RARE PHOTOS: SHON HARRISON CAMERAS Os mle YEAR EDITOR'S CHOICE : _ 150new AWARDS 9008 iv flea Nikon )\i:im,\ PRODUCTS 43, el a Sy by] se, ' . (\ we eg OUR cc ULTIMATE 1 dec |»A TOAST, TO THE MOST TIGHTLY SEALED DSLRS IN THEIR CLASS. There's so much to celebrate with our newest digital SLR cameras. The K20D offers 14.6 megapixels, the highest resolution in the advanced photo enthusiast category. Plus, advanced tools like a live view LCD monitor and a bevy of customizable features. The K2000, with 10.2 megapixels, grows seamiessly with the amateur photographer. Auto Picture and Scene modes are easy to navigate, but the more advanced modes will push the party to a whole new level. Both cameras feature Shake Reduction in the body. And both are completely sealed and protected against humidity, moisture and dust. Enjoy them straight up. On the rocks. Or wherever life takes you. PENTAX PENTAXSLR.COM http://r-point.nnm.ru www.journal-plaza.net?KypHanpi co scero mupa http://r-point.nnm.ru www.journal-plaza.net2KypHansi co scero mupa http://r-point.nnm.ru PHoTOcont Hore are our 2008 picks of the ver plus closeups with three of 's fest photo mento The Santa Fe Photographic Workshops Trees a Peso i's 2 fer 60 Closeup: David Alan Harvey “Taking risks at the Loft Workshor 64 The Summit Workshops Training wth the be arp world. Conclave Atlanta yerkshop FirstLight Workshop Analog beauty and digital preciso 5 VSP Workshops Dimui Phototours hotographing Kael with those k 8 70 Closeup: Amy Arbus Experience and insprato 74 The D-65 Workshop 4ow to tare the diatal beast 76 Closeup: Cig Harvey ipine and vi 2 Maine ) Anderson Ranch Workshops The right location, the right te 82 Greg Gorman Photography Workshops 83 John Sexton - Preterm Worktops portfolio enrreRRORWE Subscriptions i202 pete fern Pi NE CO ALP 2518 ne ovo estage soe Ne Yor NY 1001 ad at econ ming, were err inal gxtape by OP Ot Deane to. Crea, end fa overt oh. Fi 53 Teenyan US, Cs Faa, PMO AOU ENE TU tOH om atts eM vy} 550 SG i ser) CRE Sor cs mine ae LT Means VAilel Ula ; ; patentee: Ee fate ee ws | GD |2KypHansi co scero mapa FRICAN Volume xvix Number 4 July “August 2008 httpi/r-point.nnm.ru Py | OTO , A worniournabplaza.net © Inside American Photo Th "1 Editor's Note 2 See ItNow rapperings, and 9 Inside Photography noncing the E Wedding Photographers 20 Photo Post te of the Ar biog 22 Inspirations 80 Photo of the Year pte 2 State of the Art Pro D-SLR of the Year: © Advanced D-SLAs of the Year of the Year The Canon EOS Rebel X! SLR Lenses 0 Camera Cellphones ‘aging Software departmentsTHE WORLD'S PREMIER STUDENT TECHNOLOGY COMPETITION The Imagine Cup is one way Microsoft is encou ing young people to apply their imagination, th passion and their creativity to technology innovations that can make a difference in the world ~ today. Now in its sixth year, the Imagine Cup has grown to be a truly global competition focused on finding solutions to real world issues, 2008 IMAGINE CUP PHOTOGRAPHY WINNING TEAM: 7, ical science student at Wayne State University in Detroit, MI. She is an amateur pho- tographer, specialized in portraits She resides in Bloomfield, Ml 1 fi Jennifer Hui Jennifer is a biophysics student at Wayne State University in Detroit MI. She is majoring in Biophysics and minoring in Economics. She enjoys reading and playing soccer. “Rainforest Systems Sustainability” By: Melissa & Jennifer Hui http://r-point.nnm.ru www.journal-plaza.net This photo essay depicts a technological solution to sustaining rainforests by the implementation of monitoring systems that are both mobile and stationary. By use of solar powered roving bots that are capable of measuring data derived from the soil andFor more information on the 2008 Imagine Cup winners, please visit www.popphoto.com/imaginecup plant life at the canopy level as well as embedded computing devices to measure at the ground, a depicted laboratory is able allowing scientifi therefore making us better suited to protect and sustain our w gain awareness of what is happening in our rainforests, Id given the significant impact they have on our Earth globallyCONTRIBUTORS American Photo recently tended a private