from your normal height or elevating
above the subject or shooting from
kneeling position, the direction of
light from your shooting position, and,
perhaps most important, how much of
the scene before you is encompassed
by the lens on your camera. Picking the
right lensthat is, the lens that defines
your point of viewis one of the most
important decisions you can make in
your photography.
To find the right lens there are a few
attributes you should take into careful
consideration. First, theres the speed
of the lens, or its maximum aperture.
Many zoom lenses are what are known as
variable aperture lenses; that is, they
change the maximum aperture as you
zoom closer to your subject. You might
lose a stop or more when the focal length
increases, and you might be surprised at
how soon that occurs. Some drop speed
as soon as you move from the minimum
focal length. Constant aperture lenses,
as the name implies, maintain their
maximum aperture throughout the range.
That way you do not lose precious light
and, perhaps as important, depth of field
capability as the focal length changes.
For those who have cameras lacking
built-in VR (Vibration Reduction), a VR or
image stabilized lens can allow for longer
shutter speeds than you could manage
shooting handheld. This really comes into
play in dim lighting conditions, and that
light pickup can be spent on aperture
and/or shutter speed settings. Having
worked with numerous such lenses I can
attest to their capabilities, which really
come in handy when working with teles
and long-range zooms handheld.
You should also check whether the
lens is made exclusively for smaller
sensors or if it will handle both full
frame and APS-C or Four Thirds
coverage. Manufacturers have various
codes for describing the sensor size
coverage. Using a lens thus designated
10
on a full-frame
camera will
result in serious
vignetting. True,
some full-frame
sensor cameras
have a Crop mode
that allows for use
of such lenses,
but this cuts down
on the resolution (megapixels utilized)
and to me seems a waste of image
information. And when using any lens on
an APS-C or Four Thirds sensor camera
always take the notorious multiplication
factor into consideration, which usually
means you will not get the wide angle of
view a shorter focal length seems
to imply.
But for me the most important
attribute is the focal length of the lens.
I happen to be a fan of wide-angle
lenses, and have always found them ideal
for the way I see, compose, and work.
Landscapes, city scenes, and nature work
all seem better when I can utilize the
wide field of view and often astounding
depth of field these lenses offer. Indeed,
given the choice of one focal length
on the proverbial desert island a 24mm
would be it. Are they best for portraits
and wildlife and some scenic work? No,
and thats when teles and even macro
lenses come into play.
Luckily, we are not limited to one
lens in our kit bag, and the quality
of wide to tele zooms has improved
exponentially in recent years. The trick is
to think long and hard about which focal
length, and other attributes, best serve
your personal point of view. You might
not think that the lens on your camera
changes the way you see and under
what conditions you can work, but the
influence of the eye through which you
view the world is profound.
2010, Grace Schaub, All Rights Reserved
Picking The Right Lens
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CREATIVITY
COMMUNITY: Picture This!
Shadows And Form

ur Picture This! assignment for this month was Shadows and Form, images where the shadow plays an important role in the
composition and point of view of the photographer. Shadows can redefine form, create volume and space, and can both echo
and abstract form. Readers responded with images of landscapes, architecture, and even portraiture. In all cases the play of
light and dark, of detail and deep tone, called the tune.
Transformed Shadow
Havana Sunrise
2010, Lawrence H. Berlin, All Rights Reserved
The slanting rays of light elongated these gures on a Havana

street. Lawrence H. Berlin worked with a Nikon D40 and an AF-S
Nikkor 18-55mm lens; exposure was f/8 at 160 sec.
Old Wooden Barrel
2010, Karen Boyer Guyton, All Rights Reserved
Karen Boyer Guyton worked with directional light to create a new form from the skull hanging over a door.
She photographed with a Sony A900 and a Minolta 28-75mm lens with an exposure of f/6.3 at 1640 sec.
2010, Andrew L. McDonough, All Rights Reserved
Made at a grist mill in Marlinton, West Virginia, Andrew L. McDonough

made this study of volume and shape with a Canon EOS 5D atop
a Gitzo tripod with a Really Right Stuff ball head. Exposure with a
Canon EF 28-135mm lens was f/5 at 18 sec (ISO 400).
More on page 14
12
CREATIVITY
Self-Portrait
Snow Shadows
2010, Ella Steudel, All Rights Reserved
2010, Brandon Lee Markowitz, All Rights Reserved
Brandon Lee Markowitz made this dramatic self-portrait

with a Kodak EasyShare C663 and an exposure of f/2.7
at 130 sec.
Ella Steudel photographed these graceful shadows in the snow with a Nikon D90 and a Nikkor 8-70mm lens using
an exposure of f/11 at 1400 sec.
Figures And Wall
2010, Jacques Garnier, All Rights Reserved
Strong color and stark silhouettes mark this study by Jacques Garnier made in Florence, Italy, using a
Canon Sure Shot.
Sunday Morning
(9th & Main, Kansas City)
2010, Larry Morgan, All Rights Reserved
Larry Morgan took this study of shadow and morning light on an

urban street using a Mamiya C330 on Kodak Plus-X lm.
More on page 16
14
CREATIVITY
Sunset At Braddock Bay
Figure And Barn
2010, John Fryer, All Rights Reserved
2010, Sheridan Vincent, All Rights Reserved
These piers became the subject of an abstract composition for Sheridan

Vincent. He photographed with a Nikon D200 with an exposure of f/29 at
1
125 sec at ISO 1250.
Self-portrait in the form of the photographers shadow is a classic way of including

yourself in the frame, and we liked this one from John Fryer because of the crisp
background of the snow. Exposure with a Canon EOS 40D and a Sigma 10-22mm
lens was f/20 at 1200 sec at ISO 160.
Shadow Lines
Thinking Of You
2010, Robert Fink, All Rights Reserved
The shadows cast by this Penny Farthing bicycle both abstract and echo the form of the bikes frame. Robert
Fink made this shot with a Nikon D70 camera, then desaturated the image in Photoshop.
16
2010, Julie A. Christiansen, All Rights Reserved
Julie A. Christiansen photographed this still life

that included a photo of her son, who serves
our country in the Navy, as morning sunlight
came through her window. This evocative photo
was made with a Canon PowerShot G11 with an
exposure of f/4 at 180 sec.
More on page 18
John
Isaac
When I produced Te Vale of Kashmir books, I relied on the Nik Sofware tools
for enhancement and post-production on almost every one of my images. Teyre
fast and eective and, in particular, Sharpener Pro 3.0 is absolutely essential when
setting les up for publishing or when printing for exhibitions.
www.niksoftware.com
Bronxville, New York
CREATIVITY
COMMUNITY: Picture This! Our Next Assignment
Graffiti: On The Wall
2010, George Schaub, All Rights Reserved
ou either love it or hate it, but graffiti has been a part of the urban scene for
many years. For our next Picture This! assignment were looking for both wall art
in the tradition of the muralists (which many would certainly not call graffiti)
and more informal blends of architecture and added color and design, like this
splash of symbolism and paint on a wall in old Montreal.
Please Read This
It is important that you read and follow these guidelines. We need to follow this
procedure because of the large volume of images we receive. If you have any questions,
please e-mail us at: editorial@shutterbug.com.
1) Images sent to us cannot be returned. You retain complete copyright over the
images, but do grant us permission to print your image(s) in the magazine and on our
website, www.shutterbug.com.
2) Because images are not returned, please send a quality print or duplicate
transparency. We will not accept images on CD, ZIP, or any other electronic media.
3) Images will be selected on the basis of content and technical quality. Please mark
your outer envelope with the topic of the month (for example, Wide View).
4) Enclose a short caption with the image stating camera, lens, film and exposure,
plus location. If you are submitting an image with a recognizable person, we must have
a model release or signed permission from that person to reproduce their image in the
magazine and on the website.
5) Please submit no more than three photos for consideration (4x6 up to 8x11).
18
Send your image and information to: Picture This! Shutterbug Magazine, 1415
Chaffee Dr., Suite #10, Titusville, FL 32780.
Deadline for submission: September 15, 2010. Images will appear in our
December 2010 issue.
Our next topic: Found Still Life: Flea Markets And Antique Stands
Deadline: October 15, 2010 Publication Date: January, 2011
Please note: We receive hundreds of submissions for Picture This! each month and want to be sure we
properly identify each image we publish. Please put your name and all camera, exposure information on the
back of the print or attached to slides when submitting.
Want to see images selected for past Picture This! assignments? Go to www.shutterbug.com and click on
Picture This! in the More Articles box on the homepage.
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CREATIVITY
COMMUNITY: Talking Pictures
Whats A Little Water?
2010, Bruce Birch, All Rights Reserved
Tech Info: Photo taken with a Nikon D80 on Automatic with a 70-300mm lens.
t is a popular belief that the predator cats of Africa do

not swim and avoid water. Several extremely rainy years
in the mountains that feed Botswanas Okavango Delta
region have shown that to be a great misconception.
Water has overflowed the usual waterways of the worlds
largest inland delta to cover grasslands and roadways. Yet,
the wildlife of Botswana continues to thrive.
Our guide spotted this solitary male lion walking
purposefully through water that sometimes reached up to

his chest. Our Land Rover took a water-covered roadway
running parallel to his path and followed him for miles
through the water. He was probably seeking reunion with
his pride, according to our guide, and he wasnt going to
let water deter him from the path he wished to take.
Bruce Birch
Frederick, MD
Please Read This

The premise of Talking Pictures is that every picture has a story. We invite you to send quality prints (only) and a
short narrative on why you took the picture or how, in retrospect, it brings up thoughts and feelings about the subject.
We do not return submissions. By sending us an image and text you grant us permission to publish it in this
magazine and on our website. If you have any questions, please e-mail us at: editorial@shutterbug.com.
Send submissions to: Talking Pictures, Shutterbug, 1415 Chaffee Dr., Suite #10, Titusville, FL 32780.
20
CREATIVITY
STUDENT UNION: Jay McCabe
Stage Craft
W
hen we spoke in mid-May, Emily was just

finishing her freshman year at Merrimack.
Her work for the colleges Media Center
gave her access to the campus production
of Rent and the assignment to produce photos for
promotion and publicity. Id never done that type
of photography before, she says. It was learning
on the job. With no flash permitted, she shot at
ISO 1300 and turned on the cameras noise reduction
Emily Morgan
Merrimack College
North Andover, Massachusetts
function. They staged one scene for me, then I

stayed and shot during the rest of the rehearsal.
Emilys goal is a career in photography, and because
shes well aware that the business of photography is
as much a part of success as the art and craft, shes
chosen to be a business major with a minor in graphic
fine arts. You can be a good photographer, she says,
but unless you know how to run your business, no one
will ever know about you.
2010, Kevin Salemme

All Rights Reserved
Photos 2010, Emily Morgan, All Rights Reserved
Emily Morgan was recommended by Kevin Salemme, director of the Media Center, Department of Fine Arts at Merrimack College.
If you are a teacher, professor, or instructor and know of a student whose work deserves recognition, contact our editorial department by e-mail at: editorial@shutterbug.com.
24
CREATIVITY
WEB PROFILES: Joe Farace
Flickr Photo Champs

The Best Of Readers Photostreams
The review in the paper said, the aesthetic subtext of his work is the systematic
exposure of artistic pretension. I thought I was just taking pictures.Elmore Leonard
y Flickr page (www.flickr.com/photos/

joefarace) contains images Im currently
shooting, some of which are rounded up into
thematic sets that relate to Shutterbug
product reviews or articles. My free Flickr account
lets me upload two videos and 100MB of photos each
calendar month. A Pro account costs $24.95/year but
provides ad-free browsing and sharing, unlimited uploads
and storage, and unlimited sets and collections. When
I asked readers to submit photostreams for an all-Flickr
edition of Web Profiles, someone e-mailed that I would
get buried with submissions and was he ever right!
Thats part of the reason this column was so long in
coming, but it will not be the last youll see here
vis--vis Flickr. I went through hundreds of submissions
for this all-Flickr column and have collected some of our
best from readers this month.
www.flickr.com/photos/pinker
Steven Pinker is a Harvard College professor, cognitive scientist, author of seven
books on the human mind, including the bestselling The Stuff of Thought, as well as an
avid photographer. Pinkers photostream contains nine sets organized geographically.
His Santa Barbara & Pacific Coast IV set contains photographs ranging from his
sweeping wide-angle image out through the Golden Gate, which appears to have been
made on a boat passing under the bridge, to whimsical bird images such as portrait of
whimbrel that like all of Pinkers work is superbly composed. The photographs in his
Israel set take on a photojournalistic tone and mix the sights (and you could swear
you hear sounds) of daily life in that country. A perfect yet unexpected example is his
image dancing hasid in Safed, which has a Cartier-Bresson feel, although in color.
In his Chile set, Pinker takes on the landscape and he shines with images of
snow-capped peaks, sculptural icebergs, and yet finds some indigenous and
unusual-looking birds to capture, as in red spur showing on southern lapwing.
Flickr makes it easy to add descriptions and titles and Pinker is diligent about adding
contextual information to help you enjoy his photographs. I peeked into his Arizona
set to get a preview of where I might be living in the near future and his nostalgic
views of small desert towns, snow in the desert (not much but definitely a surprise)
along with images of flora and fauna such as his delicate photograph of a pink cactus
flower were a delight. All of these sets show a dedicated and versatile photographer
who is equally at home photographing a pita baker or a sea otter. Want to see more?
Visit Pinkers website at: http://pinker.wjh.harvard.edu/photos/index.html.
26
2010, Steven Pinker, All Rights Reserved
More on page 28
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CREATIVITY
WEB PROFILES: Joe Farace
www.flickr.com/photos/jennrationdesign
2010, Jennifer Remias, All Rights Reserved
Jennifer Remias is a prolific photographer whose photostream includes 48 sets of images

covering a wide range of subjects, including some that are as personal as the must-see The
crayon box I call home. In this set Remias shows you around her colorful home not in a House
Beautiful way but with images that show how she can design a photograph as well as her living
space. You know I just had to scour her Cars, cars, cars set thats packed full of supersaturated
colors and spectacular compositions of classic American rides such as Teal Impala, but theres so
much that is great there. Dont miss Along the Beach, a set that mixes equal doses of whimsy,
photojournalism, and elegant seascapes, and if you dont think thats a difficult combination to
achieve, you gotta look at this set and see for yourself. And if youre intrigued about modernism as
featured in the movie Visual Acoustics mentioned in Digital Innovations, you need to take a look at
Midcentury Modern Homes. Im not saying Remias is another Julius Shulman but her work, often
made with just a Canon PowerShot SD800 IS, is worth a look. Flickr is a social-networking site and
I am not alone in my raves about her talents. You can tell by the number of comments under her
images that Remias is clearly a beloved Flickrite, and why not? Her work has a delightfully retro feel
that is oh-so-Florida in the way it embraces a pop art sensibility with hit-you-over-the-head color
and strong design.
www.flickr.com/photos/pixbytommy
2010, Tommy Lynch Photography, All Rights Reserved
Laurel, Marylands Tommy Lynch shows off his extraordinary talent and versatility in his 23 sets
of images. One of the big deals about Flickr is that there is no about the photographer. You can
be a Nobel laureate or a baristait doesnt matterits all about the images. When I visited, a few
photographs from his first senior shoot were displayed. These images show an assured and creative
photographer not encumbered by the clichs that abound in this genre. His monochrome image of
a young woman at the mouth of a tunnel fulfills all the needs of a senior portrait yet exceeds it
in so many ways. Underneath the black-and-white shot is a color image of the same student that
enhances the obvious sweet nature of the subject. Two very different photos of the same young
woman made by one wonderfully talented photographer.
Similarly, his Portraits set is full of people pictures that show a remarkable ability to use
directional lighting that transcends the ordinary. Dont miss Midnight Rider or his Jim
Morrison-like Portrait of Ryan that can also be found in his Black & White set. I peeked into his
Baltimore set because I grew up there and it includes his first try at HDR (which later manifests
itself as its own dont-miss set). While his Baltimore is very different than mine, he occasionally
manages to get away from the scenic Inner Harbor to show the working Port of Baltimore. These
images are memorable for their use of color and strong composition. Thats true of Lynchs entire
oeuvre, which combines a unique vision with occasional splashes of technical virtuosity.
www.flickr.com/photos/isabelle_ann
28
2010, Isabelle Ann Green, All Rights Reserved
I like photographs of horses but Ive never seen anything like Isabelle Ann Greens fusion of
painting and photography. Forget all that stuff about painterly images, Greens work is clearly
photographic but then again, its not. But theres more here than just technique; her considerable
technical skills are blended with an ability to capture all kinds of images from blow-you-away
landscapes to portraits that run the scale from every day to magnificent. Greens images are
collected in sets that feature everything from Dogs and Cats to 157 images in Arts and Graphics
that take her photo/painting fusion and move it into a full-blown fantasy world. Be sure to view
this set using Flickrs slide show feature to get the full impact and the ability to see at full screen.
Like her portraits, some work is more effective than others because theres a tendency in the
Flickr world that more is better. Another favorite is the South Hill set that is full of the kind of
quiet landscapes exemplified in the film Local Color, which is about representational artamong
other things. Youll see similarly styled images albeit with a few more crescendos in the musical
images collected in the Rivers and Water set. The kind of photographs that Green paints with her
lens never failed to surprise me; just when you think you have her style nailed down she darts off
on a new and different, less traveled path and thats what makes looking at all of the images in her
photostream so interesting and so much fun.
TOOLS
DIGITAL INNOVATIONS: Joe Farace
Tools Of The Trade

Its Not Just All Lenses And Optics
Cleverness is like a lens with a very sharp focus. Wisdom is more like a
wide-angle lens.Edward de Bono
ld news now, but when I started
writing this months column Id just
purchased an Apple iPad, which may
turn out to be a flop like the original
Newtondont laugh, I had one of those,
tooor a runaway success like the iPod. So
far, the iPad has met all of my expectations
and then some. The images displayed in
Photos can be used as a mobile portfolio and
the display is nothing short of stunning. As
new apps are added to the library, I expect
itll become an indispensable tool for many
shooters. Ill keep you posted and if you find
a useful application for your iPad, please drop
me an e-mail (joefarace@gmail.com) and tell
me about it.
Courtesy of Apple
A Case To Keep It In
As I await Apples iPad Camera Connection Kit, the

first accessory I got for my iPad was a case. Belkin
(www.belkin.com) offers three new 10 sleeves to protect
your iPad while youre on the move. The sleeves have
reinforced panels to protect the devices touchscreen from
scratches and some provide storage for the USB cord, AC
adapter, or John Foster Kane earbuds. The Vue Sleeve
($39.99) is made of neoprene with a soft quilted inner
lining and a windowed pocket that lets you easily find any
accessories, as well as store them. Like all the sleeves, it
30
collapses flat when empty for a slim profile that effortlessly

slips inside a larger bag.
The Pleat Sleeve ($39.99) has a pleated design that expands
to fit accessories like an iPhone, digicam, or power supply.
The textured surface of the neoprene and silicone Grip Sleeve
($39.99) offers a stronger grip on your iPad to prevent drops
and features stylish colors and unique patterns. All the sleeves
are available in Black and Perfect Plum. Something you wont
find at the Apple store is Belkins Screen Overlay ($19.99) to
protect the touchscreen from scratches.
Sigma Flash News

More Power, Latest Upgrades in
EF-530 DG Super and DG ST
PMA Follow-Up
2010, Joe Farace, All Rights Reserved
The new technology in digital SLR exposure

and processing systems afford exciting
opportunities for creative imaging. While
many cameras offer small, rigid built-in flash,
the most potential for stepping up flash
image quality is with auxiliary, shoe mount
flash, like those offered by Sigma Corp. Two
new offerings from Sigma bring enhanced
flash power and features, along with full dedication to Sigma, Nikon, Fuji, Canon, Sony
and Pentax DSLRs.
In the PMA edition of Digital Innovations (June 2010) I mentioned ordering a wall
portrait from Your Photo On Canvas (YPOC) and a box of photo business cards with
50 different images from Moo.com. My canvas image was a portrait of Mary and I
shot by Pulitzer Prize-winning photographer Barry Staver (www.barrystaver.com) and
was cropped and sized to match YPOCs 18x24 canvas and uploaded via their website
(www.yourphotooncanvas.com). At the time I ordered the print they were offering free
standard shipping, so you should check to see if thats still true. The print quality of
the finished portrait was superb and Mary and I were also pleased with how the image
was produced, down to its high-quality mounting.
I was similarly impressed with the turnaround of a portfolio in a pocket created
using Moo (www.moo.com). Uploading 50 different images using Moos online software
is easier than it sounds and lets you see each files progress during transfer, including
basic preflight checks. Moo accepts JPEG, PNG, GIF, or PDF files and warned that one
of my images may not be of sufficient resolution for their printer, so I picked another
one and shazam all files were sent. Immediately, Little Moo was in touch by e-mail,
giving a status report that continued until the cards shipped. Moo business cards are
available in Classic (matte
laminated) or Green (100
percent recycled and
biodegradable) versions.
The Classic cards are
slightly thicker than the
Green, which are delivered
in a plain brown wrapper
box instead of the elegant
black used for the Classic.
Image quality was very
good, although you should
have a color correct
monitor and make sure
image density is perfect.
You give Moo a great file;
theyll give you
great-looking cards.
More on page 32
The new unitsthe Sigma EF-530 DG Super

and EF-530 DG ST, share a powerful Guide
Number of 174 (ISO 100, feet, with zoom
head at 105mm).This kind of power in a compact unit frees up creativity for bounce and
swivel techniques, enhanced coverage
(throw) of almost 45 ft at f/4 and even up to
10 ft at f/16, and permits use of light modifiers, such as diffusers that can enhance light
quality, without unduly sacrificing coverage.
Both have full TTL exposure compatibility
with top camera brands and an auto zoom
feature that matches the focal length in use.
Theres also an incorporated wide panel for
up to 17mm coverage and tilt and swivel
ranges from 7 degree down (for macro
work) and 90 degrees north and west and
180 degrees east.
The Super lives up to its name with
advanced functions such as modeling flash,
multipulse (strobe effect), TTL wireless
capability, FP (high speed) and rear curtain
sync and full manual control of up to 8
stops. The DG ST offers two manual overridesfull and 1/16 power.
Both flashes also offer an Auto Power-Off
function, great for saving power on assignment and a confirmation Ready Light when
fully charged; plus, the flash exposure level
is revealed in the camera viewfinder.
Which one is best for you? The DG Super is
for advanced users who want all the capabilities a modern TTL flash system can provide; the DG ST is for the users who want
power and light modification capabilities in
a fully dedicated unit.
For more information check out all the great
specs and features at www.sigma-photo.com
Request EF-530 DG Super Flash.

Request EF-530 DG ST.
Name __________________________________
Company ________________________________
Address ________________________________
City _________________ State ______Zip ____
SIGMA CORPORATION OF AMERICA

15 Fleetwood Court, Ronkonkoma, NY 11779
Visit us on the web at www.sigma-photo.com
SHUTTERBUG August 2010
31
TOOLS
HDR And A Whole Lot More

Lucis (www.lucisart.com) is the trade name for Differential Hysteresis Processing, a
patented image-enhancement process originally developed to boost detail in scanning
electron microscope images to reveal indiscernible image information that would
otherwise be difficult or impossible to view. The full implementation of the Lucis
algorithm is available as the Lucis Pro 6.0 Photoshop-compatible plug-in for $595.
Using one slider, it effectively

enhances images with a mix of
high-contrast and low-contrast areas
and/or incorrect exposure. Lucis
reveals detail throughout the image
simultaneously in the bright, dark,
and mid-range contrast areas.
Lucis is straightforward to use yet
flexible in terms of how it transforms
pixels. LucisArt 3 ED (Enhance Detail)
is a Photoshop or Photoshop Elements
plug-in that accurately and easily
enhances image detail from subtle
enhancements to HDR-like effects
to reveal the smallest detail in your
image files. LucisArt 3 SE (Special
Effects) can add artistic effects to
your image, including the Winslow
think Winslow Homerwatercolor
effect, the Sculpture contrast-pattern
effect, and three Plaid texture effects.
For $279, you can get the LucisArt 3
ED plug-in. A combo version LucisArt
3 ED/SE sells for $359. A demo
version is available so you can try the
ED/SE plug-in and see for yourself if
its worth the price. If you can afford
it, I promise you will be amazed by
what any of these products can do to
your images.
More on page 34
32
Santa Barbara, California, USA | CAMERA : SIGMA SD14 : ISO100, F11, 1/160sec | LENS: SIGMA 8-16mm F4.5-5.6 DC HSM : 8mm(8-16)
SIGMA LENS for DIGITAL

NEW RELEASE
The worlds rst

ultra wide zoom lens
covers focal lengths from 8mm,
designed specically
for digital cameras.
8-16mm
F4.5-5.6
The worlds first ultra wide zoom lens

with a minimum focal length of 8mm, designed
specifically for digital cameras with an APS-C size
image sensor. Four FLD glass elements and three
aspherical lenses provide high quality images.
This ultra wide angle lens has the widest angle of
view and an exaggerated perspective to produce
striking images.
DC HSM
Lens Case supplied
SIGMA CORPORATION OF AMERICA
15 Fleetwood Ct., Ronkonkoma, NY 11779 | Tel : 1-631-585-1144 | www.sigmaphoto.com
USA 3 Year Service Protection
TOOLS
Lets Get Edgy, With It
Photos 2010, Joe Farace, All Rights Reserved
EdgyGirl (www.edgygirl.com) is the

easiest way to add really creative
film-style edges to your digital
images. The selection includes 4x5
Polaroid, filmstrip, distressed, designer
frames, and a whole lot more, but
the big deal is that these are hands
down the best digital edge borders
available. Using them is easy: open the
multilayered edge file in Photoshop,
open your image file, drag it to the
layer above EdgyGirls red layer, and
youre finished. You can play around
with your image; drag it, re-size it,
and even tweak it to emphasize the
edge effect. Its all very hands on and
old school. Theres no need to load
additional software and no actions
to run. EdgyGirl is a back-to-basics
product that was created by Cherie
Steinberg Cot who likes adding
digital frames to her images, but didnt
like the fact that you had to buy a
whole disc just to get the fewor
onethat you liked. Thats why
EdgyGirl edges are available la carte
for $19.99 each. Look at the selection
on her website and be prepared to be
blown away.
More on page 36
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2007 Foto time, Inc. All rights reserved.
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*'$[Xp]i\\ki`Xc%
To Request Information on RS #174, See Page 6.
TOOLS
DVD Of The Month

Most photography DVDs feature a guy standing in front of the camera
showing how to use a piece of hardware. Visual Acoustics (www.newvideo.com)
is a real movie that tells the story of Julius Shulman, the most famous
photographer you probably have never heard of, and shows you how to think
about photography and maybe just how to live. Shulman was an architectural
photographer whose work is

inextricably linked to the modernist
movement and the first quarter
of the film is a fugue between
Shulman and his photography with
the architects of the movement. The
movie revolves around Shulmans
professional life and youll see
his evolution from commercial
photographer to environmentalist to
fine artist to archivist and
finally educator.
An interview in the 1960s with
Grouchos old sidekick George
Fenneman explains why. In it
Fenneman asks Shulman, You
really love your work dont you?
Shulman responds, What else is
there? Die-hard photographers
will be disappointed that Shulman
doesnt mention an aperture or
shutter speed (5 seconds at f/32)
until halfway through the film and
its the only time. Visual Acoustics
is no more about photography
than Searching for Bobby Fischer is
about chess, but tells the story of
a remarkable man and the timeless
images he created.
36
Get Involved in Your Community

White House Custom Colour, Your Professional Photographic and Press Printing Partner
Donate Portraits to Hospitals

inspire patients and future clients
Standout
Host an Event
generate business & money for charity
Press Printed Bookmarks
The Levine Childrens Hospital outreach program has

been very beneficial for me and for the Levine Cardiac
Kids. Because of the sheer number of kids, we were
limited in size to 11x14. The group didnt want heavy
frames or glass but wanted a contemporary look to
the displayed portraits. Thats when I knew WHCCs
Standout mounting would work perfectly. There are
now nearly 30 Standouts hanging in the hospital
lobby! My portrait and website info is also hanging
with the portraits. This has been wonderful exposure
for me. In fact, many of the members have ordered
family portraits from me. This community project has
been a win/win for everyone.
James Dockery,
James Dockery Photographic Artist, Lowell, NC
We use WHCC Bookmarks as tickets for our annual

fashion show for high school seniors. This year will
be our 4th show. It has been a HUGE event for us and
the bulk of our senior marketing. We usually have
standing room only and are bursting at the seams its awesome! Last year we started selling tickets ($5
for students and $7 for adults) and gave 100% of
the money to Mothers Against Drunk Driving (MADD).
The kids and parents LOVED these tickets! We made
6 different designs with each ticket showing senior
models. Kids that attended had a great time collecting
the different tickets once inside the show.
Jen Basford,
3 Girls Photography, Edmond, OK
Visit pro.whcc.com/go/Start today to open your WHCC account.
White House Custom Colour is a full service, professional photographic lab and press printer. In addition to the showcased
products on these pages, we offer a full line of products and services to make a positive impact on your goals for continued
success in building your photographic business. For more information visit our website, www.whcc.com
Create Ofce & Retail Displays
Work with Art Galleries
showcase your work in the community
increase awareness & sales
Photographic Prints
Float Wraps
When I rst moved to Bend, we donated a $15K art

display to the Humane Society and invited the entire
community to participate in the portrait reveal party
at our studio open house. We photographed 37
dogs, 6 cats, two lizards, a ferret and guinea pig in
3 weeks! The invitations, gift cards, thank you cards
and display prints were printed through WHCC. With
200 people in my small 1900 sq. ft. space that night,
this event was a HUGE success and launched our
new niche in dog photography, and for that matter
my business in a new city! It has brought in new
clients and led to other, multiple displays in various
ofces and retail establishments across our area.
Julia Radlick,
Jewel Images, Bend, OR
I did a gallery show to benet a local pregnancy

care center. This event has made the rst quarter of
this year the biggest in my studios history! WHCC
Float Wraps were the perfect product for this project
as I wanted the angels to appear to be oating
on the wall. The event created a fun angel minisession for my clients while making a difference
at the same time. After the session, I printed my
favorites for a showing at a local art gallery and
also posted them on the blog for voting $1 per
vote to benet the care center. Gallery images were
also available for sale as part of the proceeds.
Tifney Addis,
Tifney Photography, Westminster, SC
White House Custom Colour - www.whcc.com - 800-252-5234 - info@whcc.com

TOOLS
ROUNDUP: C.A. Boylan
Covering The
Photo
Beat
A Rechargeable Battery, Camera Brace, And Lenses
Nikons AF-S Nikkor 200-400mm f/4G ED VR II Lens
The AF-S Nikkor 200-400mm f/4G ED VR II lens is constructed from die-cast
magnesium and sealed to resist dust and moisture. It features meniscus glass to
protect the front element, VR II image stabilization, Extra-low Dispersion (ED)
glass elements, Silent Wave Motor technology, and three Focusing modes. The
suggested retail price is $6999.95.
Contact: Nikon Inc., 1300 Walt Whitman Rd., Melville, NY 11747;
(800) 645-6689;
www.nikonusa.com.
Bowers 14mm f/2.8 Ultra-Wide-Angle Lens

Bower has introduced a
14mm ultra-wide-angle lens
that is compatible with Canon,
Nikon, Pentax, and Sony D-SLR
cameras and features a fixed
petal-type hood. Constructed
of 14 elements in 10 groups
(one glass aspherical and one
hybrid aspherical), this lens
has one of the shortest focal
lengths in the Bower series.
Its elements have been designed to correct the distortion in this
aspherical lens. Other aberrations such as astigmatism have also
been corrected, resulting in ideal image quality.
Contact: S. Bower Inc., 46-24 28th St., Long Island City, NY
11101; (800) 446-7244;
www.bowerusa.com.
M-ROCKs Mount Rainier Lens Case

The Mount Rainier 660 lens
case can safely accommodate
a lens that measures up to
10x4.6. It includes two
padded shoulder straps and six
attachment points so it can be
worn as a backpack, shoulder
or tummy bag, or fanny pack.
The Mount Rainier can also be
used with M-ROCKs modular bag
system. It comes with a lifetime
warranty and has a suggested
retail price of $66.
Contact: M-ROCK, 21055 NE
37th Ave., Ste. 2002, Aventura,
FL 33180; (800) 773-7067;
www.m-rock.com.
Quantums Turbo 3
This smaller, lighter version of the original high-capacity rechargeable
battery offers three times the power and can deliver 600 to 1600 flashes
with a recycling time from 110 sec to 1.5 seconds. The Quantum Turbo 3
provides dual power for two flashes or for a flash and a D-SLR, or up to
five hours of video with a D-SLR. It can be belt mounted and requires no
AC power. A gas gauge shows the remaining power and charge status.
It uses a Ni-MH battery with no memory effect and the lockable sockets
work with new locking cables. The Quantum Turbo 3 is compatible with
40
Really Right Stuff understands the importance of a superior camera

support system, which is why we are fanatic about quality. Our
extensive line of tripods, ballheads, quick-release systems, ash
brackets, pano gear, and studio gear delivers soul satisfying
uncompromised quality and performance.
www.ReallyRightStuff.com
(805) 528 6321 or toll-free in US & Canada (888) 777 5557
Really Right Stuff is a registered trademark of Really Right Stuff, LLC
TOOLS
a variety of professional flash
units, including those from
Canon, Nikon, and Metz, plus
Quantums Qflash T series. The
suggested retail price is $801.
Contact: Quantum
Instruments, Inc., 10 Commerce
Dr., Hauppauge, NY 11788;
(631) 656-7400;
www.qtm.com.
Hoodmans Cinema Kit Pro

A durable hot shoe mount, the new HoodCrane
allows you to easily use the HoodLoupe 3.0
during D-SLR video capture. You can swing the
HoodCrane up out of the way so you can use the
cameras LCD screen for still shooting. The Cinema
Kit Pro includes the HoodCrane, the HoodLoupe
3.0, and the HoodMAG, a magnifying video
eyecup. The suggested retail price is $209.99.
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LensPens SensorKlear
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42
The SensorKlear Loupe Kit is an easy

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from your cameras sensor. Used on the
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directed beam of light to pinpoint the
problem. Once dust is detected, the
Sometimes
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TOOLS
blower can be used to remove it. However,
if the dust particles are sticky, use the
access window located on the side of
the Loupe and insert the tip of the new
SensorKlear II pen to safely remove the
particles. The suggested retail price
is $99.95.
Contact: LensPen, 650-375 Water St.,
Vancouver, BC, Canada V6B 5C6;
(877) 608-0868;
www.lenspen.com.
Habbycams SD Camera Brace

Designed for use by both photographers and videographers, the Habbycam
SD camera brace is crafted from durable stainless steel with aluminum
components and is fully adjustable for comfortable shooting. Weighing 3 lbs, it
measures 24x5x7, collapses for easy storage, supports up to 20 lbs, and can be
used with any camera that features a 14-20 tripod mount. The suggested retail
price is $249.
Contact: Habbycam, LLC, 827 Hollywood Way #192, Burbank, CA 91505;
(818) 679-3074;
www.habbycam.com.
To submit information for

Roundup, please contact our New
Products Editor by e-mail at: Cynthia.
Boylan@sorc.com or regular mail at:
Shutterbug Magazine, 1415 Chaffee Dr.,
Ste. #10, Titusville, FL 32780.
44
TOOLS
BUYING SMART: Jon Sienkiewicz
Tele-Converters
TC? Or Not TC? That Is The Question.