workshop led by pho- her Davie Alan Harvey, who is profiled 60. For the past two years Harvey has been leading an acclaimed workshop in his lft apartment in a Brooklyn building (above) that was evacuated last year when inspectors found an illegal matzo bakery in the basement. (Only in New York’) Harvey hopes to be back in his place by the fall, for his next scheduled workshop; irnot, he has reserved space elsewhere Inthe meantime, he is working on a long: 'be writing about his journey on his popular ‘log, which happens to be called Road Trips "| DO THE WORKSHOP BECAUSE | LEARN AS MUCH AS | END UP TEACHING, "5 HARVEY EXPLAINS. 10 davidalanbarvey-com). Harve a mélange of diary, adviee, and thinking, which are precisely the that he mixes inta his workshops. “I you ‘want to see what my workshops are like, just read the blog. he says. Before Harvey lft on his tip, he came by ‘our affice fora brief discussion about the state ofthe an of photography. The discussion proved so interesting that the entre AP staff signed up for an after-hours seminar ata local center of learning called The House of Brews, Every effective teacher has hi siyle, and Har nature, At our seminar, ideas flew i tions. “really do the workshops be learn as much as | end up teaching,” he says. Were all eager to do some graduate work, Top: Haney (far sin his ot Baten: A Hares pnato st in Dayton, ON Vie Pesto nie} Davld Schonauer cor Deborah Mauro Manouing dt Jock EXOuNe He Rises Mare Asin Ar Breton aor st ogee Kropa, Jacques Naudet ontbuting ator: Jonson Shrek aes tone (ston J Vicki Glebe evel Vice PresicdentPublisher Jeffrey Roberts ‘eceiteublsher Anthony M. Ruotolo Senior Nomoto Designer Undony Bit Senior oma Designer En Fedmane tetas:GET THE SHOT. GO TO THE EXTREME. Extreme performance. Extreme reliability. The speed Sa eee meee sequentially, and capture the action ccQO AMERICAN A GUIDE TO INSPIRATION Fels NG weld pgapbes hates Roto ages win Nathese hehehe alana Mather il be mina essa ot otogapy an ty ter dower ase ope to Pauley ioe nee Boat tough sont wig wee to mae psoas shots pein iss0 pave Nate's ream beara esa fr phuopectes ey loa pe peel taf eames oe a So sew dove nanals ha ee acer wenteote a ina eal eh acon Tce dye Photogranher Matthew Ralston with thee of hs ‘workshops than ever before—the digital revolution has made photog: raphers out of millions, and many of thase people are ready to step Lup their skills and creative instincts. Our special Portiolio on page 57 spotlights twelve of the best, Whether you have taken workshops before fr are thinking about tying one out for the first time, our list will be a useful resource, Here is some friendly advice, though: Ifyou do decide to attend a photography workshop, don't go merely to show off ‘what you already know. Follow the advice of photojournalist David Alan Harvey, who mentors students in his own workshop (page 60): Go with an open heart and be prepared to “get a litle lost creatively Jn order to find your avn voice This issue also marks our ninth-annal Edit 's Choice buying {guide tothe best photographic products of the year, including our Cameras ofthe Year for 2008 (see page 33). Executive Editor Russell Hart and a crew of researchers and reviewers have been hard at work for the past several months doing field tests and making judgment calls on everything from software to cell phones. I you'e planning to buy a new camera model before you go off to your workshop, take this issue along with you to the sore, or have it by your computer when you go aniline to shap. Or simply go to AmericanPhotaMag.com to find our full list of winners with even more categories of products David Schonauer, coxa is cnrSe ee ee eee a eee Cr eee (eer re Ci om CR Mn eg neat Ene eS Ea Be IBC MEN Cel Te al] Fi FE ri FP i. —= b = ua nf 2 ring where fad ecition book. Besides ne towns he 5 of every photgraph from the left of with is eg fs they move from social documentary to coor fragments of Amer ape, the phatographs seem to By Mandn Herlerman (Prince $20) In keeping witha recent int ‘ography (3 fancy name for photos NEW TITLES REEXAMINE FAMILIAR AMERICAN BYWAYSmare eccenvie personality. Indeed, the book shows that Onens’s pictures are as much about himself 35 they ate about the subject matter his love of food, sex, and quo, and the sunse of humor thal mage Suber sue ‘Dhenomencn, His acoiytes wil surely want 3 copy. nwt Funny ) One tthe creators ofthe famous "Day in the Life of” setae, Solan ‘na is wife Jennifer Erwt (sougnte oF xpress 8 Photo Daypack vata sie Expres 6 Comer Bs Tamrac’ stylish Express Series combines upscale, contemporary designs with the functionality that only a Tamrac camera bag provides. These sophisticated products f | Geliver quick access and protection to photo equipment without sacrificing tye. =| caraiog 1-800-662-0717 ‘maser sete srs Sees call fora FREE 80 resulting portrait is brad, showing ite in MeMansions and mobile hares, i sub cites. The book is aso deeply moving, consider. el, $50) This collection of work fom the Ben entury portal photographer 15 the only extended study of cludes mote than 100 portraits, e Avenue stucio in New York City of herself as well as the major figures of her time, inluding Eaith Wharton, Theodore Roosevelt, and William Buroughs. BOOKS AND EXHIBITIONS CROWDS, LAWNS, AND THE SPIRIT OF ROCK AND ROLLNeri Maced noid New Mini Proportions! res ele aeRO LON Us een Compact Turbo Power for Flash. erie Ceedigitaldays Hands-on photography workshops For more information call toll free 888-243-6464 Pecorino RNR ke fze) a0] ola aarercle (ce) aNd * Photo tips for any camera brand * Improve your photographic technique * Learn how to better control color Seo rertetel an mutes CHICAGO, IL * MINNEAPOLIS, MN ¢ FT. LAUDERDALE, FL ¢ ST. LOUIS, MOEee SONY. Sign up today! www.digitaldaysphoto.com « PORTLAND, OR * NEW YORK, NY * SAN DIEGO, CA * HOUSTON, TXPHOTO PORTFOLIO EVIEW a ae a he FOR EMERGING PHOTOGRAPHERS SO eu mS i UC ' nN CeCe Mea LUT AN yy To be considered and have your work published in American PHOTO, please go to NY \wiw,popphoto.com, download a free trial version of Aperture 2, Apple's powerful photo editing and management software, and a custom American PHOTO Aperture 2 plug-in to upload and submit your portfolio by August 22% 2008. Our panel of judges will include Tee ee eC COSMO We look forward to seeing your work and discovering photography's next big talent! For a complete set of requirements and instructions, please visit: ALT COLO TPAC eT O10 nesPHOTOGRAPHY 20 PHOTO POST 22 INSPIRATIONS 26 EXHIBITIONS 30 PHOTO OF THE YEAR Ss PHOTOGRAPHERS 2008COVER STORIES SHAME AND ILLUSED ICONS Everyone had an opinion about those images of T5yearald Miley Cyrus shot tor Vanity Fair by them “near nudes,” which realy is the same ‘as “not nudes,” but who cares? Annie said the images had been “misin- terpreted.” Meanwhile, Time magazine angered veterans by “repurposing” Joe Rosenthal’sfamea image ofthe fag-raising ‘an Ivo Jima for a story ‘about climate change. We thought the image was merely gooty. We didnot, however, enjoy the King Kong treatment of NBA star Lebron James (with model Gisele) on Vogue. OLDEST. PHOTO. EVER. Le he eto tea won made by Thomas Wedgucod some 30 years earier IN MEMORIAM MARY ELLEN MARK ECALLS DITH PRAN AND THE KILLING FIELDS Wr 2 New tet tines photographer pith Pan died of pancreatic cancer on March 30, we beted a photo she made fo journalist PHOTO POST NEWS FROM OUR STATE OF THE ART BLOG = STATEOFTHEART.POPPHOTO.COMBOOKS KUBRICK’S BIG DAY AT THE CIRCUSIN THIS NEW COLUMN, HOLLYWOOD PHOTOGRAPHER MATTHEW ROLSTON PAYS HOMAGE TO LIGHT. INSPIRATIONS hat’ the stuff that dreams are made of Well, in rise. think of winter light... a sunset. the starsat a photograph that would be ight. Light is hight... a candle’ flame. Each one of them evokes a beauty. Beauty slight. The perception of beauty i dierent emotion. 