Photos 2010, Jon Sienkiewicz, All Rights Reserved
A Great Blue Heron shot with a Canon EOS 5D Mark II and a Canon 70-200mm f/4L zoom, no tele-converter.
Same shot with tele-converter. No apparent loss of sharpness with the tele-converterin fact, it looks sharper
because the bird appears closer.
46
ack in the day when prime lenses

ruled supreme and snooty purists
decried zooms for lack of absolute
sharpness, Tele-Converters (TCs)
were popular accessories. Photographers
wanted to bring distant subjects closer,
and TCs provided a means to that end. Also
known as tele-extenders, these thick slabs
of metal and glass increase the focal length
of a given lens while also decreasing the
f/stop. Physically they resemble a short
lens with two ends but no front. They fit
between the camera body and lens and work
their magic. But is it magic they deliver? Or
is it mayhem? The answer awaits.
All TCs have a few things in common.
They are categorized and labeled by how
much they increase the focal length. The
most common type, the 2x, effectively
doubles the focal length of the lens it
conjoins. A 1.4x increases the focal length
by that amount. About the longest youll
encounter is a 3x. Fortunately, a TC does
not change the lens minimum focusing
distance, a nice advantage.
A 2x converter decreases the effective
aperture by two stops. Thats pure physics
and theres no escaping it. On paper, an
f/2.8 lens becomes an f/5.6, for example.
However, the actual, measurable change
may be greater. Because of differences in
the optical designs of the TC and the lens,
or because the TC is constructed with
lower-quality materials and workmanship,
light falloff can be more than the
mathematics suggests. And that leads us to
the next major category.
Some TCs are made by camera or
lens manufacturers specifically to be
matched with a particular lens or group
of lenses. Others are made by third-party
lens makers and are compatibleto one
degree or anotherwith a broad variety
of lenses. In the case of the dedicated
converters, camera makers carefully match
the optical formula of the converter to
Six Interior Options:

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Photos 2010, Jon Sienkiewicz, All Rights Reserved
TOOLS
(Left): Heres an inset showing a crop of the Great Blue Heron caught with no
tele-converter, using a Canon EOS 5D Mark II and a Canon 70-200mm f/4L zoom.
(Above): Same bird, same camera, however this inset shows an enlargement crop of
a Canon 2x tele-converter shot.
a lens (or handful of lenses) to deliver

optimum results. For the second group,
the relationship between TC and lens is
haphazardsometimes its a harmonious
marriage and other times a total disaster.
Olympus offers a notable exception to
the limited compatibility stipulated by most
camera manufacturers. The Olympus EC-20
Teleconverter works with any Olympus Four
Thirds lens. To show you the effect Ive

included examples of the EC-20 combined
with the Olympus Zuiko Digital ED 8mm
f/3.5 fisheye and with the Olympus Zuiko
Digital ED 300mm f/2.8 telephoto. Judge
for yourself, but I found both combinations
amazing. The EC-20 also works with other
brands of standard Four Thirds system lenses.
Always check with the manufacturer to
make sure that the combination you want to

use makes sense. In the case of both Canon
and Nikon branded 1.4x and 2x TCs, youll
find a complete list of compatible lenses on
their respective websites. Where third-party
converters are concerned, exercise extra
caution, especially if your camera has an
APS-C-sized image sensor that may or may
not be compatible with a legacy TC
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(Left): The Olympus Zuiko Digital ED 300mm f/2.8 telephoto. It has a marvelous way of turning the background into a pleasant blur. (Right): By adding an Olympus EC-20 to
the 300mm f/2.8 telephoto we bring the subject closer without signicant loss of sharpness. Both shots were made from a tripod.
designed originally for a film camera.

The odds are against TCs from the
get-go. They rob the lens of light which
has a number of dire consequences. With
a smaller maximum aperture, your lens
becomes more difficult to use at night.
Youll need a slower shutter speed and
you know what that means. Even worse,
the required illumination threshold for
autofocus on some camerasespecially

older modelsis such that adding a TC
spells doom. Many autofocus systems need
lenses with an aperture of f/5.6 or larger
to function accurately. Finally, when less
light passes through a lens, the viewfinder
is darker and composition can be
more challenging.
Another strike against them is that they
introduce additional aberrations. Even the

best made, highest-quality TC has some
level of imperfection. So adding a TC to a
lens is adding flaws. If you use one youd
better prepare for at least a modicum of
image deterioration.
And TCs are not cheap; they range in
price from $200 to $500 with a fair number
clustered around the $400 level. Thats
49
TOOLS
2010, Jon Sienkiewicz, All Rights Reserved
This is a shot with the Olympus Zuiko Digital ED 8mm

f/3.5 sheye and the Olympus EC-20 Teleconverter.
Velocity 9x
model 5769
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PHOTO, LUGGAGE & COMPUTER CASES
nearly the cost of a complete lens. So, is

buying a TC Buying Smart?
The proof of the pudding, as they say,
is in the performance. And the performance
delivered by the Canon and Olympus TCs
used in this survey was remarkable. When
the Canon 2x doubled the Canon 70-200mm
f/4L zoom, it was nearly impossible to
tell which images were shot with the
converter and which withoutthey were
that sharp. The Olympus TC performance
was equally impressive.
Particularly in those situations where
you need a long, long telephoto and already
have a medium long one, a TC is the right
choice. On the other hand, if youve just
been hired to shoot sports photography and
need long, bright telephotos every weekend,
buy a new long lens instead. If you are a
Four Thirds system user, youll get a lot of
bang for your buck out of an Olympus EC-20
because you canand willuse it with
every lens.
Then theres that third categorythe
rabid hobbyist whos willing to sacrifice
a little perfection in exchange for fun
and excitement. Adding a converter to a
300mm lens is thrilling. It makes you glad
you own a stout tripod. And it opens doors
to photographing subjects (birds, the
moon, etc.) that you may be missing now.
Branch out with a TC and if you discover a
new passion you can upgrade to a longer
lens later.
You can read Jon Sienkiewiczs Blog at:
www.shutterbug.com.
50
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CLASSIC CAMERAS: Jason Schneider
More Greatest Cameras

Of All Time
Five More Nominations To The Top 20 List
Offered By Shutterbugs Knowledgeable Readers
while back I had picked my top 20 cameras of all time, a topic that still draws comment on the Shutterbug
Forums. While few Shutterbug readers venomously assailed my choices or impugned my historical accuracy,
practically everyone posting on The Top 20 Cameras of All Time Forum was rooting for their favorite
cameras, or complaining that their gems werent included.
This brings us back to the fundamental question: how do you define a great camera? Ultimately, both the
criteria and the selection process are inherently subjective, and thats why I expected the uproar. For the record,
I had given special priority to cameras that are the first of their kind and have, in my judgment, had a profound
influence on camera design, technology, and marketing. But I had also included ultimates of particular types
of cameras, and others that have served as influential exemplars for the photographic industry. That said, heres
a quintet of worthy alternatives, each of which was proposed by several Shutterbug readers, a group thats pretty
savvy about cameras and their history.
Exakta Varex1950
This landmark camera pioneered the development of
the system 35mm SLR. A lineal descendant of the
waist-level-viewing Kine Exakta of 1936 (the first
successful 35mm SLR), the Varex had the improved finder
of the 49 Exakta II, but added a key feature, the first
interchangeable eye-level penta-prism. With the inclusion
of numerous other accessories and lenses, it eventually
grew into the Exakta system, a concept later emulated by
dozens of Japanese and German SLR manufacturers. The
Varex was also the first to use the 35mm f/2.5 Angenieux
Retrofocus R1 lens, the first wide angle for SLRs. A later
version of the Varex (the Varex VX of 54) added preset
and externally actuated semiauto-diaphragm lenses. The
Varex features a cloth focal-plane shutter with speeds
from 12 seconds to 11000 sec set via two dials, a
left-handed film-wind lever, and two flash-sync terminals
below the front-mounted left-handed shutter release. The
original 50 Exakta Varex is scarce and collectible (later
models are more plentiful) and sells for about $350 with
a 58mm f/2 Zeiss Biotar lens.
More on page 58
56
TOOLS
Speed Graphic (Anniversary Model)1940
PhotoStudioCruzer
If any camera epitomizes American newspaper and war photography from the 1930s
though the 50s, it is the Speed Graphic, a rugged folding press camera made in 4x5 and
314x414 versions by the Folmer & Schwing Division of Eastman Kodak. Though early Speed
Graphics go back to 15, the Anniversary model of 40-47 is considered the most classic.
Its features include a cloth focal-plane rear shutter with separate slit width and spring
tension controls; an interchangeable lensboard with leaf-shutter lens in front; a metal
drop bed with two focusing knobs; a rising/shifting lens standard; an optical finder;
and a front telescoping sportsfinder. Most were fitted with separate-but-coupled Kalart
or Meyer rangefinders. Common lenses include the 135mm f/4.7 Graflex Optar (by
Available exclusively at
CaseCruzer.com
Wollensak) and the 127mm f/4.7

Ektar (by Kodak). This was the
unrefined-but-indestructible camera used
by such great photojournalists as Weegee
and Joe Rosenthal to raise newspaper
photojournalism and war photography to
a high art. It was produced in modified
form as the Super Graphic until 73.
Its rare to find an Anniversary Speed
Graphic without a few battle scars, but
reasonably clean, functional ones are
often reasonably priced at around
$250-$300.
Pentax Spotmatic1964
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58
The Spotmatic was the first

Through-The-Lens (TTL) metering 35mm
SLR that took exposure readings off
the finder screen, by means of two CdS
cells placed on either side of the finder
eyepiece. This brilliantly simple
TTL metering system was adopted by
almost every other SLR manufacturer,
and is still the dominant system in
use today. The Pentax system, far less
complicated and more flexible than
Topcons clever mirror-mounted meter cell
(introduced a year earlier in the 1963
Topcon RE Super), has been refined to
allow the sophisticated multi-pattern
metering systems in current AF SLRs. In
other respects, the Spotmatic (misnamed
because it actually had an averaging
2010 Datacolor. All rights reserved.
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meter pattern) was quite conservative, providing match-needle metering
at working apertures and using the traditional 42mm threaded lens mount
pioneered by Praktica. Nevertheless, it was a fairly compact, very attractive
design and was one of the hottest-selling, most influential SLRs of its era. It
was eventually developed into the similar-looking, full-aperture-metering Pentax
Spotmatic F of 74. Features include: a cloth focal-plane shutter with speeds
from 1 second to 11000 sec plus B, a single-stroke wind lever, and a meter switch
that stops down the lens and doubles as an auto/manual diaphragm switch. The
original Pentax Spotmatic is a nice user-collectible that holds its value well, and
sells for around $150 with a 55mm f/1.8 or 50mm f/1.4 Super-Takumar lens.
Argus C31939
Perhaps the best-selling,

longest-running 35mm camera of
all time, the C3 or brick as its
affectionately known due to its boxy
shape was a product of Argus, Inc. of
Ann Arbor, Michigan (originally
International Research Corporation).
If you count the very similar Argus C2,
basically a C3 without built-in flash
sync, introduced in 1938, the camera,
with minor variations, was in production
for 38 years until 66 (!), and over the
decades many millions were sold. A
sturdy, reliable Bakelite-bodied camera
of simple design, the C3 was, especially
from its introduction to the late 50s,
responsible for getting more Americans
into 35mm photography than any
other camera, hence its iconic cultural
status. Essentially, it is a coupled
rangefinder camera with a separate
optical viewfinder, a manually cocked
leaf shutter with speeds of 110 sec to 1300
sec plus B, film advance by left-handed
knob, and a hinged back. The standard
50mm f/3.5 Cintar lens is actually
interchangeable, but inconveniently
soyou have to remove the external
rangefinder-coupling gear and its cover
plate before removing the lens, then
60
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CIRCULAR PL
Capture summer memories
replace them after screwing in another lens. Other inconveniences: a primitive film-stop
mechanism (you must push a button on the back before winding to each successive
frame) and no double-exposure prevention.
Despite its foibles, the C3 has its charms. While not a great picture taker, it was
decent, dependable, and cheap. By the mid to late 50s, it faced formidable competition
from Japanese rangefinder 35s that were far more advanced technically, much better
optically, and equally inexpensive. It is a tribute to its enduring qualities that the
humble American-made C3 was able to soldier on for another decade.
A classic black C3 with a 50mm f/3.5 Cintar lens is a nice collectible selling in the
$25-$40 range in clean working condition. The two-tone Argus C3 Matchmatic, which
uses a color-coded, single-number system for exposure settings, sells for a bit more.
Nikon F1959
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62
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The legendary Nikon F was the first truly professional-caliber SLR,

and was conceived, from its inception, as the basis for a high-quality
professional SLR system. The Nikon F remained in production, with relatively
minor changes, for nearly 14 years, and during that time it established
Nikon as the leading professional 35mm camera, a position not seriously
challenged (by Canon) until the autofocus era. A handsome, rugged, and
reliable camera of modular design, its removable penta-prism and external
meter-coupling system allowed the Nikon F to be retrofitted with the latest
advances in metering technology by upgrading the meter prism, and its F
mount has endured, with some operational changes, even until the present
digital eraa remarkable example of non-obsolescence.
While the Nikon F is not really a technological landmark (other than its
being the first SLR with an accessory electric motor drive, and first to offer
a perspective-control lens), it is the camera that really marked the coming
of age of the 35mm SLR. Its features include: a titanium foil focal-plane
shutter (early models had cloth shutters) with speeds from 1 second to 11000
sec plus B and T, interchangeable finders and screens, and a removable back.
An extensive range of lenses and specialized accessories was available. The
Nikon F is a fine user-collectible, but models in excellent cosmetic condition
that have not endured the rigors of professional use are hard to find. The
price of a clean, functional Nikon F with an original 58mm f/1.4 Nikkor lens
is about $500-$600; an early model with cloth shutter, unmodified to take
the later meter prism, is $3000 and up.
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READER SERVICE INDEX

3 Abes Camera
118 American Color Imaging (MEMORY
BOOKS)
231 Anthropics
(WWW.PORTRAITPROFESSIONAL.COM)
180 Arcsoft
211 B & H Photo-Video
57 Backdrop Outlet
112 Beach Camera of Maine
226 Bibble Labs
50 Bogen (GITZO)
58 Bogen (LASTOLITE)
59 Bogen (DESLEY)
71 Bogen (NATIONAL GEOGRAPHIC BAG)
113 Bogen Imaging Inc. (KATA)
124 Bogen Imaging Inc. (METZ)
140 Bogen Imaging Inc. (MANFROTTO)
142 Bogen Imaging Inc. (ELINCHROM)
151 Bowens International
152 Bowens International (GEMINI 500r)
101 Brandess Kalt (SAFARI STRAP/
WALKSTOOL)
190 Brandess Kalt (PELICAN CASES)
254 Broadway Photo
6 Brooks Institute
18 Buffalo Technology (TERA STATION
DUO)
35 Buffalo Technology
121 Bulb Direct (CATALOG)
33 Calumet Photo Products (CATALOG)
65 Calumet Photo Products (CALUMET
FOCUS)
67 Calumet Photo Products
(TRAVELITE/LITLINK KITS)
68 Calumet Photo Products (QUATTRO
LIGHTS)
69 Calumet Photo Products
(EXCEPTIONAL SERVICE)
9 Canon USA (DIGITAL LEARNING
CENTER)
28 Canon USA(EOS 20D)
30 Canon USA(EOS 50D)
34 Canon USA(EOS REBEL SERIES)
36 Canon USA(LIVE LEARNING)
64 Canon USA (CHROMA LIFE 100)
107 Canon (imageANYWARE)
150 Canon (EOS 30D)
212 Canon (EOS-1DS MARKIII)
240 Canon USA (CAMERAS/LENSES)
275 Canvas Photo
233 CaseCruzer (PHOTO STUDIO
CRUZER)
82 Chilcote (DIGITAL PROOFING SYS.)
22 Chimera (CATALOG)
23 Chimera (OCTAPLUS 57)
26 Chimera (TRIOLET)
201 Cottage Mills (PIX PEN)
176 Dameron (BLACK RIVER IMAGING)
110 Dell Computers (SONY a DSLR-A330)
167 Denevi Digital Transfer Services
(MOVIES, SLIDES, TAPES, & PRINTS)
7 Denny Mfg. (CATALOG)
8 Denny Mfg. (FREEDOM CLOTH)
10 Denny Mfg. (NOVELTY)
14 Denny Mfg. (SAFARI LUMINATIONS)
74 Digital Light & Color (COLOR PLUG-IN
for PS)
37 Epson (PRINTERS R1800 & R800)
111 Epson (STYLUS PRO 3800)
177 Epson (1400 PHOTO PRINTER)
229 Epson (STYLUS R1900 PRINTER)
75 ExpoImaging (WHITE BALANCE
FILTER)
165 ExpoImaging (COLOR MANAGEMENT)
221 ExpoImaging (DEPTH OF FIELD)
238 ExpoImaging (RAY FLASH RING
LIGHT)
204 Express Digital (DARKROOM &
PhotoReflect Software)
80 F.J. Westcott (ULTIMATE OUTDOOR
TRAVEL KIT)
81 F.J. Westcott (BRUCE DORN
LIGHTING KITS)
178 F.J. Westcott (STROBELITE)
182 F.J. Westcott (LIGHT PERFECTED)
184 F.J. Westcott (PRO TIPS)
185
187
188
189
272
174
77
11
270
91
94
61
12
32
85
86
88
96
102
128
79
183
250
90
108
169
170
171
173
257
63
73
268
209
210
215
216
220
225
232
236
255
267
100
93
155
253
261
271
106
20
70
72
76
78
84
202
228
130
133
136
139
144
181
214
218
266
276
17
262
265
195
24
27
126
148
222
223
224
F.J. Westcott (SPIDERLITE)

F.J. Westcott (CATALOG)
F.J. Westcott (SCRIM JIM)
F.J. Westcott (PHOTO BASICS)
F.J. Westcott (SCENIC BACKGROUND
RENTALS)
Fototime
FS Distribution (HOLGAWOOD
COLLECTION)
Hahnemuhle
Hitec Sales & Marketing
HiTi Digital, Inc. (DIRECT WIRELESS
PRINTING)
HiTi Digital, Inc. (P510K)
HOLDSLR INC
HP Marketing (GEPE)
HP Marketing (HP MARKETING)
HP Marketing (GREAT GEAR #1)
HP Marketing (HELIOPAN)
HP Marketing (NOVOFLEX)
HP Marketing (GIOTTOS)
Interfit (SECULINE)
Interfit
International Supplies
JTL Corp. (MOBILIGHT DC-600)
JTL Corp. (CFL LIGHT KITS)
JTL Corp. (EVERLIGHT)
JTL Corp. (DIGIFIRER)
JTL (VERSALIGHT D-3)
JTL (MOBILIGHT-SERIES)
Kurlandphoto.com
Lensbaby
Lightware
Logan Graphic Products
Lumiquest (QUIK BOUNCE)
Lumiquest (DAVE BLACK)
Lumiquest (SOFT SCREEN)
Lumiquest (FLASH)
Lumiquest (DON GALE)
Lumiquest (BIG BOUNCE)
Lumiquest (PROMAX SYSTEM)
Lumiquest (BOUNCE KIT)
Lumiquest (LUMIQUEST FX)
Lumiquest (SOFTBOX III)
Master Mount (CATALOG)
Metropolitan Vaccum Cleaner
Michel Co. (CATALOG)
Midtown Printing
(SHORTRUNPOSTERS.COM)
Mole Richardson Lighting (CATALOG)
Nadel Enterprises (LUMAHAWK)
Naneu Pro (CATALOG)
Nik Software (COMPLETE COLLECTION)
Nik Multimedia (DIGITAL PHOTO
TOOLS FOR ADOBE)
Nik Software (PHOTO CONTEST)
Nik Software (SILVER EFEX PRO)
Nik Software (SOFTWARE TOOLS)
Nik Software (LUCAS GILMAN)
Nik Multimedia (PLUG IN FILTERS)
Nik Software (COLOR EFEX PRO 3.0)
Nikon (D2X DIGITAL)
Nikon (PRO DIGITAL SYSTEM)
Nikon (NIKKOR LENSES)
Nikon (SB-800)
Nikon (D70 DIGITAL)
Nikon (D80)
Nikon (D3
Nikon (D300)
Nikon (D700)
Nikon (D90)
Norman (NORMAN ML400 & ML600
MONOLIGHTS)
Norman (A400B)
Norman (D12, D24 POWER SUPPLIES)
OP/Tech (CATALOG)
Paul C. Buff (WHITE LIGHTNING)
Paul C. Buff (CYBER COMMANDER)
Paul C. Buff (ALIEN BEES)
Paul C. Buff (ZEUS)
Paul C. Buff (PARABOLIC LIGHT
MODIFIER)
Paul C. Buff (VAGABOND II)
Paul C. Buff (RADIO FLASH)
245
264
269
38
5
60
278
127
131
25
2
16
260
104
51
83
29
49
172
207
227
206
42
52
208
230
219
166
43
53
258
244
246
247
248
249
251
109
259
274
95
241
39
89
92
99
117
129
161
179
273
40
55
95
125
135
205
256
44
46
47
147
186
159
66
98
62
19
21
54
56
237
15
Paul C. Buff (RINGFLASH)

Paul C. Buff (LIGHTING)
Paul C. Buff (CYBERSYNC)
Pelican Products
Perfection Distributing
Phase One
Photek (ILLUMINATA II)
Photo Digital & Darkroom Supply
Photo Pro (EQUIPMENT)
Photogenic Professional Lighting
Photographers Edge
Photographers Formulary (CATALOG)
Photographers Warehouse
Pierce Digital Imaging (PHOTO GIFT
BOOKS)
Porter Case (CATALOG)
Pro Photo
Pro Studio Supply (CATALOG)
Quantum Instruments (QFLASH TRIO)
Quantum Instruments (TURBO
SC-SLIM)
Quantum Instruments (QFLASH 5d-R)
Quantum Instruments (QNEXUS)
Quick Pro Camera Guides (QUICK PRO)
R.T.S., Inc. (TRIPODS, BAGS,
CAMERAS, HOUSINGS, BALL HEADS)
R.T.S., Inc. (MULTIBLITZ)
R.T.S., Inc. (HADLEY BAG)
R.T.S., Inc. (EWA-MARINE HOUSINGUNDERWATER PHOTOS)
Really Right Stuff (MOUNTS, CLAMPS,
BALL HEADS, TRIPODS)
Roberts
Samys Camera
Samys (SAVAGE)
Sanho (COLORSPACE O)
Savage Universal Corp. (INFINITY
CANVAS/VINYL)
Sigma (FLASH) CATALOG
Sigma (LENS) CATALOG
Sigma (SD14) CATALOG
Sigma (DP1) CATALOG
Sigma (DP2) CATALOG
Smith-Victor (SOFTBOX LIGHTS)
Smith-Victor (LIGHTING EQUIPMENT)
Sony (A ALPHA)
Sony (MAKE BELIEVE)
Sony (a NEX-5)
Speedotron
Speedotron (EDUCATIONAL
PURCHASE PROGRAM)
Speedotron (GET FREE STUFF)
Speedotron (MORRIS)
Speedotron (4-CHANNEL RADIO
FLASH TRIGGER)
Speedotron (FORCE 10 MONOLIGHTS)
Speedotron (LIGHTING KIT SPECIAL)
Speedotron (POWER SUPPLIES)
Superior Specialties
Tamrac (THE ULTIMATE BACKPACK)
Tamrac (VELOCITY SERIES)
Tamrac (EVOLUTION SERIES)
Tamrac (DUAL ACCESS PHOTO
BACKPACKS)
Tamrac (MICROSYNC)
Tamrac (CLASSIC CAMERA BAGS)
Tamrac (ADVENTURE 10 BACKPACKS)
THK Photo Products (SLIK)
THK Photo Products (HOYA)
THK (TOKINA)
THK (KENKO)
Tiffen (LOWELL)
Trancend (COMPACT FLASH CARD)
UCB
United Color Lab
Upstrap
Vanguard USA (UP-RISE SERIES)
Vanguard USA (ALTA SERIES)
Vanguard USA (SUPREME HARD
CASES)
Virtual Backgrounds
White House Custom Color (WHCC)
(PROFESSIONAL PHOTO LAB)
XOTOPRO (QMM1)
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DIGITAL HELP: David B. Brooks

igital Help is designed to aid you in getting the most
from your digital photography, printing, scanning, and
image creation. Each month, David Brooks provides
solutions to problems you might encounter with matters
such as color calibration and management, digital printer
and scanner settings, and working with digital photographic
images with many different kinds of cameras and software. All
questions sent to him will be answered with the most appropriate
information he can access and provide. However, not all
questions and answers will appear in this department. Readers
can send questions to David Brooks addressed to Shutterbug
magazine, through the Shutterbug website (www.shutterbug.
com), directly via e-mail to: editorial@shutterbug.com or
goofotografx@gmail.com or by US Mail to: David Brooks, PO Box
2830, Lompoc, CA 93438.
To aid us in making Digital Help as helpful as possible,

please be specific in your query and include components,
including software, that you use. David says, Make me
guess the problem and I might guess wrong.Editor
Your Vision AdaptsComputers Cant

Q. I am color matching to make prints, working on a
PC and using a Windows XP system. Would it be more
appropriate to work in a completely dark room? I could cover
the windows with black so Im not getting any ambient light.
Geri
via e-mail
A. Having any amount of daylight in a lab, with its variable
brightness or color balance, is not advisable as it introduces an
inconsistency, so your results will not be consistent. My lab is a
spare bedroom with a north-facing window that is shuttered and
lets in very little light. Illumination is provided by simple, small
fluorescent lamps placed behind the computer screens, with no
light shining directly on the screens, but enough overall to see
everything in the lab clearly. The LCD displays have hoods so
no light reaches the screens themselves. Its nothing fancy or
costly, and it works fine. I use a separate computer in my office
with the LCD set at 120.0 CD/m2 to do my business work.
Reproduced Color Variations

Q. Over the last couple of years the subject of having
digital images print out too dark has been thoroughly
discussed with recommendations on how to eliminate it. How
about a different twist to the problem, with prints being too
light and just plain flat? Let me explain. Recently I received
the latest issue of a scenic magazine that I subscribe to.
68
(Dont worry, I also get Shutterbug and always read your

column.) What surprised me was that quite a few pictures in
this scenic magazine were printed way too light with colors
inaccurately represented, making the images unrealistic. Im
sure the editor first saw these images when submitted and
they looked great. Why should things go astray during the
publishing process for only some of them? Is this simply just
another different type of issue with the monitor luminance
settings that somehow crept in?
I also belong to a local camera club where we have
scheduled digital projection competitions. Typically about
130 images are projected and judged during the long
evening. Some of these images are extremely well processed
with great color depth and sharpness. Others are flat in color,
too light, and look totally unrealistic as an image. Could
these lower-quality images be suffering the same problem
that I found in the magazine?
Doug Bacso
via e-mail
A. Regarding the first part, magazines are printed on
extremely fast and huge offset presses. The pressmen have to
monitor and adjust these web presses constantly and sometimes
they miss so the ink is printing too lightly or too heavily. Having
worked in magazines off and on over the last 35 years, I have
seen this fairly often, even though most of the printing is well
controlled and accurate, at least most of the time.
With individually made photo prints, lightness or darkness is
due more to variations in individual perception. People just see
images differently because there is no standard. Human vision and
perception varies a lot, much more than each of us realizes, because
we only know what we see ourselves and cannot see as others do.
Finding The Best Photo Software

Q. I own Photoshop CS4 and have used Photoshop for the
last 15 years for some graphic design work totally unrelated
to photography. From my standpoint, it is a nightmare as
its way too complex for my digital photographic needs. As
you suggest, Adobe should add different shaped brushes
to Lightroom and Nik should do the same for its various
programs. With respect to Lightroom, I would be happy
to pay Adobe double or three times the amount for each
upgrade for better editing features in Lightroom. I suspect
there are many photographers who agree with me. At least
we are getting much improved noise reduction features in
Lightroom 3. What are your thoughts?
Jack Siegel
via e-mail
Continued on page 180
TECHNIQUES
BUSINESS TRENDS: Maria Piscopo
Model Releases
Fact & Fiction, And Some Case Studies

s I did my research on model
releases it became clear that this
is not a black-and-white issue. The
law and the practice of the law
seem divided. The aim here, then, is to
present you with a point of view that is
both practical and supported by industry
custom. First, lets try to separate this
discussion from copyright. Copyright law
is the federal protection of your right
as the owner of the work you created
to control the use of that image. You
create it, you own it. Rights of privacy
and publicity laws protect the individuals
rights to control the commercial use of
their likeness and they vary from state to
state. There are exceptions to this: the
use in news media of a persons likeness
is not considered commercial and does
not require their permission.
Second, the most hotly debated topic
is whether you need model releases
to use your images of recognizable
individuals in your self-promotion pieces.
Since business sense dictates that your
self-promotion is not editorial, most
photographers take the safer legal
position that marketing your photography
is a commercial use and you should get
model releases.
The bottom line is that getting model
releases increases the sales potential
of any image for the commercial use in
stock photography. Lets see what the
professionals we interviewed have to say.
A M Johnson (http://cafe1956.
com) reviews the letter of the law
on the federal and state levels: The
value in securing a model release is in
the usage a photographer gets out of it.
As the creator of an image or original
work, the photographer has an ironclad
copyright the moment the shutter release
is pressed. The image is theirs and
70
Photos 2010, A M Johnson, All Rights Reserved
theirs alone at this point. The model

has no right to the image in any way.
Because of state laws governing usage,
the photographer only has limited rights
to use the image, even though he or
she owns it. This is the fundamental
difference between copyright and usage.
Just because you exclusively own the
photo, you may or may not be able
to use the photo. Federal law allows
ownership, state law allows usage. This is
typically called the right to privacy or the
right to publicity.
Ben Lawson (www.
benlawsonphotography.com) describes
a case where he wished he had asked
for a model release: I had a model a
couple of years ago who gave me a lot
of headaches when she came back and

demanded high-resolution raw images
of everything we shot together. I had
neglected to get a model release, so I
removed her images from my portfolio
because I would not give in to her
demands. This was not a test shoot; this
model contacted me through a popular
modeling site. At the time, I did not
have information posted regarding what
models would receive and what to expect
from a shoot (I do now). I was aware
of the use of model releases, but at the
time all of my work was strictly personal
and not being used for advertising or
commercial purposes at all, whichright
or wrongmade me more relaxed in my
model release policy. Considering this
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TECHNIQUES
models angry reactions, my wife and I
were concerned about my reputation. I
then sent the model a letter explaining
again what her legal rights were in regard
to the images, and asked her then to
sign a model release which I enclosed.
I told her that I had the right to have
my images removed from her modeling
portfolio if she refused, but that I didnt
want to have to do that. It took a few
weeks, but she eventually signed and
returned the release. Since then, I have
been more diligent on getting model
releases, especially with models Ive
never worked with.
Ellen Boughn (www.ellenboughn.
com) describes her personal experience
in stock photo sales with these four
examples: 1) Always get the model
release before the shoot. For example,
I did a shoot in New York City with five
models using both exterior and interior
locations but the photographer waited
until the end of the day to get model
releases. One male model would not sign!
Since he was in the middle of most of
the pictures, we had to toss almost all
the images.
2) Never cheat on model release
signatures. A stock photographer
returned from shooting in Hong Kong and
when I asked for model releases he said
he did not have any so we could not use
the photos and turned him away. Later
he came back with signed releasesin
Chinese! Since the release was in English
and the Chinese was clearly taken off the
characters from a restaurant menu, we
sent him away again and never worked
together again.
3) Anyone can sue anyone at anytime
for anything. A magazine asked us for a
sky and desert photo from stock and it
ran as a small insert in a vertical double
truck with a larger image of multiple
(nude) skydivers taken from the ground.
The large image was supplied by another
stock company. One of the competitors
in the naked skydiving contest sued. The
individual was not identifiable in any
way, was shown in an editorial context,
and in no way did my attorney feel that
the usage demanded a model release.
Even so, the individual filed suit against
all six stock companies supplying images
72
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for the article. It took $1600 in legal fees

to get out of the situation even though
we did not do anything wrong and the
woman didnt even appear in the photo
that we supplied!
4) Good thing we got a release. We
supplied an image of a man wearing a
handmade western belt buckle to a client
that was used in an advertisement. When
we got a call from an individual after
publication asking to be paid I was a
little confused as I knew we had a model
release. When I called the photographer,
we determined that not only did we
have a model release but the belt buckle
was being worn by the photographers
father and the photographer had made
the buckle. Some greedy soul thought
they looked like the guy in the ad and
thought they recognized the belt buckle
but they were wrong and we were
home free.
Therese at andyBATTstudio (www.
andybatt.com) describes another
situation working with a model: I got
a call from a greeting card company.
They loved a photo by Andy and wanted

to license it. I remember the shoot well
as Andy was hired to get stills when
the video crew wasnt working with the
talent. Because we did not handle the
production, I was positive we didnt get
a model release. Andy confirmed, saying
the talent refused to sign the release
because she has her own greeting card
company and uses her face on her cards.
Now theres a model who knows her
worth! The client was a bit disappointed,
but theyre sending me their catalog
to see if wed like to submit any of
our other work for consideration. So
something good came out of it.
David H. Wells (www.davidhwells.
com) talks about how to get model
releases on location: I used to hire
assistants a lot when I was doing
corporate work, particularly annual
reports. Since I was usually hired to
do the projects in what was called the
National Geographic style, I did not
need an assistant to help me with lights
or to carry heavy gear. No, I needed
an assistant to solve the two problems

that regularly came up when I was
doing location work for advertisers and
corporations. I needed an assistant to
keep people out of my way, whether it
was the subjects I was photographing
or the people I was working for. I also
needed someone to get the subjects
I was photographing to sign model
releases. The best assistants in those
cases were usually women who knew
enough about photography to keep
people from ruining my shots and
had the ability to talk subjects into
signing model releases. The cold, hard
reality is that women will cooperate
and sign releases for women. Men will
do the same for women but usually not
for other men.
Robert Tolchin (www.roberttolchin.
com) describes getting a model release
after the photo shoot: A few years
ago I took the Paul Elledge/Leasha
Overturf portrait workshop at Santa Fe
Workshops. One of the assignments
was to photograph strangers in a caf.
I approached a potential subject who
allowed me to photograph him. I did
the shoot, and got his address so I
could send him a print. I was shooting
film and although I had a good feeling
about the shot, I really didnt know
what I had until I saw the proofs. In all
modesty, it was a great fine art portrait.

It has won awards and is still one of
my favorite shots, but I hadnt gotten
a release. Fortunately, I had gotten the
subjects name and address to send him
a print. When I sent his print, I enclosed
a release, a self-addressed envelope,
and two $20 bills. I explained that I
had no specific commercial use for the
photo planned, but I was excited about

the shot and wanted to be able to
publish, license, or sell it if the situation
presented itself. The $40 was a gamble.
I might have received no release or he
might have signed it for a dollar. My
feeling was that it was worth the risk and
that it was quite an incentive to sign. I
got my release.
Resources
All things related to model

releases can be found at the
following websites: http://
asmp.org/tutorials/propertyand-model-releases.html, http://
asmp.org/tutorials/usingproperty-releases.html, and
www.asmp.org/releases.
There is an app for that: Easy
Release is found at the following
iTunes link: http://itunes.apple.
com/us/app/easy-release/
id360835268?mt= 8. Another
release program which includes
more types of releases such as
Appearance, Property, Location,
and Crew is mRelease at: http://
itunes.apple.com/us/app/
mrelease/id359000573?mt= 8.
75
TECHNIQUES
PROS CHOICE: Jack Neubart
Tony Arrasmiths
Convincing Composites
Telling The Clients Story, A Piece At A Time

Client: Ohio Tobacco Prevention Foundation
Photos 2010, Tony Arrasmith, All Rights Reserved
This was shot for an anti-smoking campaign, based

on the agencys concept, and involved several
different themes, each centered on a mythological
gureand each shot as a composite. Tony
Arrasmith photographed each gure separately
with identical lighting, largely maintaining that
lighting setup when it came to the shtail portion
of the mermaid. Shooting with a Hasselblad and a
50-110mm lens for this f/11 exposure (ISO 50), he
set up his lights copy-stand fashion, adding the key
light (a Breezy) overhead and just to the left and a
Halo Mono as ll from front left, plus V-ats (large
V-shaped cards here used as an overall ll). Excess
shadows were removed in post. The backdrop was
a gray seamless paper sweep. The client added the
graphics in the corner. (Agency: Northlich.)
ony Arrasmith is a master at

creating composite images.
His attention to detail is what
draws clients to his Cincinnati
studio. A long-time ASMP member, he
operates Arrasmith & Associates
(www.tonyarrasmith.com) in partnership
with Sarah ODell, who manages the
studio and coordinates projects. The
studio has been in business since 1987.
Ive worked with Arrasmith numerous
times, most notably in my Studio
Lighting Solutions book (Amphoto),
where he once again exhibited his
expertise at realizing a clients vision.
His imaginative skills never tire, and
his camera technique never fades. A
large part of that centers on creating
believable composite imagery.
Client: Cincinnati Playhouse In The Park

The client simply provided the
name of the play, The History
of Invulnerability, as the
theme for this shot and Tony
Arrasmiths studio came up
with the concept of a virtually
impregnable prison camp.
Employing the Nikon D300,
Arrasmith began by shooting
the locations: the railroad
tracks, mud and foreground
elements, and the sky and
hills in the background. The
idea was to make it look
like a valley. In the studio he
returned to his Hasselblad
to shoot the barbed wire
fence and red cape, then
composited the image,
adding a somber
blue tone. The building
structures were CGI
elements based on a picture
shot by Arrasmith. Lighting
for the studio components
consisted of a Breezy up
high, a parabolic umbrella
in the foreground, and
several ll cards. (Agency:
Sunrise Advertising.)
76
Composites With Credibility

Arrasmith produces these composites
himself. For a shot featuring a mermaid,
we had custom-ordered a latex fishtail
from a prop house, Arrasmith recalls.
But it didnt look like a real fin. So we
went out and bought three mackerel.
THE BACKDROP MATERIAL
THAT EVERYONE IS TALKING ABOUT!
TECHNIQUES
Client: Cincinnati Playhouse In The Park
Photo by David Mullenix CPM6601 Warehouse
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my studio. They are light-weight, wrinkle-free and just plain
amazing to work with. I now nd myself offering more options
to my clients because of the look and ease of use of these
backdrops. Thank you so much for the great products you offer
and an industry leading customer service to boot.
In this shot Tony Arrasmith was asked to create a photograph to promote the play
Aint Misbehavin. Here he had to shoot multiple exposures to create a nal composite,
pulling the best sections from each exposure. This complex lighting setup required
11 strobe heads aimed at various parts of the set and accessorized with a variety of
light shapers, ranging from a Plume Wafer softbox all the way on the right to a globe
diffuser far left, and an overhead Breezy light. In addition to his Profotos, Arrasmith
also introduced several Norman heads to illuminate the background. This shot was
entirely staged in his studio, with instruments provided by the Playhouse. (Agency:
Sunrise Advertising.)
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78
This self-promo piece consists of numerous elements shot both in the studio
(including the two kids, each shot separately) and outdoors (many of the bugs, plus
the sunset, which established the lighting), with additional CGI components added
to the mix. The lighting for the main shot (bulldog and doghouse) involved several
overhead softboxes, various lights with warming gels (for the sunset feel), and even
a Norman Tri-Lite focused down to simulate a shaft of sunlight aimed at the tires. The
piece is entitled You Distract Him, and yes, the dog is wearing the jersey in the shot.
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Wedding Announcement
Photos 2010, Tony Arrasmith, All Rights Reserved
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The couple wanted a portrait that they could use to announce their upcoming
nuptials. All the animals are their own pets, which were brought into the studio, along
with the furnishings from their home. There was only one lamp, which was shot
separately and duplicated. The back wall, baseboard, and carpet were provided by the
studio. This composite involved numerous captures. The lighting began with a Breezy
to the left, above the foreground table, and a combination of umbrellas, softboxes,
and even a beauty dish off to the far left at the rear. In addition to the Profotos, a
Broncolor Mobil A2R head inside a medium softbox was used as ll for the dog
occupying center stage.
One we used for the shoot; the others made a delicious dinner.
When the shot requires 3D or CGI components, hell turn to
Jeff Meyers (www.jeffmeyers3d.com) or Richard Biever
(www.copperlion.com). For example, a recent assignment to
promote a play being staged by the Cincinnati Playhouse in
the Park required a computer-generated group of buildings.
Arrasmith shot one building as a template and the rest were
entirely fabricated to fill the scene. Select elements were then
shot in the studio.
Lighting also adds to the credibility factor. One very complex
composite that Arrasmith produced for his own portfolio
involved shooting a variety of elementseverything from a
dog and kids indoors to bugs in the garden. He points out
that he shot the background first, prior to the set shot, so
that he could use that to establish the lighting for the studio
set. Matching the lighting went a long way toward creating a
believable composite image.
On The Fast Track To Digital

A long-time medium format shooter, Arrasmith responded to
client requests to shoot digital back in 96. Since his standard
Hasselblad V-system cameras accepted digital backs, he opted
for an 8-megapixel Imacon for starters. Eventually he moved
on to the Hasselblad H series and a 16-megapixel digital back,
renting higher-res backs when needed.
His untiring quest to find the best camera for the job led
79
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TECHNIQUES
Arrasmith to test numerous models,

and that soon resulted in his purchase
of first a Nikon D300 to shoot elements
and then a D3X. But with his Nikons,
he soon realized he no longer needed
the pricier medium format systems. He
has since fully armed himself with an
array of Nikkor lenses, including his
favorites: a 105mm VR micro and an
85mm PC-E micro.
Arrasmith always shoots with the
camera tethered to the computer,
using Adobes Lightroom for his
Raw conversions and Photoshop for
retouching and compositing. Color
balance is achieved with the portable
Macbeth color chart.
For this shot, Tony Arrasmith designed the set based on a client sketch to promote Cherry Pepto-Bismol. The
theme is a pie-judging contest at a cherry festival. Six lights surrounded the set, beginning with an overhead
softbox above the judge and other lights (notably from the rear left) hitting the table, with another softbox as ll
from the front. Finally, a string of lights at the back were added to give the shot added credence (with a 18 sec burn
for these lamps, separate from the main 160 sec exposure). The would-be old-style news photographer was lit and
shot separately, making it easy to drop him in or not, as the client preferred. (Agency: Bridge Worldwide.)
Studio And Location Lighting
2010, Tony Arrasmith, All Rights Reserved
Client: Procter & Gamble/Pepto-Bismol
80
Arrasmith has used Profoto lighting

gear since opening the studio. He finds
these generators powerful enough to
drive volumes of light and he owns a
number of them, along with a selection
of heads and the necessary reflectors to
go with them. He also has a Broncolor
Mobil A2R battery pack that he uses on
occasion (more as a fill light), and a
number of Norman lights.
I like beauty dishes and use
those a lot in the studio, he notes.
However, his primary light-shaping
tool is a Breezy, now discontinued,
but it continues to be a mainstay
in his lighting armory. This 5-foot
reflector is essentially an oversized
beauty dish, except that its focusable.
Softboxes come into play, and
usually as a soft fill. Hell also use
umbrellaslarge ones that he modifies
half silver and half whiteto give the
lighting a bit of an edge. These are
often relegated to the camera position,
again as a fill light. A PocketWizard
radio remote system complements this
lighting entourage.
In the studio, the camera is
supported on an Inka stand. The
camera stand is a critical factor, since
creating composites requires that
the camera be locked down, with
absolutely no movement from exposure
to exposure. On location a Manfrotto

carbon-fiber tripod takes over, but
Arrasmith points out that he needs
to sandbag the legs to secure it in
position, owing to its light weight.
Going From Studio To Location

Our studio measures 4500 square
feet on the main floor, with a garage
entrance, Arrasmith adds, and 2000
square feet on the second floorwhich
is our daylight studio. We have
1512-foot ceilings with track lights.
All that space affords ample room for
those sizable sets that Arrasmith himself
builds. These sets have ranged in size
and complexity from a bathroom with a
working bathtub to a restaurant kitchen,
and down to live bees swarming a hot
dog (small in scale but a bear to set up
and capture).
If I can build the set in the studio,
Id prefer to do that. However, tight
budgets dont always allow us that
luxury and sometimes shooting on
location proves more economical to the
client. As a result, Ive found myself
doing an increasing amount of location
work over the past two or three years.
He continues: Working on location
can have unexpected consequences. For
instance, he recalls, on one recent
assignment we were shooting in a
bowling alley. Wed arrived early and
started setting up at 6:30am. At 7:15,
this entire part of town experienced
a blackout. While we were waiting for
the lights to come back on, the client,
agency people, stylists, and models had
all arrivedand were now just milling
about. As they say, time is money, so we
ran out and rented some generators to
power our lights. The bowling alley lights
finally did come back onfive hours
later. We finished the shoot successfully,
even to the point of negotiating fees
for the time overage. And what was to
blame for all of this mayhem? A squirrel
had chewed through a power line, he
chuckles. You cant prepare for every
situation, but you do have to learn to
think on your feet.
81
TOOLS
TEST REPORT: George Schaub
Nikons AF-S Nikkor

16-35mm f/4G ED VR Zoom
Ultra-Wide For FX, Moderate Wide For DX Nikon D-SLRs

35mm Range
Photos 2010, George Schaub, All Rights Reserved
I only carried one lens throughout this test to see if it made me miss having others, and out West you always want a
tele, but of course the solution is framing and point of view. This photo has a tele look though shot with the 35mm
focal length. Exposure at ISO 200 was f/16 at 1320 sec with spot reading made from the sky and locked.
HDR
hen you talk about lenses

these days you always have
to bring in the multiplication
factor, especially when you
have a lens that fits comfortably on both
so-called full-frame and APS-C sensor
cameras. To know what angles of view
you will have available you have to know:
(a) that the lens is made for full-sized
sensors (or not) so will work with the
multiplication factor on smaller sized
sensors (of course the APS-C lenses will
not work on the larger sensor cameras
unless you are working with a Crop
mode) and (b) that your camera is
indeed a full or smaller sensor sized
unit. The logic of buying the so-called
full-frame capable lens is that it will fit
on any camera with the same mount you
buy now or in the future; the logic of
getting a lens capable only of covering
82
I always wondered if the lens you use on HDR sequences made a difference in the nal result. Heres a ve-shot
bracket combined using Unied Color Technologies HDR PhotoStudio. I gave it an HDRish look rather than play it
straight, and the edges, clarity, and sharpness are stunning in a 16x20 print. At 28mm focal length, f/16 at 1500 sec,
bracketed using shutter speed 5 EV, with the D700 mounted on a Gitzo 2227 with a 1267M ball head.
the smaller sensor is that you match a

lens to the gear you have now for a lower
price, given all else is equal. So many
considerations, so little time.
The new Nikon 16-35mm (list price:

$1259.95) covers the larger sensor
variety, meaning that you get a true
16-35mm equivalent angle of view with
TOOLS
Super-Wide
I must admit I found myself shooting at the 16-20mm setting most often, as that to me
is why youd get this lens. Heres a 16mm shot at f/22 at 180 sec at ISO 200, and its
tack-sharp from near to the clouds. I did add a bit of gradient in the sky via Lightroom.
Photos 2010, George Schaub, All Rights Reserved
One thing you can get with a super-wide like this is big sky. Here I just tilted back and
shot. At 16mm, ISO 200 at f/22 at 1320 sec.
Heres the Chama River as it winds its way north of Abiquiu. I climbed over a guardrail and tilted the camera
forward on the right side to get this vista. Ive shot this many times and have never been able to get this all into a
single frame, at least with a digital camera. Thats the new frontier opened with this 16-35mm lens.
84
FX cameras like the D3S and D700 and

about 24-70mm on DX-format Nikons,
or if you should choose DX Crop mode
on the full-sized sensor units. Either
way its an excellent wide-angle lens,
and it wasnt that far back when digital
and extra wide angle simply didnt play
together nicely. Vignetting problems
caused by the angle of the light hitting
the sensor from the super-wides were
endemic. Full frame helped this, as did
new micro lenses that helped direct the
rays to a more perpendicular angle when
hitting the sensor. None of that, at least
on the D700 I used for this test, is a
problem anymore.
This is clearly a lens for pros and
serious enthusiasts, given the price,
but the specs tell you why. Built with 17
elements in 12 groups, there are two ED,
three aspherical, and some Nano Crystal
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Coat-deposited elements as well. In

addition, theres Internal Focusing
and Nikons Silent Wave Motor, which
lives up to its billing in speed and
noise-free operation.
Being a VR (Vibration Reduction) lens,
you can get a steady shot quite a bit
slower than normal, hand-holdable speed.
Nikon claims a quantifiable four-stop
range benefit, but four stops from what
is always the question. If you use the
1/focal length standard formula without
VR that would be about 150 sec for use
on FX cameras and about 1100 sec for DX
cameras or mode, just to be safe. So,
lets say with VR off your exposure at ISO
200 is 18 sec at maximum aperture. Turn
on VR and you theoretically can get f/11
at 115 sec or f/8 at 130 sec or, the safe
zone, 160 sec at f/5.6. With a super-wide
setting, f/5.6 can get you a decent depth
of field; at 35mm its a normal focal
length in my book. Would we be better
off with a faster max aperture? You bet,
but VR in this lens allows us to have
an exciting focal-length ratio without
having a huge piece of glass and without
breaking the bank.
Just for the record, closest focusing
distance on the lens varies slightly
depending on the focal-length range,
from 1 feet at the widest and longest
ranges and 0.9 feet at the 20-28mm
range. There are nine blades in the
diaphragm, which will warm the hearts
of bokeh fans, and the lens weighs in
at 24 oz.
I shot with the lens and a Nikon
D700 (FX camera) for about two weeks
in and around Taos and Abiquiu, New
Mexico. I started by finding a sunny
adobe wall and shot at 16, 20, 24, 28,
and 35mm at all apertures and found no
evident vignetting at any aperture or
setting. The weight and the length of
the lens never got in the way of hikes
or shooting excursions. I did find that
the supplied lens hood (petal shaped,
and cut back and trimmed to avoid
vignetting at the widest focal-length
setting) was essential, especially when
doing landscapes where the sun was not
that high above the horizon or there was
serious side or rim lighting.
Nikon makes much of their Nano
Crystal Coating, going so far as to place
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TOOLS
a gold plate with a big N on the lens
barrel. Does it make that much of a
difference? Lets put it this way
super-wides like this are no simple matter
to engineer and design right. Digital is
kind of a double down on this task, given
the importance of light travel toward
the sensor. Just about every image I
shot was crisp and clear, even those
you might think would produce flare,
though as I said having the lens hood
on at all times is important. There is
no comparable lens without the coating
to which I could compare it to, but I
would not hesitate to have this lens as
a traveling companion on any landscape
photo jaunt.
This is Nikons widest zoom in FX
format, and those who own FX Nikons
will certainly benefit from it. I, for
one, always felt a certain lack in digital
when it came to the wide-angle realm,
but thats all past us now. With VR, a
constant aperture, a well-designed lens
hood, and of course that dazzling 16mm
super-wide range, this is one lens that
will appeal to travel, landscape, and
street photographers. I enjoyed every day
I worked with it in the field.
For more information, contact Nikon,
Inc. at: www.nikonusa.com.
Dual Access
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Tamracs exciting Aero Speed Packs
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provide the comfort of a backpack

without sacrificing quick access to
camera gear! Tamracs innovative
Dual Access System allows
fast access to a camera with
lens attached through the
side door when the packs
are worn over one shoulder.
Equipment can also be
accessed through the
front panel when the
packs are removed.
Waterresistant
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2010, George Schaub, All Rights Reserved
See the VIDEO of the

Aero Speed Packs at
www.tamrac.com
PHOTO, LUGGAGE & COMPUTER CASES
If your camera has a built-in ash, like the D700 I used,

then working with 16mm can be tricky in terms of even
coverage. It didnt bother me here too much with the
20mm focal length as I was going for a bit of lighting
drama, not full coverage, but should you want to work
with ash a lot with this lens then a Nikon Speedlight
with wide panel in place should be your choice.
88
TOOLS
TEST REPORT: Jack Neubart
Tamrons 17-50mm F/2.8 Lens

A Constant Aperture, Image Stabilized Zoom
Courtesy of Tamron
Tamron SP AF17-50mm F/2.8 XR Di II VC LD Aspherical (IF)
This is a versatile lens, given its constant and relatively fast f/2.8 maximum aperture and Vibration Compensation
(image stabilization) function.
2010, Jack Neubart, All Rights Reserved
Park At Sunset
he new Tamron SP AF17-50mm

F/2.8 XR Di II VC LD Aspherical
(IF) joins a growing community
of wide-zoom lenses. In contrast
to an earlier version of this lens,
which is available in several mounts,
this APS-C Tamron optic (designated
Model B005/$649 street price) is only
available in Nikon DX (with built-in
motor) and Canon mounts. Given that
I mated this lens to a Nikon D300,
that effectively gave me a range of
focal lengths from 25.5mm to 75mm,
wide to portrait lengths, if you will.
One more thing that makes this lens
different from its predecessor: built-in
image stabilization.
With an f/2.8 maximum aperture,
this zoom gives you a 23-stop boost
in speed when compared to many
zooms (with a starting focal length
between 16-18mm) that have an
f/3.5 maximum aperture. Whats more,
competitive zooms often have variable
maximum apertures, down to f/5.6 at
the long end.
Even a fast lens and a steady
hand are no match for relatively
long shutter speeds. Whats more,
surrounding vibration (riding in a
vehicle, flying in an airplane, passing
traffic or freight trains) and buffeting
strong winds are all conditions that
could lead to blurred shots. Thats
where image stabilization plays a vital
role; in Tamron parlance its Vibration
CompensationVC, for short.
Mechanically Speaking
I set the camera to Manual shooting mode to capture the colors of sunset in this handheld exposure, captured at
f/8 and 110 sec (ISO 400), with the lens at 17mmand Vibration Compensation engaged.
92
Many zooms exhibit lens creep.

Thats where the lens focal length
changes by virtue of the lens barrels
own weight (or mass, to be technical)
as the camera is hanging from your
neck, lens downward. So, to prevent
TOOLS
Magic Hour And Streaking Traffic
2010, Jack Neubart, All Rights Reserved
D-SLR manufacturers are unable to place a

color calibration target in the optical path.
Lally CAP provides the missing link.
Stop using inaccurate in-camera Auto White Balance
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Price $29. Plus $3. S&H
To purchase, mail check or pay online at:
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94
Youd have no problem reading the signs in the

full-sized image, even though I shot this at 12 sec
at 17mmhandheldof course, with Vibration
Compensation (VC) engaged (ISO 800, f/5.6). Thats
nearly at the four-stop limit for the VC function.
that phenomenon, this lens has a

zoom lock at the 17mm position.
Well, I didnt see any lens creep
so I never felt a need to engage
this function. Better still, the lens
balanced nicely against my D300,
with just the slightest downward tilt.
And the zooming ring itself worked
quite smoothly.
While autofocus no doubt benefits
by having a larger maximum aperture
to begin with, it is difficult to
objectively evaluate autofocus speeds
under field conditions. But I can
say that autofocus performance was
on a par with other lenses tested
on this camera. Manual focus is
another matter. Manual focusing
proved a bit uneven, but not to the
point of preventing me from using
it effectively in those rare moments
when it was engaged. I just wish it
were smoother.
To engage autofocus, set the
switch on the lens to AF, but be sure
the camera is also in Autofocus mode
(single-shot or continuous). If the
camera is in Manual Focus mode, the
lens will not autofocus.
To activate manual focus, however,
use the switch on the lensset to
MFbut any Focus mode on the
camera will do. Regrettably, unlike
many OEM lenses, this optic does
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Nikon20mmf2.8D,EX+..........................................399.
Nikon1755mmf2.8AFs,EX..................................999.
Nikon2485mmf2.84,EX+....................................499.
Nikon2870mmf2.8AFsD,EX+............................899.
Nikon105mmf2.8Micro,EX+.................................599.
Nikon55200mmf45.6VR,LN..............................199.
Nikon70200mmf2.8VR,EX.................................1599.
Nikon400mmf3.5AIsw/TC301,EX...................1899.
Mamiya7Kitw/80mmf2.8,Mint.........................1299.
Mamiya765mmf4,EX+.........................................599.
Mamiya7210mmf8,EX..........................................899.
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Tachihara4x5FieldCamera,EX+...........................499.
4x5ViewCameras(wehavelots!).......................CALL
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Schneider121mmf8SuperAngulon,EX+..............599.
Schneider150mmf5.6XenarSyncroCompur,EX..199.
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Schneider300mmf5.6,Symmars,EX...................799.
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TOOLS
Forced Perspective
Photos 2010, Jack Neubart, All Rights Reserved
Doll Face (Close-Up)
I wanted to see how well the lens could do shooting relatively close, and whether the cameras built-in ash could
be used at this distance. Well, you can see every bit of detail in this f/8 exposure (no added sharpening). But
because the lens (and shade) blocked the light from the pop-up strobe, I needed to use an external ash to fully
illuminate the doll from this distance.
ARCA-SWISS monoball
A R C A
S W I S S
96
ARCA-SWISS INC
Phone: 773 248-2513
Fax: 773 248-2774
E-mail: arca-swiss@wanadoo.fr
Z
The leader of tripod
head design for over
40 years setting new
standards for the
ballheads.
The Z boast new technical developments and
optimized materials and
coatings.
The size and weight
have been reduced.
Patented ARCA-SWISS
features like gravity
compensation, PMF
(progressive motion
related friction control)
are only a part of the
feature list of the best
ballhead. Incredible as
the Z can withstand a
60kg (122lbs) off-axis.
Z-series are available
as version
Z sp single pan
Z dp double pan
Im often so focused on capturing expansive views

with a wide-angle lens that I overlook shooting in
forced perspective. You get a whole different sense
of a scene when its right in your face. I made this
exposure at f/8, with the lens at 17mm. However,
to better control the foreground tonality, I set the
exposure manually then used the Retouch tool in
Lightroom to bring out the detail in the sky.
not have full-time manual focusing

override when set to Autofocus
mode. Also worth noting: thanks to
internal focusing, the front element
does not rotate, benefiting polarizer
and grad filter users. And that
stationary front element also applies
while zooming.
Optical Features
This Tamron 17-50mm employs
several prime optical ingredients
needed to cook up a high-quality
lens. It boasts XR (Extra Refractive
Index) glass, LD (Low Dispersion)
elements, and aspherical lenses.
Add to that Tamrons own brand of
multi-coating, which they call BBAR
(Broad-Band Anti-Reflection).
I made over 2000 exposures with
this lens out in the field, under
real-life conditions, where it counts,
and I was quite satisfied with the
results overall. Vignetting was mildly
apparent at f/2.8, but was corrected
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Digital Photography
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N i k o n A u th o r i z e d D e a l e r
L22
8000
P100
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Nikon, Inc. limited warranty included 2010 Nikon Inc.
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Nikon, Inc. limited warranty included 2010 Nikon Inc
The 10.2 MP D3000 offers everyone the ability to discover

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Nikon, Inc. limited warranty included 2010 Nikon
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T1i
In addition to an all-new 15.1 MP Canon CMOS sensor, DIGIC 4 Image

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PEN E-PL1
K-x
Powerfully Simple
Redefining the Entry-Level DSLR
The new Olympus PEN E-PL1 is truly greater than the sum
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with technology normally found in bigger, bulkier cameras
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Kit
AF18-270mm F/3.5-6.3 Di II VC
(Vibration Compensation) LD
Aspherical (IF) Macro
The Longest Steadiest Lens on Earth
The AF 18-270 covers an angle of view equivalent to that of a

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Camcorders
Vixia HF M300
i m a g e A N Y WA R E
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A brilliant blend of capability and convenience.
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and precise exposure for any subject, simply by touching the 2.7" Touch Panel LCD.
With the Canon VIXIA HF R11 Dual Flash Memory Camcorder,

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A Genuine Canon 20x HD Video Lens and Dynamic IS works in combination with Canons sophisticated HD
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FS300
Vixia HV40
Fast, Flexible, Flash Memory