2 function of how we perceive light and shadow. Anyone who has ever lita candle has created beauty Is beauty teal or just that literally, ight can make swith light. Even if they did't under they felt it when they did it.The righ anyone or anything beautiful You don't need 4 lights to make a great picture. illusion? Before there was ception and there was beauty, Is ceally quite simple, It tarts with light, Light strikes an object, it refracts through the lens of the eye (or of the camera) and creates vibrations in the soul sence of light? Wis fe. Which survival. Why? Because fre was the ight and warmth) that man could control ‘Qur first move to control nature, to make it serve us. Thats why we are so compelled by light. i's a primitive uige. We are hardwired as humans to love Light is home. Light fs comfort, Light can create desire. Light changes everything, ‘Without light there is no perception of visual beauty (or anything else, just a void a black nothingness. Think ofthe light you have been dravun to: think of sun ‘What you need isa point of view—about light. Light is the most powerl tool for an We all know that certain Hollywood glamour spot light. And we know that that feels very different from, say, morning light reflected off the sea. A Hollywood spotlight tells a certain siory—perhaps a story about illusion and perfection and desire. Alternatively, ‘morning light reflected off water might tll another ston about health, or vitality, or maybe freedom. Image- makers choose to narrate their dreams with Hight. iETL imagine High Definition beyond your living room 255 AMOLED Dspiay ch Dual rage Statizston: Opt! Image Stabilization + Ostallmage Stablzation image Noise Feducton (NR) a «aalle | Images of the Year Competition 2008Categories PHOTOJOURNALISM/DOCUMENTARY ‘COMMERCIAL WORK: ADVERTISING/EDITORIAL, PERSONAL WORK STUDENT WORK PORTRAITURE NATURE Deadline Entries must be r 10d no later than midnight September 12%, 2 Prizes The winning imagery will be featured in a special Ja ry 2009 al event in worwiotycontest.com for more informat'c NEW! Online Submissions worwiotycontest.com anc follow the easy upload instruct Wu prefer to malin your entry please vist wwwtiotycontest.com r detalles instructions. Note all payments must be made ONLINE Entry Fee Single Entry: $25 Extended Entry (s Judging/Winners turn an atfidavit nd liability elea = aor Additonal + fotocommuni sates fetocommunity Smugiug &eEsoF EX HIBI M S PATTIE BOYD TALKS ABOUT HER LIFE AS A 1960s ICON, HER FABLED ROCK-AND-ROLL MARRIAGES, AND HER VIEW FROM BOTH SIDES OF THE CAMERA. BY JACK CRAGERhe's alluding to an anecdote from the book, and s0 to the happeastance manner in which she met Harrison on the set of A Hard Day's Night. Boye had been given her film pare (she played a schoolgirl by ditector Richard Lester, whom she'd met while shooting television commercials, “never had a desire to be an actress, s0 that was my first an last film part" she says witha laugh. “I mean, how do you top that ‘Boyd was surprised when Harrison asked her out; she told him about her boyirend, a photographer who bad been helping her start a modeling career. But soon afte, she dumped the photographer and stated dating the Beatle—giving her a ticket to ride inthe hippest circles ‘of svinging London in the mid-1 960s. 1 absolutely loved it” she recalls ofthe scene, “It ‘0s so buzzy, with interesting people—mad and fun and eccentric. All the creative people seemed to congregate: designers, painters, filmmakers, andl course mu Boyd's madeling career aso took af, with appearances ‘on Vogue covers. She says she did't regard being a ‘colebity as a burden, though she notes that Harrison did ith that level of ‘George was never very comfortab fame,” she says, “The Beatles had experiences whee they realized, om tou, that they sere trapped in their hotel room, They couldn't ga anysehere. Thats when George realized wh. d done o them, and he dda’ ike it. He didnt understand why hee was famous. Why him and not somebody ese?” For her par, Boye recalls fans interrupting hee and George as they dined oul, int and the everpresent papa and irtating” she says of the latter. “Our lives would be spent trying to ide fram them, How ludicrous is that?" Boyd remembers one nightmarish crow scene when she and Harrison visited San Francisco's Haight-Ashbury area in 1967, during the Summer of Love. “That put us off forever, really.” she says. "When al these drugged ‘out people in the Haight sav George, think they thought he'd appeared like a messiah, and they wanted to make him responsible for whatever state they were in, There were alot of dropouts and bums and scragaly people. The crowd got out af control, and it was an eye-openee Seeking a lifestyle change, Boyd became curious about transcendental meditation courses taught by Maharshi ‘Mahesh Yogi; she was joined inthis pursuit by Harrison. and the other Beatles. The band and wives and friends famously studied with the Maharishi in Inca in 1968, which Boyd calls “the most enlightening time of my lie D222 pe aso gave Boy es it sesious camera, a Nikon F, and she began sho ponaits.