Adding to the usefulness of the Canon F300 flash memory camcorder is Quick Charge - which reduces the recharge time for the
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The Canon VIXIA HV40 HDV Camcorder shares the core components
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TOOLS
Field Shooting
As soon as I stepped out the door,
I found that I was challenging myself
to create some truly dynamic images
with this lens, particularly under
low-lighting conditions. I dont normally
hand hold a lens for half a second, but
found I was doing that with aplomb,
albeit with the lens at its 17mm
setting, with VC engaged. Granted VC
didnt give me blur-free images 100
percent of the time, but there was a
visible improvement when I did use it,
compared with images made without
VC. More to the point, a tripod or flash
is not always available or practical, and
this lens let me capture images I would
otherwise have never attempted.
I also wanted to see how readily
I could work with a circular polarizer
with the lens shade attached.
Thankfully, the petal-shaped lens
98
Tamrons Tri-Axial Vibration Compensation
Vibration Compensation (Schematic)
Courtesy of Tamron
when the lens was stopped down to

f/5.6. Flare occasionally crept in and
only to a minimal degree, largely as
flare ghosts, where bright light sources
could not be avoided. I didnt detect
any pronounced lateral chromatic
aberration. Barrel distortion at the
17mm end was readily apparent,
but that was largely corrected with
increasing focal length. Pincushion
distortion at the 50mm end was
practically nonexistent.
Given that the f/2.8 maximum
aperture was a key selling point on
this lens, I felt I also needed to
do some testing under controlled
conditions. So I set the camera and
lens on a tripod, shooting at both
focal-length extremes. As expected,
optical performance was optimized at
f/5.6. The lens did better at 50mm,
exhibiting some loss in sharpness at
the corners and along the edges (but
some of this loss in image quality may
have been due to vignetting veiling
the image). In contrast, the 17mm test
images were decidedly soft at f/2.8
but not enough to dissuade me from
exploiting the potential benefits of
this lens at maximum aperture.
Tamrons brand of image stabilization, known as Vibration Compensation, controls unintentional movement
along three axes, effectively dampening most vibration effectsin theory, up to four stops.
Tamron actually uses the term tri-axial Vibration Compensation

to more fully define their stabilization system, explaining: The VC
mechanism employs a three-coil system, whereby three driving coils
activate the shake-compensating VC lens group electromagnetically via
three steel ball bearings. This unique system achieves an ultra smooth
compensating movement with virtually no friction. Essentially, the
process involves two gyro sensors for pitch/horizontal movement and
yaw/vertical movement. A Tamron representative explained further: If
you look at the diagram youll see that the system operates on two gyro
sensors. However, there are three driving coils and position detection
sensors. This detects the VC lens position. The CPU then calculates
the gyro information along with the position of the VC element. Then
there are three actuators that actually move the VC lens to the correct
position via three steel ball bearings. So the tri-axial (meaning three
axes) is derived from the three driving coils.
Tamron states that Vibration Compensation is effective for up to four
stops. Ive achieved sharp results with VC engaged at shutter speeds
down to between three and four stops from the optimum. The upshot
of all this is that you dont always need to use a tripod or excessively
high (noise-inducing) ISO levels. And the only reason to use flash
would be for fill or effect, not to prevent blurring the subject.
When using this lens with a sturdy tripod, be sure to shut the VC
function off. It reduces the battery drain, which is minimal to begin
with. But more importantly, according to my tests with the lens at
the 50mm setting, the VC function may actually introduce camera
shakebut only with shutter speeds that exceed that
four-stop window.
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COLLECTABLE CAMERAS
GOLD CANON ELPH GOLD Aps outfit...............349.95

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Bronica SQ camera199.99
Bronica ETR ...99.95
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Olympus OM1...129.99 Olympus OM4........179.99
Pentax K1000.99.99 Pentax LX......299.99
Pentax 645249.99 Rollei 35M....119.99
Rolleicord V...149.99 Rolleiflex F3.5..499.99
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200mm F3.5 ALPA telephoto lens........................399.99
0.42x Wide angle lens.............................................29.99
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MACRO CLOSE UP FLASH RING LIGHT........99.95
MINOLTA MAXXUM 35-70mm F3.5 ZOOM......69.95
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MINOLTA EXPLORER AF 28-75mm ZOOM....99.95
MINOLTA DYNAX MAXXUM 300i .............89.95
MINOLTA VECTIS APS S-1 SLR....................89.95
MINOLTA VECTIS 30 APS PANORAMIC.....69.95
NIKON F-401X F401X QUARTZ BACK......149.95
NIKON F65 N65 AF SLR AUTOFOCUS......149.95
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PENTAX MZ30 SLR CAMERA.....................119.95
PENTAX PZ70QD SLR CAMERA................149.95
POLAROID 636 INSTANT CLOSE UP...........19.95
Samsung Maxima 170GLM 35mm ZOOM......99.99
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Sigma SD14 and SD9 Digital SLR Cameras...CALL
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Sigma DP1 Digital Camera Outfit...................548.95
Sigma DP2 Digital Camera Outfit...................588.95
4.5mm F2.8..........774.95 50mm F1.4..........458.95
8mm F3.5.............564.95 50mm F2.8..........234.95
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15mm F2.8...........434.95 105mm F2.8........344.95
20mm F1.8...........378.95 150mm F2.8........524.95
24mm F1.8...........318.95 180mm F3.5........728.95
28mm F1.8...........228.95 300mm F2.8......2398.95
30mm F1.4...........378.95 500mm F4.5......3988.95
800mm F5.6.......5898.95 10-20mm F4-5.6....444.95
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18-125mm F3.8-5.6...368.95 18-200mm F3.5-5.6..284.95
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100mm F3.5.........119.95 500mm F8.............99.95
500mm 1000mm combination.........................129.95
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28-105mm Zoom...99.95 28-210mm F3.5-5.6...99.95
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20-40mm F2.7-3.5...298.95 24-135mm F3.5-5.6...398.95
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28-80mm F3.5-5.6...68.95 28-300mm F3.8-5.6...294.95
28-300mm F3.8-5.6 VC....584.95 200-400mm F5.6......298.95
55-200mm F4-5.6...128.95 75-300mm F4-5.6...128.95
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60mm F2 Macro........498.99 10-24mm F3.5-4.5....458.99
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TOOLS
Church Interior
I exposed in Manual mode for tighter control and added a shoe-mount ash to bring
out the color of the berries and a polarizer for the sky. Focal length was set at 22mm
to capture the church in the background (ISO 200, f/8, 160 sec). Because this was
late in the day, the effect of the polarizer was attenuated toward the horizon.
I stopped into a church to shoot an interior, reasoning that this was a lens well suited
to this task. And I was right. Setting the lens at 17mm and exposure (in Auto: ISO
200, 15 sec, f/2.8), I activated Vibration Compensation for this handheld capture.
Using A Polarizer Plus Flash
hood is short enough to accommodate

a finger carefully rotating the filter.
In several instances, I added a Nikon
SB-900 shoe-mount flash to
illuminate subjects in the foreground,
while setting the camera in Manual
mode. That allowed me to capture
the sunset tapestry of color and
magic hour blue in the sky as my
backdrop. I also tried the cameras
built-in flash with this lens, but soon
learned that its viable for more
distant subjects and preferably with
the lens shade removed (so it wouldnt
block the light toward the bottom of
the frame).
In the end, I now have numerous
100
pictures to add to my portfolio. To

my way of thinking, when a lens not
only allows but also inspires you to be
creative, thats a good lens to own. And
I can easily say that of this Tamron

17-50mm F/2.8 VC optic.
For more information, contact Tamron
USA, Inc. at: www.tamron.com.
Technical Specications
Tamron SP AF17-50mm F/2.8 XR
Di II VC LD Aspherical (IF)
Lens Construction: 19 elements
in 14 groups
Minimum Focus Distance: 11.4
Filter Thread: 72mm
Length: 3.7
Diameter: 3.13
Weight: 20.15 oz
Diaphragm Blade Number: Seven

(rounded diaphragm)
Minimum Aperture: f/32
Standard Accessory:
Flower-shaped lens hood
Compatible Sensor: APS-C
Compatible Mount: Canon, Nikon
(with built-in AF motor)
Call Toll Free: 1-800-531-2237

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TOOLS
TEST REPORT: Joe Farace
Carl Zeiss Distagon T*

18mm f/3.5 And Distagon
T* 21mm f/2.8 Lenses
Open Wide, Wider StillThats It!
hen it comes to lenses, the
name Carl Zeiss is synonymous
with optical perfection or as
they say around the Hallmark
store, when you care enough to shoot the
very best. Zeiss continues to expand its
line of interchangeable lenses for Canon,
Nikon, and Pentax cameras to include two
new wide-angle lenses, the Distagon T*
18mm f/3.5 and Distagon T* 21mm f/2.8.
The lenses I tested were provided in
Canon EF mount and I shot them with several
different EOS D-SLRs, all with different lens
multiplication factors. The new Distagon
lenses transfer image data to the camera
through the use of electronic contacts in
their lens mounts which means the aperture
setting is controlled directly from the camera
body and all of your cameras Exposure
modes, including E-TTL flash metering, are
supported. Focus confirmationthese are
manual focus lensesis provided complete
with happy audio chirps from the affected
focus points in the viewfinder. All lens and
exposure data can later be accessed via the
captured image files EXIF data.
Distagon is the name Zeiss gives to
its wide-angle lenses that use a retrofocus
design. Short focal lenses are typically
composed of glass elements whose shapes
are symmetrical in front of and behind the
diaphragm. As focal length decreases, the
distance from the rear element to the film
plane or digital sensor decreases and could
even protrude into the mirror box, requiring
the camera to be in mirror lockup mode to
use the lens. A retrofocus lens solves this
problem by using an asymmetrical design that
allows the rear element to be further away
102
I made this photograph

of a statue of Chief Little
Raven with a Canon EOS
5D and the Distagon T*
21mm f/2.8 lens using
the cameras Nostalgia
Picture Style to add a
more monochrome look.
Exposure was 1200 sec
at f/16 and ISO 320 in
Aperture Priority
(Av) mode.
from the plane of focus than its effective

focal length might normally suggest. In
addition to the design, both lenses feature
the Zeiss multilayer coating known as T*
a.k.a. T star. The T is from Tarnung,
which means camouflage or disguise, and
thats your German lesson for today.
18mm Distagon T* f/3.5

The Distagon T* 18mm f/3.5 lens is
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TOOLS
surprisingly small and light for its wide
90 angle of view with full-frame sensor
cameras with which it can show off
its true wide-angle lens performance.
Internal focusing helps reduce lens size
while delivering precise and smooth focus
control using a knurled metal focusing
ringno wimpy rubber coated rings. To
prevent aberrations during close focusing,
internal lens groups are individually
repositioned using floating elements that
allow the lens to deliver exceptionally
high image quality from extreme
close-ups (less than 12) to infinity.
While compact, the front of the lens
does require 82mm filters, so if youre a
polarizer user prepare to shell out a few
more bucks than a 58mm model costs. (I
was surprised to find a slim-mount B+W
Circular Polarizer for just a little over
$100. More on filters later.)
21mm Distagon T* f/2.8
104
Carl Zeiss recently introduced the

Distagon T* 28mm f/2 ZE lens thats an
ideal companion to the Planar T* 85mm
f/1.4 and Planar T* 50mm f/1.4 I previously
tested and will be similarly useful for
available light photography. The
Distagon T* 28mm f/2 is compact and
uses retrofocus construction, delivering
a 74 field of view thats great for
full-frame cameras but dissolves to
44.8mm (equivalent) for Canons with
a 1.6x multiplication factor. Floating
elements help produce high imaging
performance from close-ups to infinity
and with its 11 close focusing you can
make sharp close-up images of even tiny
objects. The wide aperture opening can be a big help with depth-of-field
control when you want to separate a subject from the background. With its
fast maximum aperture its ideally suited for shooting HD video due to its
wide focus rotation, superb image quality, and minimal breathing. Breathing
occurs when a lens optics change the apparent focal length slightly when
shifting mechanical focus. The price tag is around $1000 but the 58mm
filter size will help save a few bucks when purchasing a polarizer.
Because of its one-stop larger aperture

than the 18mm Distagon, the 21mm
Distagon T* f/2.8 is an ultra-wide-angle
lens that is noticeably larger and heavier.
In that way it might be considered the
low-light star of this pair of super-wides,
making it ideal for architectural interiors.
The 21mm Distagon prevents color fringing
and unwanted lack of focus that result
from chromatic aberration, and produces
next to no distortion. The lens floating
elements design produces high imaging
performance from close-up to infinity and,
with a close focus of less than 8 (.22m),
its an attractive option for landscape
photography as well as other subjects that
The Other Side Of Wide
This architectural shot was made with a full-frame Canon EOS 5D so I could get the maximum angle of view
from the Distagon T* 18mm f/3.5. The exposure was made in Av mode at f/16 with focus set at the hyperfocal
distance to squeeze the maximum depth of eld from the lens.
demand a dramatic perspective. The large

82mm front filter diameter allows for the
use of standard albeit expensive screw-in
filters when used with the included and
reversible lens hood.
In The Field
Whens the last time you got a
metal lens hood with a new lens? Both
Distagons come with beautifully crafted

ones. While were talking lens protection,
if these lenses were mine, Id run out
and get a Skylight or UV filter to protect
them. An 82mm B+W Skylight in slim
mount (always recommended for
wide-angle lenses) costs about $125,
while one of Tiffens Digital HT Ultra
Clear Glass Filters in 82mm is less
E&OE. Quantities limited on some items. Prices subject to change without notice. Offers and prices for in-stock items only. August 2010 issue.
Vistek Ltd. 2010
Visit us online at vistek.ca
We ship worldwide! All prices quoted in CDN or US Dollars (take your pick)
496 Queen St. East, Toronto, ON Canada M5A 4G8

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photo video digital
TOOLS
This digital IR shot was made at Barr Lake State

Park the day before a big snowstorm was due
to blow most of those leaves away. I used an
IR-converted EOS Digital Rebel XTi and the
Distagon T* 18mm f/3.5 and the balance on the
lightweight XTi body was superb. I used the 18mm
Distagon instead of the 21mm because the Digital
Rebels 1.6x multiplication factor changes the
angle of view to the equivalent of a 28.8mm lens.
Exposure was 1125 sec at f/16 and ISO 400 with a
plus one-stop exposure compensation.
than $90 and both provide insurance

against accidents or an outbreak
of stupidity.
In addition to having a white
engraved depth-of-field scale, both
lenses feature infrared focus indicators.
Because infrared light waves have a
slightly different focusing point than
visible light, perfectionists should use
the infrared focusing mark when using
opaque IR filters. With an IR-converted
SLR, I just shoot at f/16 or smaller and
focus visually or use the cameras focus
confirmation feature. I tested the 18mm
Distagon with an EOS Digital Rebel XTi
that was converted for IR capture by
Life Pixel (www.lifepixel.com) and the
balance with the lightweight (18 oz)
XTi body was amazing. When using
the lens with a camera with a 1.6x
multiplication factor theres the obvious
change in effective angle of view to
the equivalent of 28.8mm. I was also
not prepared for the smaller image seen
through the XTis viewfinder compared
to the full-frame EOS 5D I had for
other test shots, but I quickly got over
it, shooting almost 300 exposures in
anticipation of a big snowstorm the
next day blowing the rest of the leaves
off trees.
The Distagon T* 21mm f/2.8 lens
is useful for landscapes but if you get
vertical man-made objects close to the
edge of the frame and tilt the camera
even a little bit some perspective
distortion is inevitable. You can always
do what I did in these examples and
use Photoshops Transform: Perspective
(Edit>Transform>Perspective) command to
The Distagon T* 21mm f/2.8 lens is useful for
landscapes but if you place vertical objects close
to the edges of the frame and tilt the camera
even a little bit some perspective distortion is
inevitable. This exposure was made at 1200 sec at
f/16 and ISO 320. The top image appears as it
was captured and the bottom one was corrected
using Photoshops Transform: Perspective
(Edit>Transform>Perspective) command.
106
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TOOLS
(Top): I shot this normal lens benchmark image
with a tripod-mounted Canon EOS 5D and an EF
50mm f/1.8 lens. To get the maximum depth of eld
an Aperture Priority (Av) exposure of 1320 sec at f/16
and ISO 320 was used.
(Center): This wider view was captured with the
Distagon T* 21mm f/2.8 and an exposure of 1250 sec
at f/16 and ISO 320 to match the benchmark image.
(Bottom): This much wider view was captured with

the Distagon T* 18mm f/3.5 and an exposure of 1400
sec at f/16 and ISO 320 to match the benchmark. If
you look at the trees on the left and right edges of
the frame, its clear that the additional angle of view
doesnt really add much area to the image but if
youre shooting in a tight space it could be priceless.
108
straighten those tilting lines. Is that

cheating? I dont think so; its just
making the image look exactly like what
you saw with your eyes.
Many shooters, like me for instance,
dont have the budget to own both of
these Distagon lenses, so I decided to
have an angle-of-view shoot-out. I went
to a nearby pedestrian mall, set a Canon
EOS 5D on a tripod, and made a series of
benchmark exposures with an EF 50mm
f/1.8 but not the luscious Zeiss Planar
T* 50mm f/1.4 I tested for the August
2009 issue of Shutterbug thats online at:
www.shutterbug.com. The 50mm lens has
a 46 angle of view. Without moving
the tripod or changing camera settings I
made a series of exposures with the
18mm and 21mm Distagons. As you will
see, the difference between 50mm and
21mm is tremendous but the horizontal
angle-of-view variation between the
21mm (81) and 18mm (90) is small
as you might expect from a 3mm
focal-length disparity, but it also made
it obvious the kind of photographer Zeiss
was aiming at with these two lenses. The
18mm lens is clearly designed for the
landscape photographer who may have
to slog through rugged terrain to get to
a location and when they get there will
place the camera on a tripod, so the f/3.5
aperture is no concern. The 21mm lens is
for the available light photographer who is
most likely going to hand hold the camera
and while its heavier than the 18mm
Distagon, its also faster and easier to
manually focus in low-light conditions.
With wide-angle lenses like this you
might be tempted to use them with
cameras with lens multiplication factors
greater than full frame. Theres nothing
wrong with that and both Distagons
worked perfectly with EOS cameras with
The Shutterbug Digital Photography

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TOOLS
Here the Distagon T* 18mm f/3.5 lens was used
on two different cameras but placed on the same
tripod at the same location. In the top photograph,
the camera was a full-frame Canon EOS 5D with
a basic sunny 16 exposure of 1125 sec at f/16. For
the below image, I mounted the 18mm lens on
an EOS 50D that has a lens multiplication factor
of 1.6x and while it obviously maintained the
perspective of an 18mm lens, the angle of view as
captured was equivalent to a 28.8mm lens.
ratios of 1.6x, but keep in mind what

youre losing. To demonstrate, I headed
south to the Denver Technological
Center and made a photograph showing
one of the buildings in that park-like
setting with two different cameras: the
first was my old full-frame EOS 5D and
the second was my new EOS 50D that
has a 1.6x multiplication ratio. Each
camera was placed on a tripod that
was not moved during the shoot while
the lens was moved to the new body.
As you can see from the comparison
images, the results are two completely
different images: one usable, one not
so much. You are free to draw your own
conclusions but mine is that you will
get more image value for your money
from these wonderful lenses if you shoot
them with full-frame cameras.
Both lenses fit comfortably inside
Canons own prime focal-length
line-up and make excellent alternatives
for shooters who prefer single
focal-length lenses. Canon offers an EF
20mm lens but it is an f/2.8 not f/2.
Similarly, there is no lens between the
EF 15mm and EF 20mm where the 18mm
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110
Distagon comfortably slips. Yes, these

lenses are expensive but certainly not
unobtainably so and certainly within the
ballpark of Canons own L-series lenses.
(By comparison, an EF 24mm f/1.4L
lens costs $1700.) Yes, they are manual
focus lenses, although I never once felt
like that was an issue when using them,
though I will admit that occasionally I
would forget to focus.
The photographer not used to
working with Zeiss lenses may be
initially surprised at the weight of these
lenses, but they will also be impressed
by their precision construction. These are
solidly built optical devices combining
the finest materials and construction
along with optical designs that are time
tested and even legendary. What Zeiss
has provided is an alternative to other
third-party, mostly zoom, lenses where
their goal of achieving optical perfection
never leaves the top of the companys
to-do list. If youre looking for the best
optical performance in these focal-length
ranges and dont mind focusing, you
wont find better lenses at any price.
For more information, contact
Carl Zeiss MicroImaging, Inc. at:
www.zeiss.com.
Focusing Range: 7.92 to infinity
Number Of Elements/Groups:
16/13
Filter Thread: 82mm
Accessories: Metal lens hood
included
Camera Mounts: F Mount (ZF),
EF Mount (ZE), and K Mount (ZK)
Price: $1540
Focusing Range: 11.8 to infinity
Number Of Elements/Groups:
13/11
Filter Thread: 82mm
Accessories: Metal lens hood
included
Camera Mounts: F Mount (ZF),
EF Mount (ZE), and K Mount (ZK)
Price: $1290 (Canon mount,
price varies per mount)
111
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TEST REPORT: Stan Trzoniec
Nikons AF-S Nikkor 70-200mm

f/2.8G ED VR II Lens
A Fast, Constant Aperture Zoom With Vibration Reduction
112
2010, Stan Trzoniec, All Rights Reserved
ikons entry into past universal

80-200mm f/2.8 lenses started
back in 1978 with a manual
focus, push-pull lens checking in
at 4 lbs. Ten years later the autofocus
model arrived sporting ED (Extra-low
Dispersion) glass; 92 marked the D
package. In 96 the AF-S version came
along, followed by the new generation
of front motor drive G models. Now we
have the latest manifestation with the
inclusion of 21 elements in 16 groups
with seven ED glass elements and Nano
Crystal Coat. In short, a long legacy for a
classic zoom lens.
Compared to the previous model, this
new entry is slightly shorter (by a quarter
of an inch) and slightly heavier (about 3
oz) but holds the same outside diameter
as its predecessor. Its also a bit more
expensive, with a street price of around
$2400. It takes the same 77mm filters as
the older model, but lacks the focus lock
buttons on the front of the lens barrel.
Design-wise, the lens barrel retains
the same diameter right up to the manual
focus ring, and then enlarges slightly
as if to tell the photographer, yes, you
now have the focusing ring under your
fingers. Compared to the past model,
which to me had too many ins and outs
on the barrel, it feels more comfortable
in the hand, almost to the point where
it felt like something was missing on the
lens. All of the rubber gripping surfaces
are sharply defined, and the zoom
ring moves from left (70mm) to right
(200mm) in a quarter of a turn with just
the right amount of drag.
All lens controls are on the left
side and top to bottom, including
the focusing mode switch that has a
new wrinkle. Now three selections are
Attached to the Nikon D3X , the upgraded 70-200mm lens is ready to go.
availablefirst is the M/A position, in

which autofocus can be overridden by
focusing the lens manually with the focus
ring; the A/M selection has the same
function but, according to Nikon, focus
ring detection sensitivity is lower than
in the M/A mode. In simple terms, with
the switch in this A/M position, it avoids
canceling the AF setting by accidentally
moving the focus ring. Finally, for
deliberate focusing, the manual setting
is still present and, on this upgrade, you
can focus down to 4.6 feet.
The limit switch allows you to curb
the range of usable focus to keep the
camera from hunting for the subject at
too far or too close a distance. If the
subject is closer than 16 feet use Full;
on the other hand, if the subject is
always more than 16 feet away, use the
infinity-5m mode. The VR control has
two settingsOn or Off. As to the VR
mode, for everyday use or when panning,

Normal is good; when taking photos
from a moving vehicle employ the Active
setting. Finally, opposite the mode
switch is a tripod collar adjusting screw,
which allows you to rotate the lens on its
axis for vertical or horizontal shots.
As to build and features, you have a
constant f/2.8 aperture throughout the
zoom range. Nikons Nano Crystal Coat and
Super Integrated Coating help to keep
ghosting and flare at bay while enhancing
light transmission and color. The seven
ED elements assist to minimize chromatic
aberrations while the nine-bladed
diaphragm adds a more realistic
appearance to out-of-focus backgrounds.
Then, alas, there is the flower-shaped
lens hood. I think Nikon in all their
wisdom blew this one, as using the lens
in the field I found: (1) its too short
and (2) the cutouts in the petals are
TOOLS
TEST REPORT: Stan Trzoniec
Photos 2010, Stan Trzoniec, All Rights Reserved
On the left side are the master switches for focus and vibration control. Like
everything on this new lens, they are rugged and moisture resistant. The control
knob to the right is to allow the lens to turn 360 around its axis for vertical or
horizontal shooting.
too deep for practical use. In the early

morning light when shooting at 45 to
the sun, I found that I did get flare into
the lens, which only abated when I put
my hand around the shade to prevent it.
In all honesty, Nikon should refrain
from making a fashion statement and
re-engineer this to a more practical
design, much as they had on the first
AF-S series. And never stand this lens
with this shade on its head when
changing lensesit will cause the
lens to tip over.
Aside from this one negative feature,
I found this lens a pleasure to use in the
field under all conditions. Photographing
my grandsons basketball game, the lens
was very fast on the uptake. I could
shoot at 1500 sec with extremely sharp,
clean and crisp images at f/3.5. I also
shot at lower speeds to try the new VR
114
The new lens is on the left, older version on the right. Nikon should really redesign
the lens hood to be more practical in the eld, not as a fashion statement.
improvement (up to four shutter speed

steps) and although the new system
seemed a little more twitchy than the
earlier model, it worked like a charm.
Optically, f/5.6, f/8, and f/11 are the
best of the best for sharpness, with f/5.6
taking the prize. I never did find any
problem with vignetting.
In conclusion, I find this lens more
exciting to use then its predecessors; its
quicker, sharper, brighter, and, although
its a bit heavier (try 7 lbs total when
mounted on my D3X), I can live with that.
With this new upgrade, this pro-level Nikon
zoom is among the best of the best.
For more information, contact Nikon,
Inc. at: www.nikonusa.com.
Nikon AF-S Nikkor 70-200mm
f/2.8G ED VR II
Aperture Range: f/2.8 to f/22
Minimum Focusing Distance:
4.6 feet at all focal-length
settings
Maximum Overall Length: 8.1
(without lens shade)
Weight: 54.3 oz (3.39 lbs)
Focusing: Internal focusing,
Silent Wave Motor
Filter Attachment Size: 77mm
Street Price: $2399
Stan Trzoniec is a frequent contributor to Shutterbug. His two new books Autumn in the
Country and Digital Outdoor Photography are available and autographed through his
www.outdoorphotographics.com website. He can be reached via e-mail at: fotoclass@aol.com.
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117
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wildlife, street scenes, portraits, and
photo essays. Each lesson offers an
ample supply of helpful tips, tricks, and
advice presented in a format that is easy
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TOOLS
TIPA
Awards
2010
Technical Image Press Association Results
The best photo and imaging products of 2010 were voted on at the Technical Image Press Association
(TIPA) General Assembly held from April 8-10, 2010 in New York. The editors of the 28 member photo and
imaging magazines from nine European countries plus Canada, South Africa, and the United States met to
vote on the TIPA Awards 2010 and discuss the associations activities and projects. Shutterbug, the sole US
magazine in the association, was represented at the meetings by Editorial Director George Schaub.
Best D-SLR Entry Level:

Pentax K-x
Live View, an impressive number of

settings and functions, and is dedicated
to the demanding consumer, but
definitely usable by any amateur and
enthusiast photographer.
Best D-SLR Expert:

Canon EOS 7D
Equipped with a 12-megapixel CMOS

sensor, a dust remover mode, a
sensor-shift stabilizer, a Video mode,
a shutter that goes up to 16000 sec, and
a sensitivity range expandable to ISO
12,800 from a top speed of ISO 6400,
this entry-level and compact D-SLR is an
excellent choice to discover the delights
of the SLR camera system.
Best D-SLR Advanced:

Canon EOS 550D/Rebel T2i
constructed, with an excellent viewfinder

and a top-level autofocus system, it is
an ideal D-SLR for pros, in particular for
reportage and sports photography.
Best Compact System Camera (CSC)

Entry Level:
Olympus PEN E-PL1
With this EOS, designed for demanding
users, Canon shows that using a small
sensor APS-C is not an obstacle to
achieving high image quality. The new
CMOS 18-megapixel EOS 7D provides
superb results up to ISO 3200. Action
photographers will love shooting at 18000
sec shutter speed and ultra-fast frame
rates. Exceptional HD video makes this
camera the choice of many professional
video makers.
Best D-SLR Professional:

Nikon D3S
With a definition of 18 megapixels,
the Canon EOS 550D/Rebel T2i includes a
1920x1080 full-HD Video mode, efficient
120
Taking up most of the functions that

made the Nikon D3 successful, the D3S
marks a milestone in photography: it is
the first D-SLR to sport the record push
sensitivity of ISO 102,400. Superbly
Positioned as an entry-level model,

the Olympus PEN E-PL1 is equipped with
a new Live Guide interface, which makes
it easy for users to get the results they
want even if they have little previous
experience with photography. Based on
the Micro Four Thirds System, it is an
interchangeable lens digital camera with
built-in flash and image stabilization,

offering high-quality images in a
compact package.
Best Compact System Camera

(CSC) Advanced:
Panasonic Lumix DMC-G2
provides up to 10x more shake correction

than conventional cameras.
Best Expert Compact Camera:

Canon PowerShot G11
elements throughout the camera, both

inside and out, creating a smart look
in a slim-line camera with functional
beauty. In addition to capturing
high-resolution 12.1-megapixel images,
the EX-G1 with a 3x optical zoom also
features modes such as interval shooting
and multi-image capture.
By using the Micro Four Thirds System

standard and developing a camera body
that eliminates the mirror box and
optical viewfinder unit, Panasonic was
able to create a new-generation system
camera that features full-time Live View,
high-speed, high-precision Contrast AF,
HD movie recording, and now also Touch
Screen Control with Touch-AF. With its
lightweight body, the Lumix DMC-G2
provides experienced photographers the
ideal digital camera to carry with them at
all times.
Well built and user friendly, the

PowerShot G11 has all the manual
functions that photographers need.
The 28-140mm zoom (equivalent) and
its sensor, smartly limited to 10
megapixels, are evidence of its
positioning as an expert camera. It
does not try to dazzle the beginner;
rather, it reassures the specialist.
Best Superzoom Camera:

Fujilm FinePix HS10
The H4D-40 features a 40-megapixel
medium format sensor and True Focus
with APL (Absolute Position Lock),
making autofocus easier and more
accurate. The H4D series has been
designed to meet the demands of
high-end commercial photographers
who require the ultimate in both image
quality and performance.
Best Compact Camera:

Sony Cyber-shot DSC-HX5V
The Sony Cyber-shot HX5V is the

worlds first camera that integrates GPS
and compass functions, as well as Sonys
unique Sweep Panorama function. It
features a 25-250mm (equivalent) lens
and a 10.2-megapixel Exmor R CMOS
sensor. The built-in HDR (High Dynamic
Range) Backlight Correction produces
natural, balanced results with high
contrast and strongly backlit scenes. The
Optical SteadyShot with new Active mode
Best Medium Format D-System:

Hasselblad H4D-40
Serious photographers wanting the

versatility and performance of an SLR
system without the bulk or expense now
have the perfect solution in the shape
of the Fujifilm FinePix HS10. The FinePix
HS10 offers an extensive feature set
that combines a powerful 24-720mm
(30x) zoom lens with sophisticated
photographic controls, advanced
functionality and SLR-like handling, and
excellent image quality in a compact,
affordable unit.
Best Prestige Camera:

Leica M9
Best Rugged Compact Camera:

Casio E XILIM EX-G1
Long awaited by rangefinder fans, the

Leica M9 became an immediate hit. With
its full-frame 18-megapixel sensor, it can
be used with all Leica M lenses with the
The water and freezeproof Casio

EX-G1 is designed with shock-resistant
121
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advantage of the nominal focal length.