“! took several photos of the grou in India and then | discovered the images again many year later she says, “But | did't bring the camera out al that often vith the Beatles, because I did't want to be invasive sensed not to take advantage ofthe situation | was in” an evocative picture of George reclining in India that she calls “the last time | saw him looking 50 calm and relaxed.” Within a year, the Beatles wold be facing business problems, internal bickering, and the Interpersonal stress that eventually broke up the band The Harcsons’ marriage, too, soon hit the racks, due in pant, Boyd says, to Harrison’ infidelities and in part to the presence of a mutual friend: blues-guitar viruoso Frc Clapton, “ric and George had become close fiends; they played, wrote music, and recorded together,” Boyd recalls, “But | was aware that [Eric] found me“| THINK MUSICIANS AND PHOTOGRAPHERS ARE FAIRLY SIMILAR—THEY LIKE TO GET CRAZY." attractive, and | enjoyed the attention he paid me This atention—in the form of highly romantic letters, ‘overtures, and mo Assorted Love So from Harrison married Clapton, the of the classic album Layla and Other eventually lured Bi arms. Even after Boyd exween the two guitar ists endured they called each otter “husban-in-law Boyd's relationship with Clapton, too, later soured! Inher book, she partially blames his habitual infidelity and his aleaholism in his own book—Clapton: The Autos he esse grees. As thelr mariage faltered, Boyd dated another photographer, Will Chistie, “think musicians and photographers are faith similar they like to get crazy,” Baye says with a laugh. “They hang onto the child within themselves longer probably ay, men who are accountants or bankers. They > emain young at heart in order to he creative Alter her divorce from Clapton, Boyd turned to her longtime hoblhy of photography as both a source of income and therapy. "The breakup of my marriage threw "Suddenly if si tas therapeutic BB 224 2th drccom cousin he Roya Photograph a shooting alls. “Aad the bloody paper sends a photagra- pher to shoot me at work! What's going on? I'm work don't need to be photographed as well, bent over lad, not an atractve look, you know, bum in laughs. “But | enjoyed shooting: portraits, er Photography became my passion She sill enjoys working inthe darkroom an! making prints, but she’s also recenily gone digital, dacumenting her travels with an eye toward future photo books. Yet its Boye’ pictures fram her rock-and-roll past that have generated the mast interest in the gallery world Her exhibition Through the Eyes of a Muse debuted in San Francisco in 2005 and traveled to London, California, and New York. She hapes to arrange a shaw in Japan to ‘coincide with a Japanese printing of her autobiography “td like to dig aut more pho sd seriously go through what she says, “Back in the day’ I took alot of Polaroids, which are now in boxes, so they havent RGM scon daylight, and they're sil in quite good shape.” She ackniowdedges the bitlersweet memories. “Photog. rap is so emotive.” she says. “When you see a photo ‘of somebody whose music you love or of when things ‘were happening in your life, it just brings bac! ‘ory of a younger you—o and doeT SILVERB ICERNE GHTERED AU LA\ AMPLE OF i= Z Oo o ira < = wi Z < a ir to = a s LZ o —_ © 9E OF AS23 The New Gitzo eat Heads dodbie lock “a Meets Perfection poner eee 7 eee eee tag See couric} ces cc GITzoO Unprecedented strength Pore Te cay \iatable in 3glves; standard CMS C ae oe eot L : ble to Arca style “= aS fod eee Set / an . AO LO ae et cod nr eel a ee ed eae ena) pone eae eySE ee EDITORS GHOIGE hatever happened to film? It’s a question we're often asked these days. It’s still around, we answer, and remains a superb medium for photo- graphic capture. With- out a highly practiced eye, though, you won't see the difference between film and images produced by the digital SLRs we recognize with this year’s Editor's Choice awards. From entry-level to profes- sional, these cameras— together with the lenses, software, and printers that support them— testify to filmless capture’s swift coming of age. pee i A a its =) NT el (HR) TS ivan AF-S Nikkor, 1424mrm 2.86 ED S Ku990 Viewty ADVANCED iy aaa DSSIES K} ts} D-SLR: 4 v7 FINE-ART..54 § AND bee ait aity Et IMAGING..52 SOFTWARE AmericanPhotoMagcomeine vean | PROFESSIONAL D=SERS Nikon finally takes the leap to a “full-frame,” 35mm- sized image sensor, ending Canon's long monopoly and setting new standards in highSO sensitivity, shooting speed, autofocus capability, image processing, and more. We think both location and studio photographers will flock to the Nikon D3, as will many others who want , the most powerful D-SLR money can buy. ciency of bape pels resis in far beter hiah-I80 phos and atop sensitiv ity of 850 25,600, lest two stops bet- ter than anyother SLR, “The D3 top fri nail fat ine to 11 frames-per-second pending on settings. That's two to tvee times faster than any ater fll-trame model. Rnd the D3 also has 81 focusing points, the mos nis class, 18 of which ‘are the more reliable cross-fype—just one piece of what is arguably the world’s smartest autofocus system. “The D3 three-inch, $20,000-aot LcO szreen sto our eyes the sharpest in ary lash" D-SLR, adit Live View ato actually the fst in Other 13 features absent in is rivals include cal LUDMA-compatbie CF card sits tha ean te set for ether overiow ot backup in camera carection of cremate abeatin, Liis ae fand an onsreen “vital heron” that serves — 235 an electron bubble feve SeieonSt The level of corto offre by the D3 is simply anesome, bu le’ ston with the Det oe en or sppes, Semething about the Non DSi ta ee ee eae huge, bright vewlinder, that biliant LOD, 351m fim frame, sot reser 2 mired ond 9 prodigious responsiveness a Pies sakes you fee that you're really in touch Fare mee wien yur subject. sctualy makes you {ied you're taking beter pictues. 34 AmericanPhoteMag comMeeezee:: [radi for building the first mediom-ormat cigtal ‘camera with an integrated image sanecr, the 22-moga pisel Mamiya ZD we fe {red here thre years 360, Though that camera has a much bigger chip than any 35mm-style D'SLR, i's simiarin foun and handling But you can't shoot film with te ZD or upgrade its sensor. You can’ even buy ong inthe US, “he nest best thing oF an even beter thing if you want to shoot film with te same camera—is to mount Mama's 22 ‘egapiae!ZD back on the signfleantly upgraded model. You et the same number of pitas as ‘th the ZD, anc theyre twice 2 big as those in Canon's 21 rege! EOS-1Ds Mark I see age 36), Te pixels’ larger size helps the sensor gather light ith les noise, and the eauting PROFESSIONAL D-SERs AT aE Tit) smoathness is ‘enhanced by the Unique optical qualities of medium format lenses. The 645AFD Il inherit ts bale by shape and finder design from the previous AFD I, but eliminates the ltter’s metering pattern and exposure compensation dias by ‘moding these functions tis top deck LCD sereen, It also gains a a uy tis infrared and UV Sersitve camera you have to sign an agreement in which you promise not to use i for “panaaze ke activity.” While exhibitionist cele might ke the idea that it can see through clothes it can't, eon trary to popular belt about infa red, we ike the Fal forits artistic possbities. Thavah designed for forensic use, ts extended sensitivity subverts tho Pee Pt Pty eee I aie Sr aeaebo ted be converted to capture core Canc) arc ee Poetry translation of tones that black-and- white otogapies expect, Hit ening organi substances because they reflect more IR radiation, ‘The Ful 1S Pro's cost might seem steep for such specialize eects, but Ifyou put 9 UVR cut fer ‘on the lens it becomes a normal camera. In fact it's basically @ FinePix $5 Pro {the Fu wir nor in last year’s Profesional D-SLR category) fom