Beautifully constructed with a luxurious
simplicity, it offers great image quality.
improvements in overall face detection,

scene analysis, plus brightness and
saturation correction. The MP990 printer
utilizes the Auto Photo Fix II feature to
help correct many common photo errors,
such as underexposed images.
Best Entry-Level Lens:

Sigma 17-70mm f/2.8-4
DC Macro OS HSM
Best Large Format Printer:

Canon imagePROGRAF iPF6350
VR II telephoto zoom lens incorporates
a number of unique Nikon technologies,
including the use of seven ED glass
elements, Nano Crystal Coat, a Vibration
Reduction (VR II) system that provides
camera shake compensation equivalent to
increases in shutter speed by four steps,
and a Silent Wave Motor (SWM).
Best Expert Photo Printer:

Epson Stylus Pro 3880
Designed to be used on APS-C-sensor
D-SLR cameras, this versatile zoom
covers popular focal lengths with Sigmas
stabilization OS function and autofocus
HSM system. This modern, good zoom
makes high-end optical features
accessible to all.
The 24 imagePROGRAF iPF6350

features Canons new 12-color LUCIA
EX pigment ink system and innovative
printing technologies to produce prints
with increased accuracy and a wider
color gamut. It features a color
calibration function that uses an
internal, high-performance multi-sensor
sensor to achieve consistency of
color reproduction.
Best Expert Lens:

Sony 28-75mm f/2.8 SAM
Using Epsons advanced, fourth
generation UltraChrome K3 with vivid
magenta pigment inks to deliver long
lasting, high-quality prints in both black
and white and full color, the Epson Stylus
Pro 3880 offers fast, flexible printing
suitable for a number of applications.
Best Photo Kiosk:

HiTi Mini Photo Kiosk P510K
Best Multifunction Photo Printer:

Canon PIXMA MP990
This Sony zoom lens offers a constant

f/2.8 maximum aperture and highly
effective SAM fast autofocus technology
for a reasonable investment. It also
delivers sharp and well-corrected images.
Best Professional Lens:

Nikon AF-S Nikkor 70-200mm
f/2.8G ED VR II
The AF-S Nikkor 70-200mm f/2.8G ED
122
Developed with the idea of making

photo printing easier, the Canon PIXMA
MP990 has several innovative features
such as Multi-Zone Exposure Correction,
The HiTi P510K photo printer provides

practical stand-alone professional
photofinishing with the smallest
integrated roll-type dye sublimation
printer. The P510K has a large 10.2
TFT LCD touchscreen, giving it great
flexibility. It features a solid chassis,

but it weighs only 18kg (39 lbs). It can
either be operated through a computer or
used as a stand-alone by shop customers.
Best Fine Art Inkjet Paper:

Canson Innity Baryta Photographique
outstanding contrast ratio of 200,000:1
and incorporates 3LCD panel technology,
delivering images that are sharp, bright,
and crystal clear. In addition, ISF
certification allows the video projector
to be calibrated by an Epson dealer
to ensure it is expertly fine-tuned for
optimum performance.
thanks to its 6400dpi optical resolution

and 3.4 Dmax optical density. The Epson
Perfection V600 Photo features a
built-in Transparency Unit that supports
full panoramic medium format film. A
unique feature of this scanner is Digital
ICE dust and scratch removal, which
works not only when scanning film, but
also when scanning photos.
Best Imaging Innovation:

Fujilm FinePix REAL 3D W1 Technology
Best Photo Software:

Adobe Photoshop CS5
Canson Infinitys Baryta
Photographique 310gsm is a true
baryta paper developed for inkjet
technology and optimized for pigment
inks. It consists of alpha-cellulose,
acid free, pure white paper, coated
with a layer of barium sulphatethe
same coating used for traditional silver
halideand a premium inkjet color
receiver layer. This museum-grade photo
paper offers the look and aesthetic of
the original darkroom baryta print and
complies with the ISO 9706 standard for
maximum longevity.
Best Expert Photo Projector:

Panasonic PT-AE4000
Adobes Photoshop has been the

undisputed standard for professional
digital imaging software for a long
time. Photoshop CS5 builds on this
reputation further with innovative
new features such as Content-aware
fill, a new Content-aware spot healing
brush, and various new 3D functions.
The new Lens Corrections, based on
a lens database or on ones own lens
profiles, are also exciting news for any
serious photographer.
Fujifilms 3D technology offers an

uncomplicated way for consumers to
create and view 3D images and movies.
Advanced 3D digital shooting is as easy
as 2D photography with the FinePix
REAL 3D W1 camera. The camera allows
immediate display of the 3D visual
captures. The Fujifilm 3D photo display
frame shows the images outside of the
camera in a larger size. Finally, 3D prints
can be produced with lenticular sheets
that create the 3D effect.
Best Accessory:
Manfrotto RC2 Joystick
Heads Series
Best Photo Scanner:

Epson Perfection V600 Photo
The Panasonic PT-AE4000 projector
delivers 1080p full-HD images with
remarkable clarity, 1600 lumen
brightness, 100,000:1 contrast ratio, and
100Hz Intelligent Frame Creation blur
reduction technology.
Best Pro Photo Projector:

Epson EH-TW5500
The Epson EH-TW5500 reaches an
The Epson Perfection V600 Photo

scanner creates high-quality images
The latest Manfrotto joystick heads

offer a uniquely ergonomic way of quickly
unlocking, moving, and locking a camera
so the photographer can frame and
reposition freely. The latest generation
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of Manfrotto joystick heads makes full

use of new technologies and materials
to improve both design and technical
specs. The heads have been optimized
to provide intuitive, fast operation,
improved comfort, and reduced weight.
Best Digital Accessory:

Wacom Cintiq 21UX
frame comes with a 2GB built-in memory

and special software that optimizes skin
tones, thanks to a face detection feature.
An additional feature is a smart search
function that makes it easy to find a
picture in the entire archive. The frame
can also be connected to an HDTV to
enjoy slide shows on big screens.
Best Storage Media:

SanDisk Extreme Pro Series
of business: a NAS storage device

with a recordable Blu-ray in a network
environment. The LG NAS N2B1 has
two bays for hard disk drives of up to
2TB each, which can be configured
individually and are hot swappable.
It has USB 2.0, e-SATA, and Ethernet
up to 1GB interfaces, as well as a card
reader for SD, MMC, MS, and xD, making
it very convenient for any advanced or
professional user.
Best Entry-Level Camcorder:

Samsung HMX-H205
Designed to meet the demanding

needs of professional photographers,
designers, artists, and animators,
the Wacom Cintiq 21UX is capable of
capturing the slightest nuance of pen
pressure against the LCD surface, as
well as offering 2048 levels of pressure
sensitivity. Eight fully programmable
ExpressKeys, located on each side of
the displays bezel, help to improve
workflow and productivity by placing
application-specific commands at the
users fingertips.
Best Photo Frame:

Sony DPF-X1000N
The SanDisk Extreme Pro CompactFlash

card series was designed to create an
enhanced workflow for professional
photographers. Ranging from 16GB to
64GB, the series offers up to 90MB/sec
read/write speed, allowing continuous
burst shooting with professional D-SLRs
of Raw+JPEG images or long HD video
recording sessions. The SanDisk Power
Core Controller distributes image data
across the card more rapidly. SanDisk
Extreme cards operate at temperatures
from -13F (-25C) to 185F (85C).
Best Storage Backup System:

LG Electronics NAS N2B1
The Samsung HMX-H205 boasts an

impressive list of advanced features,
offering unparalleled value to consumers
looking to experience high-quality,
full-HD video recording at a competitive
price. The new H205 camcorder features
a new BSI CMOS imaging sensor,
designed to absorb more light than
other conventional sensors and deliver
exceptional low-light performance. The
H205 utilizes a Solid State Drive (SSD),
which offers a substantial advantage over
the use of Hard Disk Drives (HDD) in a
digital camcorder.
Best Expert Camcorder:

JVC Everio GZ-HM1
Sony took advantage of the TruBlack

technology to reach the high contrast
and low reflection required to show
high-quality photographs on an LCD
display. The Sony DPF-X1000N photo
124
The LG NAS N2B1 is a device

previously only available in the world
In the area of low-light performance,

the JVC GZ-HM1 provides superior
results thanks to a new CMOS sensor that
boosts sensitivity to 4 Lux. JVC
also made improvements in camera

shake compensation.
Best Mobile Imaging Device:

Kodak Playsport
seconds. A step-less output control over

seven f/stops with PROFILUX PLUS and
six f/stops with PROFILUX PLUS 400/200
enables the finest adjustments.
the monitor itself is calibrated rather

than the computers graphics card.
Best Photo Service:

Blurb, Inc.
Best Photo Bag:

Vanguard Up-Rise Series
Pocket camcorders are becoming more

and more popular among regular users of
social sites. The Kodak Playsport pocket
camcorder offers a water-resistant body
(down to 3 meters). It also features
1080p HD video as well as 5-megapixel
stills, with easy-to-use buttons in an
attractive and sleek but tough design.
The Up-Rise series comes in five

solutions and breaks the mold of camera
bag standards with its ability to expand
in size to accommodate your changing
lens and gear needs. Every Up-Rise model
expands with one easy zipper motion and
shrinks back down when you dont need
the room. Up-Rise bags have a removable
rain cover, multiple pockets for extra
memory cards and lens caps as well as an
orange interior, making it easy to spot
loose gear.
Blurb offers the unique combination

of professional-quality photo books with
up to 440 pages and an online store to
sell these books. The Blurb books feature
commercial-quality four-color printing
on 80 grams coated matte paper or on
100 grams silk-finish paper. The Blurb
hardcover dust jacket books include
durable library binding and 8 pt. black
linen hardcover cases with laminated
four-color dust jackets.
Special Award:
The Impossible Project
Best Photo Monitor:

EIZO ColorEdge CG243W
Best Flash System:

Multiblitz PROFILUX PLUS Series
The Multiblitz PROFILUX PLUS flash

series, with its 200 ws, 400 ws, and
600 ws performance classes, deliver
new technological standards. The units
can be either AC or battery operated
on location. The integrated 16-channel
radio receiver photo cell ensures flexible
remote operation. The PROFILUX PLUS
series features short flash durations from
only 13000 sec and recycle times from 0.2
Designed to handle both still and

moving images equally well, the 24.1
widescreen EIZO CG243W monitor features
an in-plane switching LCD panel with a
native resolution of 1920x1200 pixels.
The monitor boasts wide 178 horizontal
and vertical viewing angles. Its wide
gamut reproduces 98 percent of the
Adobe RGB color space. The ColorEdge
CG243W offers hardware calibration, so
TIPA honors the initiative of The

Impossible Project to bring classical
instant film for usage in traditional
Polaroid cameras back to the market.
Instant film has been and still is an
important media for artistic photography,
but disappeared after Polaroid decided to
end production. The Impossible Projects
instant film material subtly combines
the characteristics of traditional analog
instant film sensitivity and manipulability
with a unique, new appearance of
silver-based monochrome shades.
Supported by Ilford Photo, UK (Harman
Technology Limited), The Impossible
Project currently offers two monochrome
PX film packs and already announced a
new color instant film.
125
TECHNIQUES
LENSES: Jack Neubart
Fisheye Facts
& Fantasies
Get The Most From Fisheye Lenses
126
Right Up Front
isheye optics are an unusual

beast. The bulbous nature of the
front element is one characteristic
trademark, but the unique view
this lens affords us is what makes it
truly appealingand at the same time
challenging to work with.
My fisheye lenses have literally
widened my view of the world around me
and given me a new perspective on my
photography. Admittedly, some people
will pooh-pooh a fisheye shot no matter
how well executed it is, whereas others
will appreciate your mastery of this lens
by commenting on the visual artistry
involved. With a little effort at first, you,
too, can learn to widen your horizons
with a fisheye and produce telling
visual statements.
There are a few simple guidelines that
will help. The trick is to follow them, but
not religiouslyhence, theyre presented
more in the form of suggestions, so that
your fisheye shots exhibit variety and a
distinct flavor. Now lets get down to the
nitty-gritty of working with fisheyes and
examine the facts. In some instances,
these may be more an observation
than fact.
Fisheye Fact No. 1. Depending on the
design of the lens, the fisheye image may
be circular or full frame. Circular fisheyes
produce the most distortion. Also, the
circular, or true, fisheye captures a full
180 field of view (one or two older
designs went even further), whereas the
full-frame quasi-fisheye captures a 180
angle of view when measured diagonally.
This design produces the expected
I focused on these oddly dressed, vintage mannequins outside an antique shop in Berlin. Since they stood on the
corner, I used the sheye to capture this broad view of the two streets surrounding these gures, which then gave
the mannequins a sense of place.
fisheye effect, but to a more modest

degree. A few fisheyes (and some fisheye
converters) may be restricted to a smaller
angle of view.
Fisheye Fact No. 2. Fisheye optics
exhibit severe barrel-type curvilinear
distortion. The relative shooting angle
you use can either largely ameliorate the
condition or make it more pronounced.
However, you may find it necessary to
tilt the lens to control foreground or
background (for instance, to limit the
amount of sky or force perspective by
tilting downward or with an upward
tilt to eliminate foreground elements
or show more ceiling), or simply to

express a more telling viewpoint by
swinging the camera in one direction
or another (usually creating more of an
asymmetric composition in the process).
The observed distortion obviously relies
to some degree on the presence of
identifiable lines and shapes in the
affected areas.
Fisheye Fact No. 3. A fisheye
exaggerates perspective, seemingly
stretching space. Moreover, the closer
you get to somethingeven a flat
surface, the more it appears to balloon
outward toward you, as if you were
A Level Head, Or Not
Keep the lens level and aimed squarely at the target and position important elements (those that should be least distorted) at or near the center of the frame. This restricts the
most noticeable barrel distortion to peripheral areas surrounding a central subject and also keeps barrel distortion in the periphery to a more acceptable level. Of course, we all
recognize that this is not why we usually mount a sheye on the camera. Compare these two church interiors: in one I shot squarely into the scene so that straight lines remain
largely straight (only the tiles betray the distortion). In the other shot, of a church in Aachen, Germany, I aimed the camera upward to emphasize the interesting ceiling design,
which resulted in more curved lines.
looking in a funhouse mirror. Whats

more, when viewed obliquely, nearby
objects become foreshortened.
Fisheye Fact No. 4. Owing to spatial
distortion, and assuming an uncluttered
backdrop, a fisheye can be used to create
dramatic perspective, emphasizing an
unexpected or unusual moment or subject
occupying the foreground. For instance,
I have a fisheye shot of a soccer ball
hitting the net, with the goalie in the
act of trying to block the goal. The
action was seemingly isolated against
the rest of the field, resulting in
dramatic impact.
Fisheye Fact No. 5. Depth of field
may not be quite the same as with a
pinhole camera, but it is very extensive
Funhouse Mirror
Move in as close as possible to exaggerate the ballooning effect. To make this shot even more dramatic, I panned
with the motion of the tour bus to create a wildly startling blur of color. I approached the slow-moving bus
cautiously, always keeping safety in mind.
127
TECHNIQUES
LENSES: Jack Neubart
Foreshortened Perspective
with a fisheye lens, even without

stopping down, provided youre not
focusing on a subject close to the lens.
Just focus into the scene a bit to extend
sharpness front to back. However, as with
most lenses, you may want to stop down
about two stops from maximum aperture
just to overcome any residual optical
aberrations and improve overall
lens performance.
Fisheye Fact No. 6. Remember that
you may be shooting horizon to horizon,
so, relative to the suns position and your
shooting angle, blue sky may thin out to
white toward one side of the frame.
Fisheye Fact No. 7. You dont have
to resign yourself to underexposed
foreground subjects when shooting with
a fisheye. You may be able to use flash.
Just dont expect the flash to cover a
wide area, and, when using the cameras
built-in flash, be careful to avoid casting
a shadow on a nearby subject (which is
more readily discernible with horizontal
than vertical shots).
Fisheye Fact No. 8. Yes, you can use
a fisheye to photograph people. Try to
keep them in the center of the frame to
minimize distortion.
Fisheye Fact No. 9. You dont
need a fisheye to give an image that
characteristic look. You can use software.
However, since parts of the image may
be lost at the edges, make sure you have
plenty of breathing room surrounding the
subject. Taken too far, this step results in
degraded image quality.
Fisheye Fact No. 10. By the same
token, fisheye distortion can be corrected
with varying degrees of success in post.
This process also may come at some
expense to the overall integrity of
the image.
Space gets distorted with a sheye much more so than with traditional wide-angle lenses. Take advantage of that
fact by shooting from a close distance to foreshorten nearby objects. But what really caught my eye here was the
similarity of this bus to one seen in a Harry Potter movie, where the bus gets all out of shape, thereby distorting
spatial relationships and reality.
Dramatic POV
I positioned myself behind the net, framing tightly with the sheye lens focused around the net area, and awaited a goal.
Fisheye Vision: Some Caveats

Unobserved elements may intrude on the picture space. That includes your feet on the ground, a tripod leg, or a finger at
the front edge of the lens barrel, or someone entering the shot.
Make sure the fisheye matches the sensor size of the camera. Specifically, many of the fisheyes being introduced today
are aimed at APS-C-sensor D-SLR cameras, not full-frame digitals. Also, using a fisheye designed for full-frame sensors on
APS-C cameras will truncate the fisheye effect.
Using filters: because of the protruding nature of the front element, fisheye lenses dont accommodate front-mounted
filters. Some fisheyes, however, will accept rear-mounted gelatin filters. It is rare that a fisheye will come with a built-in filter
turret that lets you dial in the needed filters. Sadly, theres no room for a polarizer on a fisheye.
The built-in petal-shaped lens shade protects against flare, but it does little to protect against the elements, wayward
fingers, and flying debris. And be especially watchful of protruding twigs, branches, and such as you move closer to your
subject, since distances are deceptive. So keep a watchful eye on the front element without losing sight of the subject.
128
Fisheye Flash?
Symmetry
(Above): No ash will cover the full breadth of a sheye lens, but all you may really
need is just a bit of ll for a nearby subjectand that is within the scope of any ash
unit, even the cameras pop-up ash (provided the situation is handled adroitly).
(Right, Upper & Lower): Every now and then you nd a symmetric space that is
something out of the ordinary. I stepped in and out of the elevator of my Berlin hotel
countless timesuntil that one time when I had a sheye attached to my camera.
Fisheye Lenses And Fisheye Cameras

This is a sampling of fisheye lenses, converters, and cameras for digital and film.
Bower (www.bowerusa.com)for APS-C format Canon, Nikon, Pentax, Sony/Minolta
Canon (www.usa.canon.com)primarily for full-frame sensor cameras (diagonal/rectangular)
Hasselblad (www.hasselbladusa.com)for V-system cameras (diagonal/rectangular)
Lensbaby (www.lensbaby.com)Fisheye Optic accessory (circular, 160 field of view, requires Lensbaby
Composerfits all popular camera brands)
Lomography (www.lomography.com)fisheye cameras for analog capture (circular)
Mamiya (www.mamiya.com)for RZ67 Pro IID
Nikon (www.nikonusa.com)select models for select cameras (diagonal/rectangular)
Olympus (www.olympusamerica.com)Four Thirds format (diagonal/rectangular)
Pentax (www.pentaximaging.com)for Pentax D-SLRs (10-17mm diagonal/rectangular fisheye zoom)
Phoenix (www.omegabrandess.com)fisheye converter (mounts to front of lens, supplied with adapters)
Sigma (www.sigmaphoto.com)for Canon, Nikon, Sigma, Sony Alpha (circular and diagonal/rectangular: select
models for select full-frame or APS-C format cameras)
Sony (www.sonystyle.com)for Sony Alpha (24mm-equivalent images, 110 angle of view)
Sunex (www.superfisheye.com)for APS-C format Canon, Nikon (circular, includes Dewarper software for PC)
Tokina (www.thkphoto.com)for APS-C format Canon, Nikon (10-17mm diagonal/rectangular fisheye zoom)
129
TECHNIQUES
IMAGES & GEAR: Jim Zuckerman
The Digital Challenge

Protecting Images And Gear On The Road
igital technology has

revolutionized photography.
So much has changed. The
terminology is different, the
ability to make our images perfect
after the fact is a new concept, and
the instant gratification of seeing our
photos in a microsecond allows us to
correct our mistakes on the fly. At the
same time, the digital world is fraught
with challenges, and photographers have
never had to deal with these things
before. We are completely dependent
on electricity, our priceless images are
nothing more than positive and negative
electrical charges that can vanish forever
if a hard drive or a CompactFlash card
has a hiccup, and it is a known fact that
dust on the sensor has been responsible
for driving many photographers into a
padded cell. Not a pretty picture!
Fortunately, all the problems in the
digital realm have solutions. The biggest
problem of all is the need to back up
your files. Hard drives and flash cards are
machines that will fail at some point in
the future. This is not a supposition. Its
a certainty. No one knows how long it
will be before this happens, so you have
to protect yourself from this eventuality.
This is true with your files at home, and
its certainly true of the pictures you take
while traveling. Therefore, you have to
have a backup strategy that is designed
to assume the worst possible scenario.
Backup Strategies
At a bare minimum, you should have
two backups of your images. I prefer
four. Its important to protect the
investment in your travel pictures, and
the only way to do that is to
create redundancy.
There are three viable places to
store images while traveling: a laptop
computer, portable hard drives, and
130
1
flash cards. I carry a laptop when I
travel, and this is my first backup.
From there, I copy the images onto two
different drives. I use the LaCie rugged
500GB hard drive (www.lacie.com). I
dont need this much space for one trips
photos, but I also carry with me my
entire photo collection in case a client
needs a photo, and I have extra space for
my travel images.
Photos 2010, Jim Zuckerman, All Rights Reserved
Finally, when I fill up a flash card

and copy the images to my laptop, I
dont reformat the card and use it again.
Instead, I put it away as a fourth backup.
I started doing this when the price of
flash cards came down, and when a friend
told me that he forgot a flash card in the
pocket of his jeans and it went through
the washing machine unscathed. He told
me the pictures were fine. That suggested
2
to me that this medium was very stable,
and since they take up virtually no space,
I felt this was added insurance that my
travel pictures would be safe until I got
home and copied them to the main hard
drives in my office.
You can minimize the weight and
volume of your equipment by not carrying
a laptop. This is a reasonable choice. If
you do a lot of backpacking or hiking, a
laptop becomes a burden very fast both
in terms of weight and because its so
vulnerable to breakage. I like to carry
one because I can surf the Internet
when I have Wi-Fi access and I can use
Skype to call home. I also like to work
in Photoshop on my images when I have
the time.
If you dont travel with a laptop, then
youll need a self-contained portable
drive like the Epson P-6000 (www.epson.
com). The advantage of the Epson unit
is that you can see your images on the
small screen and you can zoom in on
them for close examination, delete them,
and organize them before you get home.
The LaCie rugged units I use dont have
that ability. However, the LaCie units are
less than 25 percent of the cost of an
Epson P-6000. In order to use the LaCie
hard drives, though, you need a laptop
because the photos on flash cards cant
be transferred directly to the drives. They
first must be copied to the laptop and
then to the LaCie drives. If you have an
Epson P-6000, there is a slot for flash
cards that enables you to transfer your

images directly.
Foreign Electricity
Most other countries run on 220
volts as opposed to the American system
of 110. Fortunately, you dont need a
transformer for your chargers, laptop,
portable hard drives, and most of your
other electronics. They have built-in
circuits that automatically detect the
local current, and they operate without
a problem. The only thing you will
need is an electrical adapter so the
American-style plug can fit into their
circuits. You can purchase these online
or at most travel stores. Simply do a
search on Google for electrical adapters
international and youll find many
companies that sell what you need.
If you buy a power strip with several
plugs so you can charge many things at
once, make sure you get one capable of
handling the 220-volt current. I made
that mistake last summer while traveling
in Europe. I assumed the power strip I
bought would work with both 110 and
220 volts. I had the correct adapter, but
that didnt matter. I shorted out the
circuit in the hotel room and burned up
the power strip. You can also find a 220
power strip online.
Protecting Sensitive Electronics

Traveling entails subjecting your
equipment to a variety of hostile
environments. Humidity, freezing

temperatures, rain, salt spray in ocean
environments, dust, and blowing
sand are just some of the things that
can damage your gear, or at the very
least these factors can inhibit their
full functionality. For example, when
you are shooting in sub-zero weather,
flash cards and batteries can become
sluggish. The speed of the shutter
can become slowed; in seriously cold
weather, the blades that make up the
shutter dont open and close as fast
as they should because the viscosity
of the lubricant is reduced. Its a good
idea to carry chemical heat packets;
these can be held against the battery
compartment with touch fasteners to
keep the electronics functional. This
will give you many hours of critical
warmth. You cant use a rubber band
because in severe cold it becomes
brittle and will break. I discovered this
when I was photographing baby harp
seals (#1) in eastern Canada in -45F.
At the opposite end of the
temperature spectrum is high
humidity in hot climates. Going from
an air-conditioned hotel room to the
outdoors in places like Miami, Bangkok,
and Bombay causes condensation on
the front glass element of the lens as
well as the entire camera body. Not
only is picture taking impossible, but
also condensed water drops can seep
into crevices of the camera and cause
problems. Cameras are sealed fairly well
to protect the vulnerable electronics,
but water has a way of finding its way
into everything. Therefore, its a good
idea to acclimate the gear to the outside
temperature before opening the photo
backpack or camera bag. I like to go
outdoors 20 minutes before I anticipate
taking any photographs to warm up
the camera slowly. This prevents the
condensation from occurring when it is
taken out of the backpack.
Blowing sand and dust can potentially
be a lot more serious then humidity.
When I was still shooting a medium
format film camera in the early 1990s,
I was doing landscape photography
in southern Utah in a place popularly
called The Wave (#2). The wind came
up suddenly and I found myself in the
131
TECHNIQUES
IMAGES & GEAR: Jim Zuckerman
middle of a sandstorm. I tried to

protect my camera with my T-shirt,
but wind-driven sand gets into
everything. By the time the wind
died down, I couldnt even focus
my lens without hearing the awful
grinding sound of the sand inside
the focusing ring. It cost me $800
to repair the damage, and some of
the parts that had to be replaced
were actually pitted from the force
of the wind. When I now shoot in
the desert, I carry a clear plastic
shower cap with an elastic band
that fits over my camera, and I also
have a pillowcase into which I can
put the plastic-covered camera.
This offers double the protection.
Sometimes the wind is low to the
ground, and blowing sand hovers low
around your feet. This is an insidious
situation because you dont feel
the wind on your face but the sand
is nevertheless terribly damaging.
When I shot sand dunes in Namibia
(#3) this is exactly what was
happening. The sand gliding over
the dunes made them seem like they
were alive, and it was a stunning
thing to see. But in terms of photo
equipment, it was deadly.
I used the elastic shower
cap (these are often found in
hotel bathrooms and they are
free to guests) last year when
I photographed a Sikh festival
in Punjab, India (#4) because
horsemen were galloping past me at
breakneck speeds, and I was in the
thick of a dust cloud. The plastic
protection allowed me to shoot
without concern. The elastic band
clung to the side of the lens and
didnt obstruct the picture taking.
I avoided changing lenses in this
kind of environment because of the
thick dust.
Speaking of dust, let me mention
that the new generation of cameras
that have a built-in sensor cleaning
system are worth their weight in
gold. I was skeptical when they first
came out, but Ive become a believer.
I own the Canon EOS 5D Mark II, and
132
Photos 2010, Jim Zuckerman, All Rights Reserved
in the year and a half since

Ive owned it, Ive used Photoshop
to clean only a handful of dust spots
in the thousands of images Ive
taken. The previous camera I used
was the Canon EOS-1Ds Mark II, and
dust was a constant problem. I spent
untold hours cleaning my images
after every trip.
If you are photographing near
salt water, you must be extremely
careful that salt spray or water
drops dont make contact with your
camera, handheld light meter, flash
card, or anything else electronic.
Nothing will destroy your equipment
faster than salt water. Several years
ago I was photographing tide pools
in Big Sur on the California coast
(#5) and my light meter fell into
the water from a top pocket of my
photo vest. It didnt even become
submerged because I grabbed it
within about a half second. In that
brief time, it had died. I had it
repaired but it was never the same
and I stopped using it. If you will
be shooting waves in rough surf or
doing photography from a sailboat,
a sensible precaution is to place
the camera in a fairly inexpensive
underwater housing such as one
from Ikelite (www.ikelite.com).
When I am shooting in the rain,
the elastic shower cap helps a lot.
If you have a friend with you, its
also a great help if they can hold
an umbrella above you to protect
your camera and to keep the front
glass element of the lens dry. Water
drops on the glass smear portions
of the picture, and this can be very
difficultor impossibleto repair
in Photoshop. I always carry with me
a microfiber cloth to clean the lens.
I used it before every shot when I
photographed in a light drizzle in
Krakow, Poland (#6), and when I
was shooting Iguazu Falls at the
border of Argentina and Brazil, the
mist was so intense at Devils Throat
(#7) that photography would have
been impossible without both the
umbrella and the cloth.
133
TECHNIQUES
IMAGES & GEAR: Roger W. Hicks
Important Tips From World Travelers
t sometimes seems that there are

two kinds of photographers: those
who bang their cameras and lenses
around mercilessly, and those who
baby them. The former see themselves as
rough, tough, and macho; the latter are
perpetually worried about the slightest
risk of damage to their precious cameras.
Neither attitude makes a lot of sense.
Yes, you need to be unlucky to damage
a good-quality camera, and if you baby
it too much, it can stand in the way of
taking pictures. On the other hand, why
court ill luck by abusing your cameras?
Andbelieve it or notexcessive
babying can harm cameras, too.
Lets start with that last, improbable
assertion about excessive babying. There
are two main risks. One is that the
camera just gums up from lack of use,
as lubricants dry out and dust settles
on them. Cameras are made to be used,
so use themand if you dont use
them, then at least exercise them a
few times a year. The same applies to
auto-diaphragms and focusing mounts.
The other risk is mildew and mold.
This is a nuisance on a camera body, but
it can be a tragedy on a lens, because
the mold can actually etch the glass.
Damp and darkness beget mildew and
mold, so store your cameras somewhere
airy and dry, and preferably in the light.
I store my most valuable cameras in a
glass-fronted, humidity-controlled cabinet
(from Wonderful in China).
Such a cabinet may be over the
top for some people, but silica gel
(regenerated by heating in the oven)
and a sealed box can be your friends.
I know one photographer who thought
that the best way to store his $15,000
worth of Leica gear was in the original
packagingbut he omitted the silica gel.
Result: mold on several lenses, including
134
When you jolt your equipment

across dirt roads in a 1972
Land Rover, you need to worry
about equipment protection. In
2009 we visited 13 countries in
Europe: this is in Greece.
Zip Locs and their

imitators are ideal for
keeping dust and moisture
out of your equipmentand
point-and-shoots need as much
protection as real cameras,
or sometimes more. This old
Minox is one of our favorites,
not least because it has a
proper optical nder.
Lens shade (35mm f/1.4

Summilux on Leica MP). Yes,
its bentbut the lens wasnt
damaged. One of the things
you pay for with top-quality
gear is durability.
Photos 2009, Roger Hicks Ltd.,
All Rights Reserved
OP/TECH Hood Hats offer superb protection and take up very little
space when not in use.
a 50mm f/1 Noctilux. Slight mold can

be killed (and may even disappear
completely) if you leave the lens in a
warm, sunny place with the sun shining
into it. Severe mold means a serious
repair bill, or a write-off.
To Filter Or Not To Filter

Sticking with lenses, Im a great
believer in protective filters. Ill never
forget the time in the Himalayas when
Frances tripped and the front of her
(then new) 35mm f/2.8 PC-Nikkor hit
a stone. When we saw the star-shaped
crack on the front, we both felt sick.
But we unscrewed the filter and the lens
was unharmed. Not only had it saved the
front element, because it had absorbed
and spread the shock evenly around
the filter ring, there was no damage to
the lens, either. Years later, something
similar happened to the orange filter
that lives on the front of my 200mm
f/3 Vivitar Series 1, which I use only for
black and white. Again, no problem.
Dont believe the people who tell you
that filters degrade sharpness. Just try it
for yourself. Shoot an optical test target,
with and without the filter. The only
way I managed to get significant image
degradation was with window glass. Every
other filter I tried, regardless of price,
had no detectable effect. Others have
had similar results.
Lens shades are also good mechanical
protection, again because they distribute
the effect of an impact into the filter
ring. The hood on my 35mm f/1.4
Summilux is downright gnarly from where
OP/TECH individual camera case: vastly superior alternative to the

never ready case.
Protection From Theft

Out of sight, out of mind is the
proverb to remember here: if
thieves cant see your camera,
they are less likely to steal it.
Of course they may steal the
whole bag, so keep it under
your control at all times, and if
you stop (for example) at a caf
bar, clip the bag to a table or
seat, or at least, wind the strap
around something. Consider
a screamer, a little personal
alarm with a pull-out plug, too:
one end attached to the bag,
one to the chair or to you. These
are however embarrassing if you
forget you are using one and
pick the bag up yourself.
Keep the top of your bag closed
and secured (zips, buckles,
whatever) against pickpockets.
With photographers vests,
make sure the pockets are
well secured with zips or touch
fasteners: touch fasteners are
especially good because of the
ripping noise they make when
they are pulled apart.
If you have to leave a bag in the
car, leave it in a locked trunk,
well insulated against heat if
need be. In a station wagon,
cover everything with a space
blanket, both to keep it cool and
to keep it from prying eyes. Many
insurance companies will not pay
out unless the equipment was
stolen from a locked trunk and
we literally use a padlocked trunk
in the back of our Land Rover.
the lens fell onto granite cobbles in

Prague. The lens is still fine. Lens shades
also help keep the front glass or filter
clean, so you dont need to clean
as often.
Dust Be Gone
Front and back caps keep dust off
and out of the lens. Dust can not only
mix with lubricants to form an efficient
grinding paste and stiffener-upper: it can
also get onto film or (worse still) digital
sensors. At least with film you get a
clean new sensor for each shot!
Rather than the manufacturers front
caps, Frances and I use almost exclusively
OP/TECHs flexible neoprene Hood Hats
which come in a range of sizes and are
easier to illustrate than to describe.
They are relatively inexpensive; they
can push on over a mounted lens hood
(shade); and they can be snatched off
and stuffed in a pocket, or even dropped
on the ground, in a moment. They offer
excellent mechanical protection if the
camera bangs into something lens first;
and of course for a classic rangefinder
camera, they remove altogether the risk
of the sun burning a hole in the shutter
if the camera is left pointing at the sun.
Another way to avoid the latter risk is
by stopping down to f/16 (actually, f/8
should be all right) when you are not
shooting, though you should never leave
the lens pointing at the sun for more
than a few seconds at a time, at least at
wide apertures. (Why, though, are you
using wide apertures in bright sun?)
We normally leave the hoods off
135
TECHNIQUES
IMAGES & GEAR: Roger W. Hicks
between shotsits not cap off, shoot,
cap onbut if were walking from
one place to another we put them on.
Or, sometimes, well use OP/TECHs
individual neoprene camera casesvisit
www.optechusa.comwhich are a cross
between a traditional never ready case
and a wrap: slower and harder to put on
than a never ready case, but easier and
quicker to pull off. Again, theyre easier
to illustrate than to describe, but its
worth remarking that one is seldom in
the same hurry to put a camera case on
as one is to take it off.
In Transit
We quite often use OP/TECH neoprene
cases for transport, too, because they
allow us to put the cameras in hard-side
or soft-side camera bags, even without
dividers. This brings us to another point
about protecting cameras: vibration.
High-density foam (as used for most
dividers in soft-sides) gives maximum
protection from knocks, while low-density
foam (the cutout sort found in most
hard-sides) gives more protection from
vibration. Neoprene is pretty good at
both, though its closer to low-density
foam than high.
Because Ive ridden motorcycles for
over 40 years, and because my only
car is a 1972 Land Rover 88, Im more
aware of vibration than most people. I
remember opening the top box on my
motorcycle in about 80 and finding that
the back of my Hasselblad 500C was all
but detached: the vibration had loosened
the screws that held the faceplate to
the back proper. After that I was a lot
more careful, though on a motorcycle
tour of India a decade later an internal
element on my 200mm f/3 Vivitar Series
1 unscrewed itself slightly and I couldnt
use the lens until it was repaired. Current
equipment is unlikely to be any more
vibration resistant.
You can also protect cameras and
lenses from vibration by packing them
on top of (or wrapped in) sweaters or
other soft clothes: use Zip Loc or similar
bags to keep fluff and fibers out of
the works. Zip Locs are also ideal for
keeping dust out of your cameras when
they are being transported under harsh
conditions, e.g., in the desert. As an
136
aside on this, although I wouldnt use

a camera in a sandstorm (Ive only ever
been in one, in pre-revolutionary Libya in
60), I dont hesitate to use my cameras
in the desert or on the beach under
normal conditions. I have seen walkie
(beach photographer) Leicas from the
30s to 50s that survived decades of
this treatment, so a few hours or even
days wont hurt. And, of course, a bag
that keeps dust out will keep water out,
too: point-and-shoots are especially
susceptible to water damage, even in
a pocket.
Yet another trick to avoid vibration
is to hang your camera on its strap
over the back of a car seat, or around
The Zero Halliburton goes

inside the padlocked trunk
when we have to leave
equipment in the car. A
light-colored eece blanket
spread over the top helps
keep the contents cool
and shields them from
prying eyes.
This little Seahorse case can

be padlocked closed and then
chained to any convenient piece
of real estate. Use combination
locks for obvious reasons! If
these had bigger hasps, wed
only need one instead of two.
The screamer on top can be
attached by either padlock via
its wire loop. If its jack is pulled
out, it emits an ear-splitting
noise. You want the screamer
on whatever the thief is trying to
carry away.
your neck on a bus or train. If possible,

put your camera bag on an empty seat
rather than on the floor, as the padding
and upholstery will absorb a lot more
vibration than a carpet, let alone a
rubber mat. In an aircraft, the net in
the back of the seat in front is good,
especially with an OP/TECH neoprene
camera case.
The Heats On
As long as were in the car, dont
forget the effects of heat. The glove box
or the trunk of a car, especially a
dark-colored one, can easily reach the
sort of temperature where the camera
is too hot to touch. This will not do
film any good, and allegedly it can fry

digital cameras, but normally, digital
cameras become usable again as they
cool down. Ive seen LCD screens blank
out from heat, though.
A more insidious risk with heat is
baking the lubricants or (worse still)
distilling them, especially in lenses. Its
worse in lenses because of the risk of
the lubricants distilling onto the glass,
resulting in haze and lack of contrast.
To cut down on these risks, avoid the
trunk and glove box; go for light-colored
cars (our Land Rover has a cream-colored
double-skin tropical roof for precisely
this reason); prefer light-colored camera
cases to dark (silver aluminum Zero
Halliburtons are ideal); dont leave the

bag in the sun (if its in the back of the
car, put a light-colored towel or silver
space blanket over it); and rely on
simple insulation, with other bags above
or below the camera bag, or a big cool
chest around it. Take the camera bag
out of the cool chest at night, though,
and allow them both to cool. Otherwise,
theyll retain the heat they built up
during the day.
Dont get too paranoid about this.
We once took a six-hour taxi ride in
temperatures up to 117F (47C) and
when we reached our hotel in Delhi that
evening, even our film was warm to the
touch: maybe as much as 100F (38C).
Soft-sides like this Billingham

are much easier to work out
of than suitcase-style cases,
but when youre walking
around you need to keep
them zipped and fastened,
as here. Theres a screamer
in the side pocket, attached
to the black lanyard, which in
turn is connected to the red
lanyard, which clips to a belt
loop or a caf table. Pull out
the plug on the end of the
black lanyard and it
starts screaming.
Photos 2009, Roger Hicks Ltd.,
All Rights Reserved
When we are touring on the

motorcycle, our cameras
live in the tank bag of our
BMW R100RS, atop a layer of
foam rubberwhich is why
its open, so I could get the
camera out to take a picture
of a stop for brunch.
A few hours at that temperature wont

do any harm. But 140F (60C) may be
another story.
Bags: Hard Or Soft?

What about camera bags? Which is
better, hard-side or soft-side? As so
often, the answer is a firm, unequivocal
it depends.
Perhaps surprisingly, a well-made
soft-side (we use Billinghams and
Lowepro SlingShots) may offer better
protection than a hard-side if (for
example) you drop the bag down a flight
of stairs. The flexing of the bag and its
dividers absorbs energy; theres nothing
hard inside the bag for the cameras
to bump into; and they cant move far
before they hit an energy-absorbing wall.
On the other hand, a hard-side with
cutout foam (we use Zero Halliburtons,
Pelicans, and Seahorses) is a better bet
if the bag is going to be flung across the
room on a regular basis (as by airline
baggage handlers) or bounced up and
down on a rigid, vibrating surface (as on
the top of an Indian bus or in the trunk
of a taxi). Hard-sides with gaskets are
also ideal for dusty or wet conditions.
Some even float: ideal if youre traveling
in small boats. Buy decent quality cases
and foam, though. Cheap foam decays
and goes nasty and sticky and can even
attack the metal of the camera.
A less obvious consideration is that
we find it much easier to work out of
soft-sides when were on foot, or
hard-sides if were working out of the
car or in the studio: an empty cutout
in the hard-sides foam means youve
forgotten something.
Frances and I have banged our cameras
around the world for decades, and had
gratifyingly few problems. As weve said,
you can always be unlucky, and dropping
a camera a couple of inches on one
occasion may result in more damage than
dropping it a couple of feet on another.
So as we say, dont court bad luck, but
equally, dont imagine that your camera is
as delicate as a piece of fine crystal.
For further information on the
art and craft of photography from
Roger Hicks and Frances Schultz, go
to www.rogerandfrances.com.
137
CREATIVITY
PROFILE: Steve Bedell
Sam Gray
Master Photographer
Classic Style
And Technique
Stormy Walk
he first time I met Sam Gray was

probably about 1975. I was a
young photographer attending one
of my first Maine state conferences
and Gray was one of the program
speakers. I can still remember how
elegant and beautiful his images were.
I also remember how he struck me as a
quintessential southern gentleman. He
was soft spoken yet exuded confidence.
You couldnt help but admire the guy.
Fast forward to 2007, when I was
one of the jurors for the Professional
Photographers of America (PPA) print
exhibit. As I was waiting for some
images to critique, I thumbed through
a pile of prints. The first image I saw
was awesome. I peeked at the back of
the print to see the makers nameSam
Gray! I didnt know he still entered
competitions. Then I looked at the
next three printsall wonderful, all
138
Photos 2010, Sam Gray, All Rights Reserved
This little lady with the umbrella was taken in a small village hill town in Umbria, Italy. It was 2pm and lightly
raining. Sam Gray loved the composition but made it more dramatic with dark clouds and by turning it into a
night scene. This is a PPA Loan Collection winner.
Lady In Red
Taken with window light with the Canon EOS-1Ds Mark II and painted in Corels Painter X. Sam Gray admires the work of the European painter Pino and this is his rendition of
the painters style. This is a PPA Loan Collection print. The nal is a 30x40 canvas with mixed media in pigment and oil.
139
CREATIVITY
by Sam Gray, and all accepted into the Loan Collection, a feat
accomplished by perhaps 10 photographers worldwide each year.
In 08 and 09, 11 of 12 images he submitted were selected
for the Loan Collection, another amazing achievement. He was
also awarded the Fellowship Degree by the American Society of
Photographers in 09.
Of his Loan Collection images 75 percent were heavily
manipulated or painted, so Grays work has certainly evolved
with the times. What has not changed is his classic style,
beautiful composition and lighting, and respect for his subjects.
I decided to catch up with the Raleigh, North Carolina,
photographer and ask him about his current work.
Shutterbug: Your career spans a few decades, so are you still

having fun?
Sam Gray: I have never had more fun. There is always
something new to learn and I enjoy the variety of artistic
talents that I can express.
SB: Many of your portraits are painted. Is it just from
software or do you actually touch brush to canvas?
SG: I do a variety of techniques that involve brush to canvas.
In our gallery we display samples to help clients make their final
decision. Often I am given the liberty to express myself more
artistically. When I do, I enjoy the heavier impasto oils as well
as chalk and pastels. I can do free hand or mixed media.
Continued on page 156
Sam Gray Commentary
Photos 2010, Sam Gray, All Rights Reserved
The two little girls are typical for the type of sessions
that I enjoy. My favorites are children ages 3 to 5. Here
we have a backlit situation and I wanted it to look like it
was taken in the morning. I warmed and softened the
scene in Photoshop CS4 then added layers of fog and
began streaking it to appear as if the morning sun was
filtering through the trees. I stopped when it felt natural
and realistic. Sometimes I use reflectors but in both of
these images I used a softbox to fill in the shadows. The
softbox is faster and better for me with children since I
work without assistants. This allows me to work in any
environment and get great results every time.
This shot was taken with the Canon EOS-1Ds Mark II, a
70-200mm lens at 1100 sec at f/2.8 at ISO 200. I capture in
Raw and JPEG. The JPEG is used for backup and often I
will use them for a presentation about 20 minutes or so
after the session since many of our clients are out of town.
We do the session then the presentation and ship the
framed paintings and photographs to their home later.
140
This is a portrait of my four daughters. I captured the

image in front of the gazebo by our pool. I was planning
on a 40x60-inch master oil painting to go in our great
room behind a grand piano. I did not want the concrete,
gazebo, or pool to show so I painted over all things that
took my eye away from the subjects. I inserted colors that
are used in the carpet, drapes, and furniture. I wanted it to
be a perfect fit for the room and of course the focal point.
The dresses are black and so is the piano and the frame
is black gloss enamel and 22k gold leaf.
The image was captured with the Canon EOS-1Ds Mark
II, a 70-200mm lens at 1200 sec at f/5.6 then worked up
in Bridge and Photoshop. Next the image was brought
into Corels Painter X and I worked with brushes such as
Sargent and other Impressionist brushes that I created.
The painting was finished with lots of color and thick
impasto paint to give it a rich texture.
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CREATIVITY
Sam Gray, Master Photographer

From page 140
SB: Your image quality is very

impressive. What format are you using?
What is your favorite camera/lens combo?
SG: I have worked with the Fuji
FinePix S2, Kodak DCS Pro SLR/n, Canon
EOS-1Ds Mark II, and now the Canon EOS
5D Mark II. Lenses are a 24-105mm, a
35-70mm f/2.8, and a 70-200mm
f/2.8 zoom.
SB: Much of your work appears to
have a European influence. Is that
intentional or am I misreading it?
SG: I have been greatly influenced
by European artists past and present.
It is a pleasure to blend in some of the
Old Masters techniques into todays art.
I have traveled to Europe several times
and love the rich, natural settings there.
SB: You have some wonderful art
pieces that you offer. Have you had sales
success with them?
SG: I have been building an extensive
collection of art for our gallery. They are
being shown in other galleries and in the
homes of collectors. Now designers and
decorators are buying them. Most of my
time is spent on portraits, but Im now
enjoying other art pieces.
SB: Can you tell us a little bit about
your software and hardware? Besides
Photoshop, what other programs and
plug-ins do you use?
SG: I use Adobes Photoshop CS4
Extended, Bridge, and Lightroom, plus
Painter 11, Nik, Topaz, Auto FX, LucisArt,
Kubota Actions, and anything I can find
to add flair and beauty to what I may
want to create.
SB: How do you market your
portrait services?
SG: Displays, magazines, good client
relations, referrals, auctions, and of
course social media.
SB: What is your favorite market
these days?
SG: Children and families have always
been my favorites.
SB: Can you give us your thoughts on
todays market?
SG: To adapt an old saying, You can
please some of the people some of the
time, and you can please part of the
people part of the time, but you cant
please all of the people all of the time.
Well, for 40 years we have gone the
extra mile to please all of the people all
156
A Long Journey Home
2010, Sam Gray, All Rights Reserved
This image is part of the PPA Loan Collection and was taken with the Kodak DCS Pro SLR/n. The rays of light are all
real except for the two on the left. There had to be a lot of enhancing to bring up the original luster in Photoshop CS4.
of the time. I can sleep at night knowing

I have done my best. That is what keeps
our clients coming back again and again,
even at higher prices. My reputation is
that I am expensivebut worth it.
We have one of the greatest
professions on the face of the earth. We
are able to share our talents with others
and express ourselves. Clients invite

us to share their special moments with
them and they pay us for it. What could
be better?
To see more more of Sam
Grays work, visit his website at:
http://samgrayportraits.com.
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150 f3.5 N E++/NM . . . . . .$139/$149
150 f4 C E+ . . . . . . . . . . . . . . . . .$129
210 f4 C E/E++ . . . . . . . . . .$95/$125
210 F4 N E++ . . . . . . . . . . . . . . . .$195
105-210 ULD E++ . . . . . . . . . . . . .$295
2X Vivitar E++ . . . . . . . . . . . . . . . . .$85
Pro Prism E++ . . . . . . . . . . . . . . .$95
Pro AE Prism E+ . . . . . . . . . . . .$165
Waist Level E+/E++ . . . . . .$95/$125
Power Drive Grip 2 WG401 E+ . .$125
Power Drive Grip SV E . . . . . . . .$75
Mamiya RB
Pro Body w/wl E+ . . . . . . . . . . . . .$145

Pro-S Body w/wl E+ . . . . . . . . . . .$195
Pro SD Body w/wl E++ . . . . . . . . .$295
50 f4.5 E++ . . . . . . . . . . . . . . . . .$295
90 f3.8 C E+ . . . . . . . . . . . . . . . . . .$195
127 f3.8 E+ . . . . . . . . . . . . . . . . . .$145
127 f3.8 C E++ . . . . . . . . . . . . . . .$195
150 f4 SF C w/disks E . . . . . . . . .$195
180 f4.5 E+ . . . . . . . . . . . . . . . . . .$145
180 f4.5 C E+ . . . . . . . . . . . . . . . .$175
Ext Tube #1 45mm ProSD E++ . . .$65
2X Telemore E+ . . . . . . . . . . . . . . . .$95
120 Pro S Back E+ . . . . . . . . . . . . .$95
220 Pro Back E+ . . . . . . . . . . . . .$651
20 645 Back E+ . . . . . . . . . . . . . . .$95
120/220 PD Back E++ . . . . . . . . .$95
Polaroid Back NPC E+ . . . . . . . . . .$30
Polaroid Back E+ . . . . . . . . . . . . . .$45
Prism E . . . . . . . . . . . . . . . . . . . . . .$55
Prism Model 2 E . . . . . . . . . . . . .$145
CdS Prism E++ . . . . . . . . . . . . . .$145
Mamiya RZ
180 f4.5 W E++ . . . . . . . . . . . . . .$275

180 f4.5 W-N E++ . . . . . . . . . . . .$295
250 F4.5 W E++ . . . . . . . . . . . . . .$345
Ext Tube No.1 45mm E++ . . . . . .$85
Pentax 645
645 E+ /E++ . . . . . . . . . . . .$245/$295

645N NM . . . . . . . . . . . . . . . . . . .$495
45 f2.8 SMC-A E++ . . . . . . . . . . .$195
150 f3.5 SMC-A E+ . . . . . . . . . . . .$145
200 f4 SMC-A E+ . . . . . . . . . . . . .$195
80-160 f4.5 SMC-A E++ . . . . . . . .$245
Pentax 6x7
6X7 w/prism E+ . . . . . . . . . . . . .$345

6x7 w/TTL E+ . . . . . . . . . . . . . . . .$395
75 f4.5 SMC NM . . . . . . . . . . . . . .$395
105 f2.4 Takumar E/E++ . .$175/$195
105 f2.4 SMC E++ . . . . . . . . . . . .$295
135 f4 Macro TakumarE++ . . . . .$245
165 f2.8 SMC E++ . . . . . . . . . . . . .$225
200 f4 Takumar E+/E++ . . .$195/$245
200 f4 SMC E++ . . . . . . . . . . . . . .$275
300 f4 Takumar E++ . . . . . . . . . .$395
Large Format
65 f5.6 Fujinon SWD E++ . . . . . . .$395
75 f5.6 Super Angulon NM . . . . .$795
75 f6.8 Caltar II-N E++ . . . . . . . . .$395
90 f4.5 Grandagon-N NM . . . . . .$695
90 f5.6 Super Angulon E+ . . . . . .$495
90 f6.8 Angulon E+ . . . . . . . . . . . .$275
90 f6.8 Caltar II-N E++ . . . . . . . . .$395
90 f8 Super-Angulon E++ . . . . . .$295
90 f8 Fujinon SW E++ . . . . . . . . .$395
115 f6.8 Grandagon-N NM . . . . .$595
120 f5.6 Nikkor-AM E++ . . . . . . .$495
135 f5.6 Fujinon W E++ . . . . . . . .$245
135 f5.6 Symmar-S E++ . . . . . . . . .295
150 f5.6 Symmar-S E+ . . . . . . . .$350
150 f5.6 APO-Symmar E++ . . . . .$395
150 f6.3 Caltar II-E E++ . . . . . . . .$150
150 f5.6 Caltar II-N E++ . . . . . . . .$295
150 f9 G-Claron E+ . . . . . . . . . . . .$195
180 f5.6 Caltar II-N E+ . . . . . . . .$295
180 f5.6 Nikkor-W E++ . . . . . . . . .$395
180 f5.6 Symmar-S E+ . . . . . . . . .$245
210 f5.6Caltar-S IIE+ . . . . . . . . . .$195
210 f5.6 Fujinon W E+ . . . . . . . . .$245
210 f5.6 Nikkor-W E+ . . . . . . . . . .$345
210 f5.6 Sinaron S E+ . . . . . . . . .$345
210 f5.6 Symmar-S E+ . . . . . . . .$345
210 f5.6 APO-Symmar E++ . . . . .$395
210 f5.6 APO-Sironar-S NM . . . .$795
210 f5.6 Macro-Sironar-N E++ . .$595
210 f6.3Computar Symmetrigon E++ .$195
210 f6.8 Caltar II-E E++ . . . . . . .$245
240 f5.6 APO-Symmar E++ . . . . .$795
240 f9 APO Sinaron E++ . . . . . . . .$395
300 f5.6 Symmar-S 8x10 E/E++ $295/$595
360 f9 Apo-Ronar NM . . . . . . . . . . . .$595
450 f9 Nikkor-M 8x10 E++ . . . . . .$695
480 f8.4 Sironar-N 8x10 E+ . . . . .$895
480 f9 Sinar-APO-Ronar E+ . . . .$495
480 f9 Apo-Ronar NM . . . . . . . . .$795
360/620 Symmar 8x10 E . . . . . . .$595
Calumet 4x5 gray w/case E . . . .$175
Calumet Wide 4x5 E+ . . . . . . . . .$250
Calumet 540 4x5 E++ . . . . . . . . . .$195
Cambo SC 4x5 E+ . . . . . . . . . . . .$245
Cambo SCII-R 4x5 E+ . . . . . . . . . .$295
Horseman 450 Case+ E++ . . . . . .$395
Sinar A1 4x5 case E++ . . . . . . . . .$295
Sinar C 4x5 E+ . . . . . . . . . . . . . . .$495
Sinar F 4x5 E . . . . . . . . . . . . . . .$275
Sinar F1 blk 4x5 E+ . . . . . . . . . . .$375
Toyo 45AII NM . . . . . . . . . . . . .$1295
Toyo CX 4x5 E+ . . . . . . . . . . . . . . .$195
Toyo 45G 4x5 w/ w bellows E++ .$295
Ansco 8x10E . . . . . . . . . . . . . . . . . .$39
Orbit 8x10 blk E . . . . . . . . . . . . . .$395
Calumet 8x10 grey E+ . . . . . . . . .$395
Calumet 8x10 Field C1 E+ . . . . . .$395
Sinar Extension Rail 6 E++ . . . . .$35
Sinar Wide Bellows NM . . . . . . .$60
Polaroid 545 Back E . . . . . . . . . . .$40
Polaroid 545i Back M . . . . . . . . . .$50
809
810
Call Toll Free 1-888-873-1979
Call or email us today for a quote usedcameras@natcam.com

M- F 8:30 5:30 CST FREE SHIPPING 90-DAY USED WARRANTY 9300 Olson Memorial Hwy, Golden Valley, MN 55427
BUY, SELL, TRADE www.natcam.com
CLASSIFIED INFORMATION
CLASSIFIED DEADLINES
2010 Issues
SeptemberJuly 1
No ads taken
OctoberAugust 1
NovemberSeptember 1 by telephone.
DecemberOctober 1
2011 Issues
JanuaryNovember 1
FebruaryDecember 1
MarchJanuary 1
AprilFebruary 1
MayMarch 1
If the 1st falls on a Saturday or
Sunday, ads will be accepted on
Monday.
SPECIAL NOTE: Ads will appear on the web to coincide

with the newsstand release.
Web address: http://www.
shutterbug.net
INSTRUCTIONS
1. Use a SEPARATE SHEET of paper for each
ad, making sure your name and address is
on the bottom of each ad.
2. Type or print your ad legibly.
3. Write the desired category at the top of
each ad. See index for categories available.
4. Begin all ads with the brand name of the
equipment. Ads run alphabetically.
5. Your ad will be run in the 1st available
issue.
6. Full name must appear in ad.
7. No ads will be accepted unless accompanied by name, street address
and telephone number. For office
use only. No charge unless included in ad.
RATES
s4HEREISAMINIMUMCHARGEOF
per ad, category & issue for subscribers and non-subscribers.
s 75 per word for the first fifty words in a
category and $1.00 for each additional word
over fifty per ad, category & issue.
s Double per word rates for non-subscribers.
s The first two words and your name OR phone

number will appear in bold free of charge.
Additional bold words are 75 extra per word.
s0AYMENT-534ACCOMPANYYOURAD
s Any group of letters or numbers with a
space before and after it is considered a word.
REFUND POLICY
s There will be a $8.00 handling charge for all
refunds.
s Ads running for only one issue cannot receive a refund after they are typeset.
s If your ad is to be repeated in more than one
issue you may cancel the ad and receive a
refund for the remaining months.
ATTENTION GETTERS
STARS
A line of STARS is available at a charge of
$10.00.
(((
$10.00
BOLD HEADINGS (plus word
count)
PT
MMMMMMMMMM
PT
MMMMMMMMMM
PT
MMMMMMMMMM
Only one line of stars and one line of
bold heading may be used at beginning of ad. Add the above charges to your
total ad price when utilizing the stars or bold
type.
LEADER DOTS
Leader dots are the dotted lines that extend
from a listed item to the price. Add $4.00 to
your total price for each line of leader dots. No
more than 10 lines of leader dots.
CLASSIFIED ORDER FORM

E-Mail: classifieds@shutterbug.com
Classified Dept., SHUTTERBUG
Phone
#HAFFEE$R3UITE4ITUSVILLE&, Fax
The rate is 75 cents per word for the first 50 words and $1.00 for each additional word
over 50 per ad, category & issue. $20 per ad, category and issue, minimum charge. If
no category # is listed the ad will be placed in Category 59 (Misc.). Double per word
rate for non-subscribers. We do not accept anonymous ads.
Category # ________________________________ Subscriber

See Index
Yes
No
Subscription #___________________________
(Please type or print legibly)
INCLUDE 75-CENTS PER WORD FOR YOUR NAME AND ADDRESS

WHEN USED IN AD.
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
*Name ________________________________________________________
*Address ______________________________________________________
*City _________________________________________________________
*State ___________________ Zip ______________ Phone ____________
2EMITTANCEFOR ______ is enclosed.

VISA
MC AMEX
Acct# ______________________________ Exp. ___________
Signature __________________________________________
You may run my ad ____ issues(s).
*Required Office Use Only
158
Cat.
INDEX
SB STANDARDS
Pg.
(15) 3-D For Sale................................................000

(16) 3-D Wanted ...............................................000
(5) 35mm SLR For Sale ..............................159
(6) 35mm SLR Wanted ..............................159
(7) 35mm Rangefinder For Sale.................000
(8) 35mm Rangefinder Wanted .................159
(47) Antique Images For Sale/Wanted ............000
(31) Balleads For Sale .........................................000
(32) Ballheads Wanted.......................................000
(43) Used Books, Magazines, DVD For Sale 159
(44) Used Books & Magazines, DVD Wanted
...............................................................160
(61) Camcorders/Video Equipment For Sale .000
(62) Camcorders/Video Equipment Wanted .000
(19)Camera Accessories For Sale ................000
(20)Camera Accessories Wanted ....................000
(33)Classic Equipment For Sale ................ 000
(34)Classic Equipment Wanted................. 000
(45) Collectibles For Sale ...................................000
(46) Collectibles Wanted ...................................000
(55)Computer/Digital Imaging Equipment
For Sale ........................................................000
(56)Computer/Digital Imaging Equipment
Wanted ........................................................000
(9) D-SLR For Sale ...........................................000
(10) D-SLR Wanted ...........................................000
(21) Darkroom Equip. For Sale ........................159
(22) Darkroom Equipment Wanted................000
(25) Digital Point & Shoot Cameras For Sale .000
(26) Digital Point & Shoot Cameras Wanted .000
(39) Electronic Flash For Sale............................000
(40) Electronic Flash Wanted............................159
(23) Equipment Bags For Sale...........................000
(24) Equipment Bags Wanted ..........................000
(41) Film For Sale ...............................................000
(42) Film Wanted ...............................................000
(50) Help Wanted...............................................000
(13) Large Format For Sale................................000
(14) Large Format Wanted................................159
(11) Leica For Sale ..............................................000
(12) Leica Wanted ..............................................159
(17) Lenses For Sale ......................................000
(18) Lenses Wanted ......................................000
(35) Light Meters For Sale .................................000
(36) Light Meters Wanted .................................000
(1) Med. Format SLR For Sale ........................159
(2) Med. Format SLR Wanted........................159
(3) Med. Format TLR For Sale .......................000
(4) Med. Format TLR Wanted .......................159
(58) Miscellaneous Services...............................000
(59) Miscellaneous Equipment For Sale..........160
(60) Miscellaneous Equipment Wanted..........160
(27) Motion Picture Equipment For Sale........159
(28) Motion Picture Equipment Wanted........159
(52) Non-Photographic Equipment
For Sale/Wanted .........................................000
(53) Photo Business For Sale.............................000
(54) Photo Business Wanted.............................000
(57) Photo Contests ...........................................160
(51) Situations Wanted......................................000
(37) Studio Equipment For Sale .......................159
(38) Studio Equipment Wanted .......................159
(64) Trade Shows................................................000
(29) Tripods/Monopods For Sale ................000
(30)Tripods/Monopods Wanted ................000
(48) Underwater Equipment For Sale .............000
(49) Underwater Equipment Wanted .............000
(63) Workshops ..................................................000
The Shutterbug classified ads are

for used equipment only excluding
expendables such as film, paper, flash
bulbs, etc. Equipment classified as
new or unused must be advertised in
display ads. There will be no exceptions to this policy.
Shutterbug reserves the right to reject any ads which do not comply with
these standards. Shutterbug further
reserves the right to edit ads for clarity, and to reclassify under the proper
heading if we feel the ad is classified
incorrectly by advertiser.
Shutterbug strongly recommends
a 15 day trial period on equipment
(excluding expendables or equipment
sold on an as is basis). This means
15 days in the hands of the buyer, not
15 days from time of shipment. This
allows the buyer reasonable time to
shoot test film and have it processed.
Dishonest or inaccurate descriptions of your merchandise will only
cause you and Shutterbug needless
correspondence.
SB NEW
Never sold to a customer and never used.
New as shipped by the manufacturer or distributor with all original packing and instruction manuals. Merchandise sold as NEW
must be eligible for full warranty service from
the officially authorized importer/distributor in the U.S.A. SB NEW CANNOT BE
ADVERTISED IN THE CLASSIFIED
ADS.
SB MINT
100% original finish. Just like factory new,
but may not include original packing material
or instruction books. Must be pre-owned to
qualify as SB MINT.
SB EXCELLENT PLUS (SB EX+)
90 to 99% original finish. Used very little, but
obviously used. No major marring of finish
or brassing. Optics perfect. Mechanically
perfect.
SB EXCELLENT (SB EX)
80 to 89% original finish. May have a finish
flaw or two which detract from appearance,
but must be optically and mechanically perfect.
SB EXCELLENT MINUS (SB EX-)
70 to 79% original finish. May have relatively large flaws in finish which do not affect
function. Must be optically and mechanically
perfect.
SB GOOD (SB G)
60 to 69% original finish. Must be complete,
but may be scratched or scuffed. Metal may
show wear but should have no corrosion,
rust or pits. Must be optically and mechanically perfect.
SB FAIR (SB F)
50 to 59% original finish. May or may not be
perfectly functional, but all functional defects
must be clearly stated in ad. Would not be
attractive to the eye.
SB UGLY (SB UG)
50% or less original finish. Well used and
worn. May have missing parts or may not be
fully functional. All defects must be clearly
stated in ad.
SB-ABBREVIATIONS
MBG .......................... Money back guarantee
PP .............................................. Postage paid
RF ................................................Rangefinder
SASE ..... Self Addressed, Stamped Envelope
SLR......................Single Lens Reflex Camera
SFH or CFH...................Sheet film holder, cut
film holder
WA................................................ Wide angle
IB ..........................................Instruction book
15 DRP .................. 15 day return privilege as
definded above
CCR ...............Check clearance required prior
to shipping
PAYMENTAll ads are prepaid by cash,
checks, money order (or bank cards) with
order.
(1) MEDIUM FORMAT

SLR FOR SALE
(21) DARKROOM
EQUIPMENT FOR SALE
total Satisfaction Guaranty and superior customer service. Visit

www.alzodigital.com or call 800-582-7009. 12/10
(38) STUDIO EQUIPMENT

WANTED
SELL YOUR USED EQUIPMENT HERE!