which ‘the builtin infared.cutt titer has been excised, Intra, the Sb Pro's body is basically a ikon 200, na the Nikon NBO body an which the IS Pros prede cesar, the $3 Po UVIR, wes base, faster, quieter AF motor; three selectable AF points; a more comfortable, molded scone fio; and better camped Iittr mechani, which lessens the need for tor lockup. Tie bigger story is realy Mamiyo's mew Partnership with Phase One, which has ts ‘wn version of the 645AFD Ieallee the Phase One 645. In response to Haselblac’s decison ioe” ts H300 system to other man: facture’ digtal backs, the two companies have comm ted to. “open system” compat ble na nly with Mamiya and Phase ‘One backs (upto 39 megapixels) but aso with those from Sina, Lea, and others (va sdapter alates). In Ackltion to Mamiya's 14-ens nev, the Phase One and Mamiya cameras accent (with acagters) Hasselblad ‘series and Pentacon lenses, OTHER TOP bet IGT NS) Tat means the IS Pro is a much rote capable camera, It shoots simultancous RAWsJPEG, 2 feature we find usetl for workion purposes; there's even a firmware Upgrade thal es you shot old fash jane TIFF files, Its LCD is bigger and batter its five proview sis you view TTL wth avisialy opaque fer and gives you an idea of hw the coor wl ranslate into tones, (Yu sil nee! tripod Toy MAMIYA Coty yi eed Pas Esa Curt) peed Eto! FPS i ao De rte eee paren eerie ome eee able ways inte medium Coreen for precise composition because you cant shoot while viewing) The iS Protas the ame nominal resolution asthe 83 Pr, bu improved im processing makes output smoother ‘and lessens roige at nig ISOs Pretehagcarnee CANON 1S LPT aT ry itn bee FPS ef MecaPoee.sy panic ey Ithavgh Canon s no longer the sole payarin the fl frame DSLR arena, the company deserves crest fr making 35mm ‘ize image sensors a practical real iy, starting wit the LL-megapie! EQ5-IDs in 2002. The this ge. ‘eration ofthis fll-rame fag Ship rages the bar agin with a 2-megapicel OTHER TOP CAMERAS vee atthe same time as Nikon's heawyweight D3, this slimmed-down but feature-reh sib ling ofters many if not mest ofthe same assots—at ony one-third the com The specs 2730 good, in fac, that we think any pce wil buy not 233 backup body but as ther primary DSLR. A-key selling point is its 12.3-megapiel CMOS image sen so, whieh delivers elaaner high 180 output than the lkeized (CCDs used in earier Nikon SLR Its sensitivity i ISO 200 to 180 3200, expandable to ISO 100 ‘and I$0 6400.) Being smaller than # full 35mm frame, of couse the chip results in a 1.5K file-of View crop. This means telephatos fet on oter-useful boos in focal length of §0 percent but Nikon [Dx format z90ms are needed for imost true wide-angle shooting (Other than the smaller sensor and accordingly smaller viewtna (stil bigger than some competi- tors, the D300's features nearly match those of the 03. They making the vey frst 35mm style ctl 'SLR with resolution equal to tat of many medium-format digital systems. Yet this Image quality hire the Price Super sharp, three '920,000det resolution; 14-bit FAW capture; wireless Live View emote shooting; and the ability to ‘autofocus in Live View mode using fither contrast detection (miror Up) arte optical AF system {mi ror down), The new MB-D10 battery grip boosts the D300 of the 22-megapinel Hasselblad Ha0il-22, In adition to being much smaller and lighter, the Mark Ill boasts features and performance tha mmodium:format systems cant match, including 5tps continuous shooting: superast 45-point auto focus; amooth output from 1S0 60 to 1S0 3200; » dust busting se-cleaning sensor, wire less Live-View remote operation; and a combat-ready magnesium alloy body that can survive the roughest location shen. With the excention ofits slower shooting speed, in fact the flame Canon is ential in neariy all respects to its sports. and reportago-geared sibling, the 10fps, 10..