ARE YOU switching to digital or just ready to upgrade your
photographic equipment? If so, then sell your used items
through Shutterbugs Classified Ads! For one low price your
ad is seen in our magazine and on our website for maximum
exposure that gets you noticed. Dont delay, send your
ad with payment to Shutterbug, call 321-225-3124, fax:
321-225-3149, classifieds@shutterbug.com 12/10

through Shutterbug's Classified Ads! For one low price your
exposure that gets you noticed. Don't delay, send your
A FREE call to 800-325-7664 will get you a great price on your

medium format equipment. Call Columbus Camera Group or
fax to 614-267-5526(OH). 12/10
(2) MEDIUM FORMAT

SLR WANTED
(27) MOTION PICTURE

EQUIPMENT FOR SALE

fax to 614-267-5526(OH). 12/10

fax to 614-267-5526(OH). 12/10
SUPER 16MM and standard 16mm cameras, accessories,

and lenses in PL mount; Arriflex B and Standard, and C
mounts. We treat every client with integrity, professionalism,
and courtesy. Visit our web site at www.sheltoncomm.com,
or call Shelton Communications at 512-864-7700(TX) for
additional information. 12/10
(4) MEDIUM FORMAT

TLR WANTED
fax to 614-267-5526(OH). 12/10
SAM SHOSHAN
PAYS TOP Prices. PH: 888-534-2272 or 203-371-2352/
2353(CT) e-mail sam@classicconnection.com 12/10
(5) 35MM SLR FOR SALE

through Shutterbugs Classified Ads! For one low price your
exposure that gets you noticed. Dont delay, send your
(28) MOTION PICTURE

EQUIPMENT WANTED
WE ARE interested in purchasing your advanced 16mm
equipment. Shelton Communications, 512-864-7700(TX).
12/10
(37) STUDIO EQUIPMENT

FOR SALE
*AMAZING FLIP FLASH CAMERA BRACKET*
THE POPULAR ALZO FLIP FLASH camera bracket is a costefficient, must-have flash accessory for the event/wedding
photographer! Softbox and Umbrella kits also available. Always
(40) ELECTRONIC
FLASH WANTED
(43) USED BOOKS,

MAGAZINES, DVD
FOR SALE

exposure that gets you noticed. Don't delay, send your
VERMONTS PHOTO scenic guide book, photos and DVD.
Over thirty scenes. Mile by mile, turn by turn, tripod hole
directions. $19.95 Information contact author: Arnold Kaplan,
arnkap@comcast.net.(MA) 8/10
(6) 35MM SLR WANTED

fax to 614-267-5526(OH). 12/10
SAM SHOSHAN
(8) 35MM RANGEFINDER

WANTED
SAM SHOSHAN
(12) LEICA WANTED

SAM SHOSHAN
(14) LARGE FORMAT

WANTED
fax to 614-267-5526(OH). 12/10
159
DEPARTMENT
COMING EVENTS
This section is a free service to our readers. To list your Trade Show or Workshop please submit the show name, date, address and phone number of
contact person. Deadline for Coming Events is the first day of the month, two months prior to issue date. Shutterbug is not associated with any group
listed in the Coming Events section. We suggest for up-to-date information concerning change of dates, or cancellations, contact the representative listed
in the Trade Show or Workshop in question. Send your listing to Shutterbug, Coming Events, 1415 Chaffee Drive, Suite 10, Titusville, FL 32780; FAX:
321-225-3149, e-mail: classifieds@shutterbug.com. For a complete listing of events visit www.shutterbug.com and refer to our Resources section.
TRADE SHOWS
AUGUST 2010
8 NJSECOND SUNDAY CAMERA SHOW.
Fire Company #1, Parish Drive, Wayne, New
Jersey. 9am-2pm. Contact: Second Sunday
Camera Show, 973-838-4301, website:
www.showsandexpos.com.
15 CABAGNALLS CAMERA EXPO. Brookhurst
Community Center, 2271 W. Crescent Avenue,
Anaheim, California 92801. 10am-3pm. Contact:
Bagnalls Camera Expo, Tracy, 925-253-0466,
e-mail: cameraexpo@gmail.com, website:
www.cameraexpo.com.
28 OHCINCINNATI OHIO CAMERA SWAP.
St. Ilijah Macedonian Orthodox Church, 8465
Wuest Road, Cincinnati. 10am-4pm. Contact:
Dale Lear, 740-245-5482, e-mail: dale@
CameraTradeShow.com, website:
www.CameraTradeShow.com.
29 OHCLEVELAND CAMERA COLLECTORS
TRADE SHOW. Days Inn, Richfield, Ohio.
10am-3pm. Contact: Igor Reznik, 440-248-8604,
e-mail: igorcamera@adelphia.net.
SEPTEMBER 2010
GERMANYINTERNATIONAL CAMERA SHOWS.
There are two shows this month: Dortmund
43rd International Show, Stadtwerke,
Von-den-Berkenstrasse and Frankfurt 15th
International Show, DGB-Haus,
W.-Leuschner-Str. 69-77. Contact: Heinfried
Schmidt, e-mail: organizer@camera-trade-shows.
de, website: www.camera-trade-shows.de.
Jersey. 9am-2pm. Contact: Second Sunday Camera
Show, 973-838-4301, website:
www.cameraexpo.com.
OCTOBER 2010
(44) USED BOOKS,

MAGAZINES, DVD WANTED
www.CAMERABOOKS.com
FEATURING OVER 17,500 Titles: 100's of DVDs. Books on
Cameras & History of Photography, How-to Books, incl. Digital,
Repair manuals. 1000's of ORIGINAL instruction manuals. All
Books in stock and ready to ship. WE BUY Camera Books and
Manuals. PETRA KELLERS Photo/CameraBooks.com, 12034
SW Horny Hollow Trail, Crooked River Ranch, OR 97760.
Toll Free 1-888-338-1350. Telephone: 541-504-7620, Fax:
541-504-7623; E-mail: Pkell1014@aol.com 12/10
(57) PHOTO CONTESTS

160
There are three shows this month: Hamburg

87th International Show, Handwerkskammer,
Holstenwall 12, Dresden 29th International Show,
Kulturpalast, Eingang SchoBstrasse, Berlin 56th
International Show, Logenhaus-Wilmersdorf,
Emser Str. 12-13. Contact: Heinfried Schmidt,
e-mail: organizer@camera-trade-shows.de,
website: www.camera-trade-shows.de.
10 MI2ND SUNDAY PHOTO SHOW.
10am-3pm. VFW Post 345, 27345, Schoolcraft
Road, Redford, MI. Contact: The Camera
Connection, 313-937-1300, website:
www.cameraconnectiononline.com.
Jersey. 9am-2pm. Contact: Second Sunday Camera
Show, 973-838-4301, website:
16 CAPHOTOFAIR. Napredak Hall, 770
Montague Expressway, San Jose, CA 95131.
9:30am-3:30pm. Contact: Petra Kellers/Ken
Morton, 888-338-1350, e-mail:
Pkell1014@aol.com, website: www.PhotoFair.com.
www.cameraexpo.com.
17 CODENVERS ONLY FALL CAMERA SHOW
AND SWAP MEET. Denver Photographic Society
and the Colorado Camera Collectors Club joint
swap meet. Jefferson County Fairgrounds, West
6th Avenue and Indiana Street. Sunday
9am-3pm. Contact: Dee or Larry (DPS),
303-237-1514 or Richard (CCCC) 303-795-8630,
e-mail: deebee36@msn.com.
30-31 ALHUNTSVILLE PHOTO FLEA MARKET.
Von Braun Center, 700 Monroe Street, Huntsville,
Albama. Saturday 10am-4pm. Sunday
10am-4pm. Contact: Nancy Green, PO Box 11267,
Ft. Lauderdale, FL 33339-1267, 954-564-1022,
e-mail: ngcameras@aol.com.
NOVEMBER 2010
There are two shows this month: Muenchen 5th
International Show, Kolpinghaus,
Adolf-Kolping-Str. 1 and Essen 17th International
Show, Zeche Carl, Wilhelm-Nieswandt-Allee 100.
Contact: Heinfried Schmidt, e-mail:
organizer@camera-trade-shows.de, website:
SOHO PHOTO Gallerys 6th Annual Alternative Process
Competition, open to all U.S. residents, age 18 and older. Open
to photographs made through alternative processes including
but not limited to albumen, cyanotype, platinum/palladium,
gum bichromate, tintype, Daguerreotype, image transfers,
liquid emulsions and photogravure. The distinguished jurors
France Scully Osterman and Mark Osterman will select 30-40
photographers for an exhibit to run from November 2-28, 2010
in the Soho Photo Gallery, Tribeca, NYC. First, second and
third place prizes will be awarded. The entry fee is $40 for up
to five photographs. Additional images may be submitted for $5
each. Submission deadline is August 16th, 2010. Download the
prospectus and entry form at www.sohophoto.com/prospectus.
Contact: Joan Lemler, jlemler@nyc.rr.com (NY) 8/10
(59) MISCELLANEOUS
EQUIPMENT FOR SALE
www.camera-trade-shows.de.
www.cameraexpo.com.
Camera Show, 973-838-4301, website:
27-28 OHCINCINNATI OHIO CAMERA SWAP.
St. Ilijah Macedonian Orthodox Church, 8465
Wuest Road, Cincinnati. Saturday 10am-4pm,
Sunday 10am-3pm. Contact: Dale Lear,
740-245-5482, e-mail: dale@CameraTradeShow.com,
website: www.CameraTradeShow.com.
DECEMBER 2010
There are four shows this month: Hamburg
88th International Show, Handwerkskammer,
Holstenwall 12, Leipzig 31st Regional Show,
Kulturhaus Sonne Schkeuditz, Schul Str. 10,
Berlin 57th International Show, LogenhausWilmersdf, Emser Str. 12-13, Hannover 69th
International Show, Wiencke XI, Hildersheimer
Str. 380 . Contact: Heinfried Schmidt, e-mail:
organizer@camera-trade-shows.de, website:
www.camera-trade-shows.de.
www.cameraexpo.com.
Camera Show, 973-838-4301, website: www.
showsandexpos.com.
(((

exposure that gets you noticed. Don't delay, send your ad with
payment to Shutterbug, call 321-225-3124, fax: 321-225-3149,
classifieds@shutterbug.com 12/10
(60) MISCELLANEOUS
EQUIPMENT WANTED
fax to 614-267-5526(OH). 12/10
AUGUST 2010
CADON GALE PHOTOGRAPHY WORKSHOPS.
There are 2 workshops offered this month: Lake
Tahoe and Big Bear Lake. Contact: Photography
by Don, 4511 Santa Anita Avenue, El Monte, CA
91731, 626-448-3691, website:
www.photographybydon.com.
FLAD013 STUDIO PHOTOGRAPHY
WORKSHOPS. Various workshops held this
month in Miami, Florida: Beauty Photography
And Production, Fashion Editorial Photography,
LightRoom, Street Photography, Studio Lighting,
Creating A Portfolio with Joomla, Professional
Retouching Techniques, Advanced Photoshop.
Contact: AD013 Studio, 305-318-5816, website:
www.ad013studio.com.
HIVOLCANO HAWAII PHOTOGRAPHY
WORKSHOP. Customized photographic
instruction for all skill levels. Individual
instruction, critique, Photoshop, daily
excursions with Ken and Mary Goodrich to the
forest, ocean, lava fields, and desert. Contact:
Hawaii Photo Retreat, PO Box 412, Volcano,
Hawaii 96785, 808-985-7487, website:
www.hawaiiphotoretreat.com.
ICELANDFOCUS ON NATURE PHOTOGRAPHY
WORKSHOPS IN ICELAND. There are seven
workshops offered this month: Digital SLR
Field Techniques with George Schaub,
Destination Iceland with John Paul Caponigro,
Mastering Lightroom And Photoshop In The
Breathtaking Landscape Of Iceland with
Julieanne Kost, Color, Shape, And Form:
Creating Captivating Images In Iceland with
Seth Resnick, Bringing Your Vision To Life With
Laurie Excell, Exploring The Light In Iceland
with Joe McNally, and Light, Design, And Color:
The Expressive Landscape In Iceland with Brenda
Tharp. Contact: Focus On Nature, 354-553-1849,
website: http://focusonnature.is, e-mail:
einar@focusonnature.is.
MEMAINE MEDIA WORKSHOPS. There are
various workshops offered this month (digital
photography, photojournalism, B&W, printing,
portraits, Photoshop) for different skill levels.
Contact: Maine Media Workshops, PO Box 200,
Rockport, ME 04856, 207-236-8581,
877-577-7700, website: www.mainmedia.edu.
NCJOHN C. CAMPBELL FOLK SCHOOL.
Three classes offered this month: Travel And
Vacation Photography, Self-Expression In Nature
Photography, and Nature Photography For
Digital Enthusiasts. Free Catalog. Contact: John
C. Campbell Folk School, One Folk School Road,
Brasstown, NC 28902, 800-Folk-Sch, website:
www.folkschool.org.
NHSOPHA PHOTOGRAPHY WORKSHOPS.
Numerous classes offered all year, all skill
levels welcome. Contact: The Studio Of
Photographic Arts, 603-584-1492, website:
www.theSOPHA.com.
NJVISUAL ARTS CENTER OF NJ DIGITAL
LABS. Workshops and classes for all skill
levels for Photoshop, Lightroom, and digital
photography. Spring, Summer, Fall, and Winter.
10 week classes, weekend workshops, private
instruction. Contact: Don Polzo, VACNJ, 68
Elm Street, Summit, NJ 07901, 908-273-9126,
e-mail: donpolzo@yahoo.com.
NMSOUTHWEST LANDSCAPE WORKSHOP. El
Rito, New Mexico. A one on one 5 day workshop
with David Michael Kennedy. Contact: website:
www.davidmchaelkennedy.com.
NMPLATINUM/PALLDIUM DARKROOM
WORKSHOP. El Rito, New Mexico. A one on one
5 day workshop with David Michael Kennedy.
Contact: website: www.davidmchaelkennedy.com,

www.youtube.com/watch?v=eBCi5qQgEEk.
USATAMRONS PHOTOGRAPHY WORKSHOPS.
Various events held across the USA. Contact:
Tamron, website: www.tamron.com/events/
1 CAGLAMOUR PHOTOGRAPHERS
INTERNATIONAL MARINA VILLAGE PHOTO DAY
& MODEL SHOOT. San Diego, California. Contact:
Glamour Photographers International, PO Box
84374, San Diego, CA 92138, 619-575-0100,
website: www.glamourphotonet.com.
1-6 MTALTERNATIVE LARGE FORMAT
TECHNIQUES. Conden. A workshop with Steve
Anchell at the Photographers Formulary
Workshops facility. Learn how to use a view
camera, long-exposures, Amidol and pyro
development, and other techniques. Contact:
Photographers Formulary, 800-922-5255,
website: www.photoformulary.com.
1-7 ICELANDFOCUS ON NATURE
PHOTOGRAPHY WORKSHOP WITH GEORGE
SCHAUB. Digital SLR Field Techniques with
George Schaub, Contact: Focus On Nature,
354-553-1849, website: http://focusonnature.is,
e-mail: einar@focusonnature.is.
2-8 PRAGUETRAVEL AND STOCK
PHOTOGRAPHY WORKSHOP. Learn travel and
stock photography with Bob Krist. Contact:
Prague Workshops LLC, website:
www.pragueworkshops.com.
3-9 MTGLACIER NATIONAL PARK.
Capture snow covered peaks, emerald lakes,
and cascading waterfalls. Contact: Natural
Connections Photo Workshops, website:
www.naturalconnectionsphoto.com.
6-7 ORLIGHTROOM WORKSHOP. Portland.
Learn Adobe Photoshop Lightroom 3.0 with Jerry
Courvoisier. Contact: Jerry Courvoisier, website:
www.lightroomworkshops.com.
6-9 WATHE PASTORAL PALOUSE WORKSHOP.
Learn photography with David Cobb. Contact:
David M. Cobb Photography, website:
www.dmcobbphoto.com.
7-14 NHSTAR ISLAND DIGITAL WORKSHOP.
Spend a week on Star Island with Peter Randall.
Contact: Peter Randall, 603-502-6968, website:
www.nhspa.org/si/DigitalWorkshop.shtml.
8-13 MTFIVE DAY BASIC DIGITAL
WORKSHOP WITH RICK SHEREMETA. Learn
digital photography and darkroom. Contact:
AlpenGlow Productions, Inc. website:
www.alpenglowproductions.com.
9-13 MEHAROLD ROSS LIGHT PAINTING
IN THE LANDSCAPE. This workshop will be
held in Lubec, Maine. Class size is limited
to 12. Classroom and hands on learning.
Contact: Harold Ross, 610-429-3920,
e-mail: harold@haroldrossfineart.com,
website: http://haroldrossfineart.wordpress.com/
workshop-lubec-maine-light-painting-in-thelandscape/
11-14 UTTHE FIGURE IN THE WESTERN
LANDSCAPE. Learn how to create dynamic fine
art nude images with Allen Birnbach. Contact:
Allen Birnbach, 303-333-3316, website:
www.nudephotoworkshops.com.
13-15 NMWILD HORSE WORKSHOPS WITH
LYNNE POMERANZ. Educational adventures
for photographers and horse lovers. Contact:
Lynne Pomeranz, PO Box 2760 Corrales, NM
87048, 505-897-4108, website:
www.wildhorseworkshops.com.
INTERNATIONAL CENTERFOLD MODEL PHOTO
SHOOT. Costa Mesa, California. Contact: Glamour
Photographers International, PO Box 84374, San
Diego, CA 92138, 619-575-0100, website:
www.glamourphotonet.com.
14-15 FLLIGHTROOM WORKSHOP. Miami.
A hands on Lightroom and digital workflow
workshop with Steve Anchell. Contact: AD013

Studio, 305-205-8349, website:
14-20 CANADACANADIAN ROCKIES.
Capture the rugged beauty of the mountains in
Alberta and British Columbia. Contact: Natural
Connections Photo Workshops, website:
www.naturalconnectionsphoto.com.
15 CABAGNALLS CAMERA EXPO SEMINARS.
Brookhurst Community Center, 2271 W. Crescent
Avenue, Anaheim, California 92801. Check the
website for this months topic. Contact: Bagnalls
Camera Expo, Tracy, 925-253-0466, e-mail:
cameraexpo@gmail.com, website:
www.cameraexpo.com.
16-18 FLSTREET PHOTOGRAPHY WORKSHOP.
Miami. Learn to photograph people close-up and
personal in Little Havana and Little Haiti with
Steve Anchell. Open to all skill levels. Contact:
AD013 Studio, 305-205-8349, website:
17-19 CAYOSEMITES HALF DOME,
PHOTOGRAPHY BACKPACK. Yosemite
valley, Yosemite National Park. Contact:
Back Country Photography, e-mail:
info@backcountryphotography.com.
17-19 MTMONTANA WEDDING PHOTOGRAPHY
CAMP WITH MELANIE NASHAN. Livingston,
Montana. Contact: Melanie Nashan,
888-515-2315, website: www.nashan.com.
INTERNATIONAL LINGERIE AND LACE PHOTO
SHOOT. San Diego, California. Contact: Glamour
Diego, CA 92138, 619-575-0100, website:
18-22 UTMONUMENT VALLEY & SLOT
Experience
Our Exceptional
Service by Calling
1.800.CALUMET
(800.225.8638)
Our technical sales staff is filled

with people photographers
just like yourself.
97% of orders ship same day
91% of all calls are answered within
20 seconds (98% within 40 seconds)
Save with our competitive prices
We listen to your specific needs and
wont rush you off the phone
M-F, 8 am - 6 pm
SAT, 9 am - 5:30 pm CT
Visit our website, calumetphoto.com or

stop by one of our nine retail locations.
161
WORKSHOPS
DEPARTMENT
COMING EVENTS
WORKSHOPS
CANYONS. A workshop with Lorne Resnick. Class
size is 12 students, open to all skill levels.
Contact: Lorne Resnick Photography, 7095
Hollywood Blvd., #455, Hollywood, CA 90028,
323-876-6999, website: http://lorneresnick.com.
19-20 FLSTUDIO LIGHTING WORKSHOP.
Miami. A crash course introduction to studio
lighting (still life and models) with Steve
Anchell. Contact: AD013 Studio, 305-205-8349,
website: www.ad013studio.com.
19-20 NMLIGHTROOM WORKSHOP. Santa Fe.

23-27 PRAGUEDIGITAL WORKFLOW. Master
the techniques of digital photography.
Contact: Prague Workshops LLC, website:
www.pragueworkshops.com.
25-29 HIMAUI PHOTO FESTIVAL &
WORKSHOPS. Hyatt Regency Maui Resort & Spa.
Digital photography hands-on workshop with off
site excursions (helicopter tour & underwater
Turtle Town tour) and 4 nights at the outdoor
theater on Kaanapali Beach. Open to all skill

levels. Contact: Terrie Eliker, 808-633-1339,
website: www.mauiphotofestival.com.
26-SEPTEMBER 7 AKGREAT ALASKA
ADVENTURES. Photograph and study Alaskas
wildlife. Beginners welcome. Contact: Wilderness
Institute, Box 351, Lisle, IL 60532,
630-551-5401, website: www.naturestuff.com.
27-SEPTEMBER 6 ICELANDGEOTHERMAL
WONDERLANDS, PHOTO TOUR OF ICELAND.
Photograph the surreal landscapes created by
the forces of fire and ice. Models, local driver
and guide. Class size is limited to 8 students.
SHUTTERBUG SHOPPERS

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Contact: Kim or David Walker, Unique

Photo Tours, LLC, PO Box 3637, Evansville, IN
47735, 877-402-8687, website:
www.uniquephototours.com.
SEPTEMBER 2010
CATAMRONS PHOTOGRAPHY WORKSHOPS.
Keeble & Shuchat field event. Contact: Tamron,
website: www.tamron.com/events/
FLAD013 STUDIO PHOTOGRAPHY
WORKSHOPS. Various workshops held this month
in Miami, Florida: Advanced Lighting, Lighting
For The Nude, The Business Of Photography,
HDR, Working With A D-SLR And LightRoom,
Focus On Miami, Seeking The Essence: The
Compelling Portrait. Contact: AD013 Studio,
305-318-5816, website: www.ad013studio.com.
NCJOHN C. CAMPBELL FOLK SCHOOL. Three
classes offered this month: Nature Photography
For Digital Enthusiasts, Photography For
Naturalists, and Introduction To Digital. Free
Catalog. Contact: John C. Campbell Folk School,
One Folk School Road, Brasstown, NC 28902,
800-Folk-Sch, website: www.folkschool.org.
NHSOPHA PHOTOGRAPHY WORKSHOPS.
Numerous classes offered all year, all skill
levels welcome. Contact: The Studio Of
Photographic Arts, 603-584-1492, website:
www.theSOPHA.com.
NJVISUAL ARTS CENTER OF NJ DIGITAL
LABS. Workshops and classes for all skill
levels for Photoshop, Lightroom, and digital
photography. Spring, Summer, Fall, and Winter.
10 week classes, weekend workshops, private
instruction. Contact: Don Polzo, VACNJ, 68

Elm Street, Summit, NJ 07901, 908-273-9126,
e-mail: donpolzo@yahoo.com.
NMSOUTHWEST LANDSCAPE WORKSHOP. El
Rito, New Mexico. A one on one 5 day workshop
with David Michael Kennedy. Contact: website:
www.davidmchaelkennedy.com.
NMPLATINUM/PALLDIUM DARKROOM
WORKSHOP. El Rito, New Mexico. A one on one
5 day workshop with David Michael Kennedy.
Contact: website: www.davidmchaelkennedy.com,
www.youtube.com/watch?v=eBCi5qQgEEk.
3-4 LALIGHTROOM WORKSHOP. New Orleans.
3-6 NMWILD HORSE WORKSHOPS WITH
LYNNE POMERANZ. Educational adventures
for photographers and horse lovers. Contact:
Lynne Pomeranz, PO Box 2760 Corrales, NM
87048, 505-897-4108, website:
www.wildhorseworkshops.com.
4-10 GREECEGREEK ISLAND WORKSHOPS.
Join pro photographer/Greek expert Glenn
Steiner In Search Of The Real Greece:
Caldera, photograph Santorini and Thirasia
while learning digital photography. Contact:
Glenn Steiner, 220 Ridgeway Avenue, Fairfax,
California 94930, 415-459-2001, website:
www.greekislandphotography.com.
INTERNATIONAL MARINA VILLAGE PHOTO DAY
& MODEL SHOOT. San Diego, California. Contact:
Glamour Photographers International, PO Box
84374, San Diego, CA 92138, 619-575-0100,
website: www.glamourphotonet.com.
6-12 GREENLANDINUIT CULTURE &
ICE-CHOKED FJORDS. Explore by foot,
boat, and helicopter. Photograph icebergs,
glaciers, whales, flowering tundra, seal
hunt. Contact: Kim or David Walker, Unique
Photo Tours, LLC, PO Box 3637, Evansville, IN
47735, 877-402-8687, website:
www.uniquephototours.com.
10-12 CAWORKSHOPS WEST AT PISMO
BEACH. Spend a weekend with Pulitzer
Prize winning photographer David Hume
Kennerly for lectures, field sessions. Held at
the Spyglass Inn on Pismo Beach. Conact:
Workshops West, 805-279-1414, website:
www.workshopswest.com.
INTERNATIONAL CENTERFOLD MODEL PHOTO
SHOOT. Costa Mesa, California. Contact: Glamour
Diego, CA 92138, 619-575-0100, website:
11-12 TXLIGHTROOM WORKSHOP. Houston.
11-18 FRANCEA CULTURAL EXPERIENCE
THROUGH PHOTOGRAPHY. All-inclusive, small
group, multi-course meals, field and classroom
instruction, critique and review. Open to all skill
levels. Contact: Joel Wolfson Photography,
928-526-3726, website: www.joelwolfson.com.
Steiner In Search Of The Real Greece III,
SHUTTERBUG SHOPPERS

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163
DEPARTMENT
COMING EVENTS
photograph Santorini and Anafi while learning
digital photography. Contact: Glenn Steiner,
220 Ridgeway Avenue, Fairfax, California 94930,
415-459-2001, website:
www.greekislandphotography.com.
14-25 AFRICAKENYA WILDLIFE MIGRATION
SAFARI. A workshop with Lorne Resnick.
Class size is 12 students, open to all skill

levels. Contact: Lorne Resnick Photography,
7095 Hollywood Blvd., #455, Hollywood, CA
90028, 323-876-6999, website:
http://lorneresnick.com.
INTERNATIONAL LINGERIE AND LACE PHOTO
SHOOT. San Diego, California. Contact: Glamour

Diego, CA 92138, 619-575-0100, website:
16-17 NMLIGHTROOM WORKSHOP.
Albuquerque. Learn Adobe Photoshop
Lightroom 3.0 with Jerry Courvoisier.
LAB SHOWCASE

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Contact: Jerry Courvoisier, website:

16-19 NMICONS OF THE WEST WITH TONY
BONNANO & LYNNE POMERANZ. Photograph
wild horses, bison, an old ghost town, western
landscape vistas. Includes instruction and digital
darkroom sessions. Contact: Lynne Pomeranz, PO
Box 2760 Corrales, NM 87048, 505-897-4108,

website: www.wildhorseworkshops.com.
19 CABAGNALLS CAMERA EXPO SEMINARS.
Brookhurst Community Center, 2271 W. Crescent
Avenue, Anaheim, California 92801. Check the
website for this months topic. Contact: Bagnalls
Camera Expo, Tracy, 925-253-0466, e-mail:
cameraexpo@gmail.com, website:
www.cameraexpo.com.
Steiner In Search Of The Northeast Aegean:
Ancient Samos, Holy Patmos, and Sacred
Ephesus, while learning digital photography.
LAB SHOWCASE

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DEPARTMENT
COMING EVENTS
Contact: Glenn Steiner, 220 Ridgeway Avenue,
Fairfax, California 94930, 415-459-2001,
website: www.greekislandphotography.com.
23-30 ITALYTHE TUSCAN LANDSCAPE WITH
STEPHEN JOHNSON. A week in Italy with Stephen
Johnson to photograph a 12th Century Tuscan
monastery. Contact: Stephen Johnson Studio, 1220-C
SERVICE & REPAIR

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94044, 650-355-7507, e-mail: info@sjphoto.com,
website: www.sjphoto.com or www.ilchiostro.com.
24-27 ORCRATER LAKE NATIONAL PARK
WORKSHOP. Photograph geological wonders and
waterfalls with David Cobb. Contact: David M. Cobb
Photography, website: www.dmcobbphoto.com.

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CREATIVITY
PERSONAL PROJECT: Art Rosch
Takin It On The Road
Photos 2010, Art Rosch, All Rights Reserved
Bristlecone landscape near Moab, Utah.
Our 38-foot motorcoach, Raven.
y wife and I live in

an alternate universe.
Its called RV Land.
We inhabit a vibrant
subculture in which people live
full-time in various types of
recreational vehicles. An RV is
a little home on wheels, able to
carry computers and camera gear
along with a full life support
system. It requires a diet of
gasoline but the expense seems
trivial as we pass hundreds of
motels without digging out the
credit card. If Im on assignment
with a deadline, theres no
problem. Wi-Fi hotspots are
ubiquitous. I process my images
and upload them to my clients.
Wi-Fi isnt great, but its adequate
and rapidly improving.
Five years ago my wife and I
became full-time RV dwellers. We
167
CREATIVITY
Star trails through Skyline Arch.
Landscape from a rest stop on I-70.
Digital darkroom inside the motorcoach.
Lenticular clouds over the La Sal Mountains.
River rocks.
168
THE ULTIMATE IN PHOTO SHOPPING:
This unusual
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the rock face.
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got rid of the house, said goodbye to colossal home payments,

and purchased a 38-foot motorcoach. We have celebrated this
decision every day. Full-time RV life isnt for everyone, but its a
great platform for a photographer.
I have the same digital darkroom wherever we go. I have
a laptop, a desktop, a 22 monitor, four external hard drives,
a scanner, and an Epson R1800 printer. Tripods, light stands,
lights, backdrops, and a mighty telescope are kept in our
storage bays.
Electrical power isnt a problem, even in a place like Death
Valley. A pair of big solar panels on the roof send energy to four
deep cycle batteries. A pure sine wave inverter takes the 12v
current from the batteries and turns it into 110v AC. Batteries
dont like to be fully drained, so I keep my eye on the voltage
meter. When the sun doesnt shine a big generator is the
fallback power source. It consumes one gallon of gasoline per
hour. While it runs the devices in the coach its also recharging
the batteries.
Many big-rig RV drivers have a toad, a conventional
automobile attached by a tow bar. For obvious reasons, the
favorites in the RV world are small vehicles with four-wheel
drive. Some prefer motorcycles. You can go almost anywhere,
no matter how remote, if you plan well and use the
right equipment.
From House To RV
The process of transforming from house to motorcoach took
several years. The idea formed in my mind because of my work
with night photography. I wanted to be far away from city
lights but retain the capacity to run a hefty telescope drive and
process my images. My wife learned that she was half Apache
in 2001. This stunning identity shift gave her a yearning to
explore the Southwest. We started with a tent and a Jeep. It
was clumsy, painful, and inadequate. Our learning curve evolved
with each new rig. In 04 we purchased an old 19-foot Class C
camper. It was a little too old. This vehicle, which acquired the
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Every national park has an RV campground. One of our
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169
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Star trail stack over RV in Arches National Park.
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Sun. 9:30-5:00
California, to Moab, Utah. At the entrance to Arches National

Park, we paid the ranger $10. Then we drove 18 spectacular
miles to the campground. It was perched on a scenic bluff
overlooking a vast landscape of rocks, buttes, and bristlecone
pines. As I turned left to pull into our campsite I noticed a man
standing atop a motorcoach the length of a submarine. He was
aiming a camera at the vista that was spread before us.
The moment I finished parking Yertle, I walked over to the
big coach and looked up. What are you shooting with? I
called out.
A 20D, he responded. I just got a super-wide lens, and Im
seeing what it can do.
I took my 20D from my bag and waved it at him. Ive got
some interesting lenses if you want to switch around.
He climbed down and introduced himself. He handed me a
card that said, simply, Kvandis K. Kvandis.
Whats the K stand for? I asked, impishly.
Oh, that stands for Kvandis, he answered with equal
impishness. His wife emerged from the coach to greet us. Her
name wasnt nearly so exotic.
We had never seen anything like their coach, with its
slide-out extra rooms, solar panels, fridge, shower, washer-dryer
combo, and flat screen TV. That was the turning point. Kvandis
INC.
170
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had a complete digital darkroom. My wife and I were convinced

that we could make the transition. Within a year we had tossed
or stored all of our extra stuff and were living in the coach we
now call home.
Our maiden voyage in the big coach was a 4000-mile drive
the length of I-10 from Florida to California. This was only weeks
after the Katrina disaster. The coastal zone of four states had
turned into a gigantic RV campground.
I keep a supply of business cards and small signs, with which
I advertise when passing through a campground. Our stay might
be just a day or two. No matter. I get calls from people who
need vacation portraits, group shots, or perhaps a consultation
on using Photoshop with their new D-SLR. When we stay longer,
theres time for lasting relationships to develop.
In RV Land, every owner of an RV is your friend. If trouble
comes, help is never far away. The same principle holds for
Photography Land. That gives the lifestyle a formidable edge for
people who can adapt to living in a solar-powered tepee
on wheels.
Art Rosch has written about his RV adventures in a new
book titled Avoiding the Potholes: Road Stories in a Changing
America. To learn more, visit his blog at www.blogofascination.
blogspot.com or e-mail him at artsdigiphoto@gmail.com.
171
19995
$
Solar panels atop our coach.
Apache shaman drumming on rocks.
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HELP!: Robert E. Mayer
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For The HELP! Desk:
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Please confine yourself to only one question

per letter. Both postal letters and e-mails are fine,
although we prefer e-mail as the most efficient form of
communication. Send your e-mail queries to editorial@
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Adapters
I just bought your March 2010 issue and read the
article regarding old lenses on new D-SLRs. I was very
disappointed in the contents and research. Nowadays, a
lot of after-market lens adapters are made specifically for
D-SLR cameras. I have a Panasonic Lumix G1 and bought
a Leica M39 adapter, which can fit all of my old SM Leica
lenses. Just visit eBay.
Chris Chan
via e-mail
KHOLRSDQ
See our web site for our
full line of heliopan Filters
See our web site for our

full line of LEE Filters
I seldom consult eBay to answer readers questions. I

just dont find the data there reliable enough. I know many
firms do offer adapters today for a variety of older lenses
and newer digital cameras, although its often difficult
to find one compatible with the more obscure, older film
camera lenses. Im pleased to learn you found adapters so
you can use your older Leica SM lenses on your Lumix G1
digital camera.
Q. In your article Something Old, Something New, in
the March 2010 issue of Shutterbug, you state that there
are third-party firms that supply adapters to use Leica
R lenses on Nikon bodies. Could you please give me the
names and contact info of these companies?
J. Anthony Terrell
via e-mail
A. I found listings at the Adorama.com website for
adapters for Leica R lenses to Micro Four Thirds cameras,
Canon EOS cameras, and even to Leica M cameras, but none
to work with Nikon D-SLR cameras. I would think if they
offer adapters for these other brands/types of D-SLR cameras,
they would also have them for Nikon since that is one of the
major brands around. I hope this provides some links where
you can locate the precise adapter you seek.
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Old And New
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Q. Your article Something Old, Something New was

wonderful and almost answered a question I am having
trouble getting answered. I own a gorgeous 650-1300mm
Phoenix all-manual zoom with a T-mount. I also have
two other old, sharp preset teles with T-mounts. Im not
concerned about focusingI still remember how! My
question is this: will D-SLRs, any or none, meter with
these? Ive been told they will actually damage a D-SLR.
I did try the big gun on an old Rebel and it metered fine.
Id also love to purchase a low-buck 500mm mirror
lens, but the same question applies.
Earlane Cox
via e-mail
A. I checked the Adorama.com website and found several
different adapters to use T-mount lenses with various
models of Canon and Nikon D-SLR cameras. You should be
able to successfully use your older Phoenix tele-zoom and
other T-mount lenses with one of these adapters on several
different makes of D-SLR bodies. You will have to meter
manually by stopping down the lens to obtain the light
reading, then set this on the camera in Manual mode (that
is, set both aperture and shutter speed yourself), reopen
the lens for easier focusing, and then make the exposure.
I would think a T-mount 500mm mirror lens could be used
in a similar manner. Im sure other firms such as B&H
(www.bhphotovideo.com) offer similar lens adapters. In a
companys website Search box, put in T-mount lens adapter
for digital camera to locate the correct adapter.
Contax Lens Adapter For Digital?

Q. For the past 15 years I have been shooting with a
Contax 167MT. I have the following Carl Zeiss lenses: 135mm,
85mm, 60mm macro, and 50mm. Ive never been disappointed
by their picture quality. I would like to make the jump to
digital. Is there any current system out there that would allow
me to continue using these fantastic lenses?
Michael Eckley
Helsingborg, Sweden
A. While your 1987 vintage Contax 167MT and excellent
Zeiss prime lenses may have served you well during film-era
uses, you might have problems when attempting to adapt
any of them for use with a new D-SLR camera. You might
be able to obtain an adapter from this firm: Zrk Film &
Phototechnic (www.zoerk.com). My article on using older
film-era lenses with new D-SLR cameras appeared in the
March 2010 issue of Shutterbug. Although some older lenses
having mounts compatible with new D-SLR cameras can be
used successfully, there are always some limitations so that
full compatibility is not possible. The main problem seems to
be with TTL metering.
177
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StudioMax III AC Operated 320ws

Constant Color Monolight,
with Reector & Flashtube
MLKIT800R: Same w/PocketWizard

MLKIT1200: 2- 600Ws
MLKIT1200R: 2- 600Ws w/P. Wizard
MLKIT1210: 3- 400Ws
MLKIT1210R: 3- 400Ws w/P. Wizard
A400B
The D12 is the newest addition to the

Norman Series 900 family
5/2010
D12R:
1200 w/PocketWizard
D24:
2400Ws Power pack
D24R:
2400Ws w/PocketWizard
D12-2 Kit: 1200Ws & 2-IL2500 Head kit
Studiomax III AC Portrait Studio

Kit with 2 AKC 320 Constant-Color
Monolights, Umbrellas, Stands & Case
AKC320B: AD/DC
2 Light Travel Kit with 2 ML400
Monolights, WB45 White Umbrellas, 13
Heavy Duty Light Stands and Wheeled
Case
D12 Series 900
This 1200 watt second Digital

Power Supply is compatible with
LH2000, LH2400 and IL2500
Lampheads, related reectors and
other light modiers.
AKC640K
The Norman A400B Battery Portable

Assembly includes a P400B (400 w-s)
Power Supply with R4127 Shoulder
Strap, two B5122 Super Batteries,
C55x2-400B Dual Delta V Charger,
LH52K Lamphead and a 2D reector.
A400B-R: w/PocketWizard
A400BR-M: Modeling & PocketWizard
A200C: 200 Ws
A200CR: 200 Ws w/PocketWizard
A200C-M: 200 Ws w/ Modeling

AKC320R: w/Radio
AKC320BR: AC/DC & Radio
AKC160: 160 watt-sec
AKC160B: AC/DC
AKC160R: w/Radio
AKC160BR: AC/DC & Radio
AKB-1: DC battery supply
RTT: Radio transmitter
AKC640BK: 2-AC/DC 320Ws

AKC960K: 3-320Ws
AKC960BK: 3-AC/DC 320Ws
AKC990K: 3-320Ws softbox kit
AKC800K: 2-320Ws 1-160Ws
AKC320K: 2-160Ws
PL1K Kit
PL1250DR
PowerLight, 500ws Monolight
with Digital Display
PL1250: 500Ws analog

PLR1250DR: w/PocketWizard
PL2500DR: 1000Ws Digital
PL300DR: 300Ws digital
PL500DRC: 500Ws Solair
PL1000DRC: 1000Ws Solair
INC.
PL15K:
PLR15K:
PL20K:
PLR20K:
PL150K:
PLR150K:
PL250K:
PLR250K:
2-PL1250DR Kit
w/PocketWizard
2-PL2500DR Kit
w/PocketWizard
2-500Ws Solair
w/PocketWizard
2-1000Ws Solair
w/PocketWizard

TOOLS
adorama.com
+(@:465,@)(*2
>,)<@ ;9(+,
From page 68
DIGITAL CAMERAS
10.0 Megapixel,
3.8x Optical
4x Digital Zoom,
3.0 LCD
12.1 MEGA PIXEL

20x optical
4x digital zoom
2.5 LCD Screen
A. I use Photoshop CS4 but for only two very particular

purposes and that use involves very few tools: (1) to tweak
images to get densities and color right to make color managed
prints and (2) to do retouching, which after having done studio
work in Hollywood for 30 years provided a large library of
pretty people pictures that, to be right, often need more than a
bit of retouching. Otherwise to edit, color correct, and process
D-SLR images and scan files, I use LaserSofts SilverFast
almost entirely.
14.1 Mega Pixel,

5x Optical Zoom,
3.5 Wide LCD Display
Eye Fi
Calibrating And Profiling The Display

1(:
/2:(5
35,&(
10.3 Megapixels
26x Wide Angle Optical Zoom
3.0 Bright Vari-Angle
HVGA Display
:7
Ultra Zoom
14.0 Megapixel
30x Wide Zoom,
3.0 inch LCD, Titanium
67;06>
Waterproof,
Dust/Cold/Shock-Proof
Wide-Angle
5x Optical Zoom
=0=0*(4
5.1 Megapixel
8x Digital Zoom
Red Eye Reduction
12.0 Megapixel,
4x Wideangle Optical Zoom,
3 Bright Touch Panel HVGA,
4-Way VR Image Stabilization
:;@3<:;6<./
14 Megapixel,
5x Optical
5x Digital Zoom,
2.7 inch LCD, Dual IS
3<40?+4*-A2
12.21 MegaPixels
Built-in Projector
2.7 Wide-View TFT LCD
5-way VR Image Stabilization
Home Computers Are Not Ideal For Digital Photography
14 Megapixel,
26 mm Wide-Angle Lens,
26x Optical Zoom,
3.0 Display, HD Video
-05,70?/:
10.0 Megapixel,
30x Optical Zoom,
3.0 Tilting LCD,
CMOS Shift/High ISO
,?0304,?-*
/A:,90,:/A>
HIGH SPEED
10 Megapixel,
5X Optical Zoom,
2.7 inch Super Clear LCD,
Burst up to 30fps
A. When a display is measured, calibrated, and profiled, the

resulting data becomes a part of your computers operating
system. Then, and only then, will your computer and any
application installed know what you are seeing, specifically and
objectively. Otherwise, an operating system is blind to what
shade or tint of red, blue, or green is actually displayed and
what the user is seeing.
,(:@:/(9,A
12. Megapixels
18x Optical
4x Digital Zoom
2.7 LCD Screen
12.2 Megapixel,
15x Optical Zoom,
Built-in GPS,
3.0 inch AMOLED Display
adorama.com
800.223.2500

Sun. 9:30-5:00
Q. Between you and me, I saw little difference in

results after using calibration software for my display. Is
this normal?
Wade Shanley
via e-mail
INC.
Q. Based on your recommendations, I purchased the NEC

MultiSync P221W-BK-SV 22 LCD display (TFT, widescreen)
with SpectraView II color calibration solution and connected
it to my main computer. I also connected my Dell 20
monitor to this computer so I can use both monitors in sync
with Photoshop and other applications. The Dell monitor
is also connected to my Dell computer. So I use the Dell
monitor with both computers, but the NEC/Dell monitor
combination only with the main computer.
Given that the SpectraView II calibration system works
only with the NEC monitor, my question is, what would
you recommend for calibration of my Dell computer
Spyder3Express, Elite, Pro or some other brand/system?
Is it possible to somehow calibrate the Dell monitor
so that it matches the NEC monitor when Im using both
together with the main computer, but also gives true color
when working solely with the Dell computer? As you can see,
Im rather confused about this.
Finally, can you recommend a book or other learning
tool that deals with color calibration/profiling of monitor/
computer, printer, scanner, and camera? Getting all these
devices to match one another is vexing me. And suggestions
would be much appreciated.
Ron Thoman
via e-mail
180
adorama.com
A. First of all, I would not particularly recommend trying
to use a home/office Dell display in conjunction with the NEC
display because there is no way the two can be brought even
close to a match in either color or brightness. Home/office LCD
displays will not work satisfactorily at a white luminance of 90.0
CD/m2; about as low as most will go and function decently is
120.0 to 140.0 CD/m2. As a result, a photo image adjusted to
look the right brightness will print between a half to a full
f/stop too dark. Second, the NEC reproduces over 95 percent of
Adobe RGB color while home/office displays only reproduce 30
percent or less of a color range, close to sRGB.
Yes, the Datacolor Spyder3Express would be a good system
for the Dell, but the current version does not help adjusting the
screen brightness white luminance level.
You cannot come anywhere close trying to match a Dell
home/office LCD to the NEC either in color or brightness that
matches paper white. It is not that I am being an elitist, but
most computers are not made to do graphics and photography
they are made for home and office computing. So dont even try
or assume you can use a graphics setup in conjunction with a
Dell office computer. They cant be matched. Its a Mutt and Jeff
problem, one is tall, the other is short.
If you will go to my website (https://sites.google.com/site/
davidbrooksfotografx/), you can see a list of what is included in
my eBook on a CD for a very modest cost. And please compare it
with a very good selection of books on digital photography and
color management listed by Amazon.com.
-9,,:/07705.
Q. I have looked all over for the Wess plastic

full-frame professional slide mounts you mentioned you
use for scanning 35mm film. Can you still get them and, if
so, where?
Burgess Peterson
via e-mail
A. I was wondering the same thing recently, so I checked
my address book and found the phone number I had
(631-981-4850) was still good and I was able to order 10 boxes
of the large aperture AGX500K mounts I have used for years.
They were delivered quickly and I find them to be just what I am
used to. I also noticed on the packaging a BCA Manufacturing
company name. And it has a www.wessmounts.net website URL
with the following information: BCA Manufacturing is now
producing much of the Wess Mount line of Products for the
Creative Imagemaker. Items are being stocked and are sold
directly from the factory in Melville, NY, USA. To place an order
or for information call USA 631-981-4850, fax 631-981-4852 or
e-mail bwessinger@bcamfg.com.
RQWKRXVDQGRILWHPV
VUTVZ[PUZ[VJRP[LTZ
TRIPODS
(2)(+=,5;<9,
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;9076+3,.:
4HUMYV[[V.YPW(J[PVU)HSS
/LHK^8\PJR9LSLHZL
#BG327RC2
^P[O8\PJR9LSLHZL)HSS
/LHK,_[LUKZ[V
:\WWVY[ZSIZ
#BG055XPROB
#INDAKB1
#INDAKB1
:,90,:
;9(=,3,9
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*(9)65-0),9
:,*;065
;9076+3,.:
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#CU55252
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=6@(.,9/<3;9(
30./;(3<405<4
;9076+
^P[O>H`/LHK
4H_PT\T/LPNO[
:\WWVY[ZSIZ
Are Wess Plastic Slide Mounts Still Available?
#TFV3H
4;:,*;065
3(=(:,90,:
<UP]LYZHS;YPWVK3LNZ
:\WWVY[Z\W[VSIZ
4H_PT\T/LPNO[
4L[HSSPJ*VSVY
#GTMT7271
7967?*(9)65
-0),9;9076+
^P[O7PZ[VS.YPW89)HSS/LHK
4H_PT\T/LPNO[!
3VHK*HWHJP[`!SIZ
#SUP523PX2
;9( ;9(=,3
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;9076+
^P[O8\PJR9LSLHZL)HSS
/LHK4H_PT\T/LPNO[
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;9076+
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9LSLHZL:OVL
#VNDF60
(3;((7
(3<405<4(336@
;9076+
^P[O7/7HUOLHK
;YPWVK)HN4H_PT\T
/LPNO[:\WWVY[Z
SIZ
#VGALTA203AP
#BE457169
Get What Is NeededNo More, No Less

Q. Based on your input, Im waffling between a Mac Pro
laptop and desktop. The Apple service seems great, based on
your feedback. You have been successful in converting me to
the Apple platform for my photo work. I guess it is just not
SAME DAY SHIPPING
181
adorama.com
800.223.2500

Sun. 9:30-5:00
INC.
TOOLS
adorama.com
SAME DAY SHIPPING
-9,,:/07705.
RQWKRXVDQGRILWHPV
VUTVZ[PUZ[VJRP[LTZ
+3*VTWHJ[
,]LYSPNO[2P[
+3
=LYZHSPNO[,2P[
with 1000 watts total

Quartz Halogen Continuous
Lighting
with 2 Versalight
E-360 Monolights,
SoftBoxes & Connectors,
Stands, Studio Carrying
Case & Bonus Digirer Kit
feasible to color correct on other platforms. Im a believer

in using what works, as it takes significant time to produce
quality work. What about the RIP software? Is it overkill
or required?
Glenn Incorvia
via e-mail
A. With todays computers a RIP (Raster Image Processor)
is not needed except for very large prints. I was driving a 17
printer, sending it 16-bit files directly, and the printer handled
and printed the material without any slowing down from
processing so much data.
JTDL360VEK
#JTELCK
$
299
95
=LYZHSPNO[1
58995
What Local Stores Carry
;3
=LYZHSPNO[2P[
160 Watt Second

Monolight Strobe
Q. Im investigating getting a new printer to replace my

old HP. Im trying to decide between an Epson and a Canon.
I doubt I would often use the 13x19 size they can produce,
but want the printer that can deliver the best color picture
quality. I can deal with a slower printing speed if one or
the other is not as fast; its really not an issue. But I live
in Texas and the Canon paper, as well as the ink, is more
difficult to find. Which printer costs the least to use in
terms of ink and paper cost?
Bill Atkinsen
via e-mail
with Three J-160 Fan

Cooled Monolights,
Stands, Soft Box,
Artwork Kit, Snoot,
Umbrella, Case & Bonus
Digirer Kit
#JTVJ160
#JTTL160VK
$
6995
4VIPSPNO[
+0.0-09,920;
AC & Battery Operated

Monolight Strobe Without
Battery Pack
Radio
Trigger
Transmitter
& Receiver
39995
#JTRS
A. I would not like to recommend one over the other

between Epson and Canon printers. I used a Canon for a
while and was very satisfied with the print quality and
now I am using an Epson R1900 and the difference, if any, is
slight to none at all. Like you, a good selection of Epson and
Canon ink and paper is not available where I live (I would
have to drive 50 miles there and back again to buy it at a
store). But both Canon and Epson sell paper and ink directly
and my orders are large enough so shipping is included in the
cost. I just ordered ink, and it was quicker and easier to do
than with any store service Ive experienced. Over a lot of
years of printing, I have never found that either Canon or
Epson costs less or more significantly in either ink or paper,
although the selection of papers varies between the two
companies somewhat.
#JTM200
$
19995
7995
Ring Flash Attachment Kit, for Use with Existing

Flash / Strobe, One Size Fits Most Flashes,
with Orbis Arm, Aluminum Bracket for Mounting the
Orbis Ring Flash
SAFE-SYNC Hot Shoe

to Hot Shoe
High Voltage
Sync Regulator
ANNOUNCEMENT
DIGITAL REFLECTED
Incident and
Flash Light Meter
17995
4995
TRAINING DVDS
FOR ALL MODELS
INBRIEF GUIDE
adorama.com
800.223.2500

Sun. 9:30-5:00
I am pleased to announce a new Fourth Edition, adding

four chapters to my eBook DIGITAL DARKROOM RESOURCE
CD. The CD now contains 30 chapters totaling 359 pages
in Adobe Acrobat .PDF format, providing easy-to-read text
and large high-quality illustration. The CD is available for
$20 plus $4 shipping and handling (US Mail if available).
Ordering is as simple as sending a check or money order for
$24 made out to me, David B. Brooks, and mailed to PO Box
2830, Lompoc, CA 93438.
INC.
182
Advertisers Index
5 Minute Photo (Onsite Event Photography
Software) . . . . . . . . . . . . . . . 116
5 Minute Photo (ThePosterPlace.com)
. . . . . . . . . . . . . . . . . . . . . . 165
Abes of Maine . . . . . . . . . . . 101
Acratech, Inc. . . . . . . . . . . . . 162
Adorama . . . . . . . .67, 73, 83, 89,
. . . . 164, 165, 169-170, 171-176,
. . . . . 177-180, 181-182, 183-185
Alien Bees . . . . . . . . . . . . . . 186
Alien Skin Software . . . . . . . . . . 7
Alpine Camera . . . . . . . . . . . 166
American Image/IFPO . . . . . . . 86
ARCA-SWISS, Inc. . . . . . . . . . . 96
Authorized Photo Services . . 166
AutoFX . . . . . . . . . . . . . . . . . . 37
Automated Photo Tech . . . . . 165
B&H Photo-Video . .107, , 141-155
Backdrop Outlet . . . . . . . . . . 117
Bay Photo Lab . . . . . . . . . 29, 69
Beach Camera . . . . . . . . . . . . 97
Benro . . . . . . . . . . . . . Back Cover
Big Prints . . . . . . . . . . . . . . . 165
Black & White & Color Custom
Darkroom . . . . . . . . . . . . . . 165
Black River Imaging. . . . . . 9, 118
Bogen . . . . . . . . . . . . . . . . . . 19
Bowens USA . . . . . . . . . . . . . . 45
Brightscreen . . . . . . . . . . . . . 163
Broadway Photo . . . . . . . . . 90-91
BWC Photo Imaging. . . . . . . . 117
Calumet Express Flash Repair 166
Calumet Photo . . . . . . . . 27, 161
Cambridgewourld.com. . . . . . . 99
Case Cruzer . . . . . . . . . . . . . . 58
Central Camera Company . . . . 94
Classic Connection (Sam Shoshan)
. . . . . . . . . . . . . . . . . . . . . . . 87
Classified Index . . . . . . . . .158
Collages.net . . . . . . . . . . . . 52-53
Concept Lighting, Inc. . . . . . . 166
Cotton Carrier, Ltd. . . . . . . . . . 80
CPM, Inc./Delta 1/DeltaPro . . 162
Custom Brackets . . . . . . . . . 162
Cyber Commander
. . . . . . . . . . . . Inside Front Cover
Cyber Sync. . . . . . . . . . . . . . . . 3
Darkroom Unlimited. . . . . . . . 165
Datacolor . . . . . . . . . . . . . . . . 59
Dell, Inc. . . . . . . . . . . . . . . . . . 21
Denny Manufacturing . . . . . 74, 78
E.P. Levine . . . . . . . . . . . . . . . 95
Eli Kurland (Kurlandphoto.com)
. . . . . . . . . . . . . . . . . . . . . 64-65
ExpoImaging (Expo Disc) . . . . . 42
Foto Time . . . . . . . . . . . . . . . . 35
Freedom Cloth (Denny Mfg) . . . 78
George Ury Fine Photographic
Equipment . . . . . . . . . . . . . . 159
Giottos (Div. of HP Marketing) . . 86
Hildozine (HITEC Sales and
Marketing) . . . . . . . . . . . . . . . . 18
HITEC Sales and Marketing . . . . 18
HiTi Digital, Inc.. . . . . . . . . . . . 32
Holland Photo . . . . . . . . . . . . 164
Holly Enterprises . . . . . . . . . . 166
Hoodman USA . . . . . . . . . . . . 81
Hoya . . . . . . . . . . . . . . . . . . . 62
Inkfarm. . . . . . . . . . . . . . . . . 163
Interfit Photographic . . . . . . . . 57
International Supplies (NEXTO
eXtreme) . . . . . . . . . . . . . . . . 75
JTL Studio Systems . . . . . . 22-23
Jerry Courvoisier Productions . 34
KEH Camera Brokers . . . . . . 166
Kindermann Canada Inc. . . . . 166
Kurlandphoto.com (Eli Kurland)
. . . . . . . . . . . . . . . . . . . . . 64-65
Lab Work . . . . . . . . . . . . . . . 164
Lally Photography (Lally Cap) . . 94
LaserSoft Imaging. . . . . . . . . . 51
LDP LLC. . . . . . . . . . . . . . . . 163
Lensbaby . . . . . . . . . . . . . . . . 15
Lightware Inc. . . . . . . . . . . . . 116

Litepanels, Inc. . . . . . . . . . . . . 48
Lustre Color . . . . . . . . . . . . . 164
MAGCO Sports Photo Products 164
MaxMax.com . . . . . . . . . . . . 163
Mel Pierce Camera . . . . . . . . 166
Meridian Professional Imaging
. . . . . . . . . . . . . . . . . . . 43, 118
Metropolitan Vacuum Cleaner Co.
. . . . . . . . . . . . . . . . . . . . . . 118
MilaGrid . . . . . . . . . . . . . . . . 162
Millers/MPix . . . . . . . . . . 25, 116
Morris Company, The . . . . . . 117
MPix.com . . . . . . . . . . . . 25, 116
Naneu Pro . . . . . . . . . . . . . . . 44
National Camera Exchange . . 157
Newegg . . . . . . . . . . . . . . . . . 93
Nik Software. . . . . . . . . . . . . . 17
Novelty (Denny Mfg.) . . . . . . . . 74
onOne Software . . . . . . . . . . . 61
OP/TECH USA . . . . . . . . . . . . 117
Panasonic. . . . . . . . . . . . . . . . . 13
Parabolic Light Modifier
. . . . . . . . . . . . . Inside Back Cover
Perfection Distributing . . . . . . . 117
Petersens PHOTOgraphic
Digital Photography Guide
. . . . . . . . . . . . . 113, 165, 166
Photek USA . . . . . . . . . . . . . 116
Photo Lab Showcase . 164-165
Photo Tech, Inc. (Rolleasy). . . . 58
Photo Tech Repair. . . . . . . . . 166
Photo TouchUp . . . . . . . . . . . . 71
PhotoArts Imaging. . . . . . . . . 165
Photographers Edge. . . . . . . 162
Photography on Bald Mtn. . . . 166
Pierce Company, The . . . . . . 163
Pierce Digital . . . . . . . . . . . . . 85
Porter Case . . . . . . . . . . . . . . 47
Portrait Touch Up . . . . . . . . . . 71
Portraitefx . . . . . . . . . . . . . . 162
Product Portfolio . . . . 116-118
Rainbow Photo Lab . . . . . . . . 164
Reader Response . . . . . . . . .66
Really Right Stuff. . . . . . . . . . . 41
Ross Yerkes Camera Repair. . 166
Sam Shoshan (Classic Connection). 87
Samys Camera. . . . . . . 49, 54-55
Savage Digital Backgrounds . . 49
Service Directory . . . . . . . .166
Shutterbug Radio Show . . .110
Shutterbug Shopper . . 162-163
Shutterbugs Digital How-toGuide . . . 109, 163, 165, 166
Shutterbugs Expert Photo
Techniques . . . 115, 162, 164
Shutterbugstorefront.com . . . 103
Sigma Corp. of America . . 31, 33
Skytop Trading . . . . . . . . . . . 116
Smith Victor . . . . . . . . . . . . . . 77
Sony . . . . . . . . . . . . . . . . . . . 4-5
Specialty Color Services . . . . 165
Speedotron. . . . . . . . . . . . . . 117
Stan Tamarkin Company, Inc.. . 79
Sto-Fen Products (Omni Bounce) 162
Tamarkin Camera . . . . . . . . . . 79
Tamarkin Expert Repair . . . . . 166
Tamrac. . . . . . . . . . . . . . . 50, 88
THK Photo Products . . . . . 62, 63
Tiffen . . . . . . . . . . . . . . . . . . . 11
Tokina . . . . . . . . . . . . . . . . . . 63
UCB . . . . . . . . . . . . . . . . . . . 119
Uni Loc North America . . . . . 163
United Color Lab . . . . . . 116, 162
Ury, George . . . . . . . . . . . . . 159
Vagabond II (Portable Power
System). . . . . . . . . . . . . . . . . 36
Vanguard . . . . . . . . . 60, 72, 111
Vista Color Lab . . . . . . . . . . . 165
Vistek. . . . . . . . . . . . . . . . . . 105
White House Custom Color . 38-39
www.iphotoshop.com . . . . . . 164
183
adorama.com
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VUTVZ[PUZ[VJRP[LTZ
LIGHTING
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500 watt
Photoood
Light Kit with
Umbrellas
KT750U: 1250W 2-10, 1-5 reectors

KT1000U: 1000W 2-12 reectors
KT1500U: 1500W 3-12 reectors
3-Light 1250-Watt Thrifty

Mini-Boom Kit with Light Cart
on Wheels Carrying Case.
2:)2P[
-3)
Economy Softbox Three Light Kit, with

2 SBL-2436 & 1 SBL-1024 Softbox
Lights, Light Stands,
Mini Boom & Photoood Lamps 120V AC
3 Three-Lamp Fluorescent
48 Light Box Kit
KSB-500: 1-500W Softbox Light

KSB-1000 2-500W Softbox Lights
FLB-2 :
2-Light Light Tent Kit
0THNL4HRLY7S\Z
20 x 20 x 20 tent folds
to t in a 10 x 1 pouch
for easy storage. Once
you assemble the lights,
the ImageMaker can be
set up in under
5 minutes.
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The best tripod is the one you always have with you
Benro Travel Angel
Folded Benro Travel Angel tripod easily fits

your backpack, messenger bag or carry-on
Inside a backpack, camera case, or carry-on luggage...

Travel Angels unique folding design makes it small enough to
carry anywhere, yet, quickly expands to full size when you need it.
Travel Angel is a great value, too. Compare it to tripods costing
many times more. Choose from a range of rugged, professional
quality carbon fiber and aluminum models, each supplied with a
precision matching Benro Ballhead.
Model shown Travel Angel TRCB169
Folded: 14.1
Fully extended: 58.5
Benro.com 914 347 3300

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EXPERT ADVICE: HOW TO PROTECT YOUR GEAR

TOOLS, TECHNIQUES & CREATIVITY

US $4.99 CAN $5.99

2010, Sam Gray, All Rights Reserved

A SOURCE INTERLINK MEDIA PUBLICATION

Suppose you could control and display

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The slanting rays of light elongated these gures on a Havana

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These piers became the subject of an abstract composition for Sheridan