-mega pixel EOS-10 Mari tl, our 2007 Professional Camera of the Yeu. Unlike that cropped-sersor twin, however, the new mode! has an ‘enormous viewfinder, which anon calls it finest ever. And It takes more than 60 Canon EF mount lenses—a much larger and more diverse selection than avilable in medivm format—all ‘of which retain the same angle of view that they would produce ‘on a 35mm film body PROFESSIONAE D-SERs silt 6f to a smoking Bos, just ‘one frame sioner than the D3 at fullesclition eapture, Compared this bigbrother, the D300 even has afew advantages, including 3 self-cleaning sensor, one7h'o less weight—and, of cous, con ably reduced sticker shock.SIGMA Welcome to New Dimension in Photography:a Camera with Principles. SIGMA | THE SIGMA DPI AFULL SPEC COMPACT DIGITAL CAMERA WITH ALL THE POWER OF DSLR ‘The camera for the artist in each of us. -> www.SIGMA-DPLcom ‘ham non vr pT Wer earl carte Se) phar sss pr grchon and Nicos pareranen, Ad SIGMA CORPORATION OF AMERICA 1s Fleetwood Court Rorkonkome, MYAI7S, USA. Te: -6S-SR5H44 ww sgme-ghot comnevean | ADVANCED D-SERs Canon’s latest mid-tier D-SLR stands out as the most well- rounded model in this increasingly competitive category. Other cameras in its class offer unique assets, but the AOD shoots the fastest, focuses most ably in low light, and produces the best image quality at high ISO settings. Backed by the most extensive professional lens system of all the mid-tier models featured here, it’s also, surprisingly, the least expensive. seers Ny reen igo ecmmome tse UN etd Peers Rca pressing the AF-On button. The camier SS passat ne eneADVANEED D-SERS rie vean ut what we'd ike in 9 sue yous E-1, the genera tion-kipping 3 sil defied ions. fsa much more camera than i really had to many provtevel features nt found on other models in its clas, infact, the E has a degree: fy that gies ita steeper lamina its competitors. The mena system, be ithas to pack in so much, pay to blame ‘Once we st things upto our liking, though, the E-3 proved highly responsi Image quality excelent where ito the Four This format notwithstanding iuata bit panier than par at 'S0 1600 ‘and above. More signifiant, we made {ewer ajustments tothe & 3's outpt than we typically do with other DSLR. ‘A magnesiumealay chassis protects its inner works; ample gasketing makes it the most dust- and weather resistant model hates viewfinder bright are has enough magnification to make you forget that tis Ip 2 Four Thirde-Frmat D-SLR. And while the E-36LCD is abit smal, that’s because it accommadates the hardware needed for full artieulation—which lets you angle it for viewing frm a wide range of positions for Live View shooting. Photosp \aho've never tied eomoosing enscreen should give it chance, because i lets you make pictures you couldn't nave taken trough the optical viewfinder The best new thing abaut the new mol iets autofocus performance, ie Chie beef agains the E-1, We were floored by the speed ofthe E-35 Ll-pont AF sy tem, which snapped to tin single-shot mode—ith none of the vexing searching ‘that slowed down the F-1—ane challenged (Canon's EOS 40D in continuous-AF focus tracking when light was geod. The L1 focus ints are ll rossiype, making ther beter abe to loc onte both herizetal and \otica! deal, The EOS 40D’ nine focus poinls, and 15 of the 81 focus points in the Nien 300, are ais cose ype, but they e srt of bunched together Inthe mid deaf the viewfinder The E-3's ports ae spread mare widely and even, allowing it to focus off center subjects consstenty Speaking of focus, the phenomenal pro- {quality lenses Olympus is making for the E'S are hal the reason weve chase it 5 (Co-Camera of the Year. Who ean argue with the range ofan ulrawide rectinar 7 mm 4 200m, the equivalent, cof 14-28? Or with the speed of ‘36mm 12,» stop faster than ts popular fullfame equivalent, the 28-70mm f fa This bri aging Olympus E-1 vindicates the Four Thirds format with its huge viewfinder, super- fast AF, incbody image stabilization, automatic sensor cleaning, swiveling Live-View LCD screen, wireless flash, and solid, professional- grade construction. jiant successor to the OLYMPUS a td i} er eee ee ee ee ns run AmericanPheteMagcomRLY icc soecers FPS | fgizanon: "system backed up oy onsereen dust mapping for manual sensor ——_ _ Eee Catena RNS acs another sop of handhela ESORN ange to the K1OD's three with 2 new ‘ny K-maunt lens ever made Leck closer and you're that the LOD sore has gown from 2.6 to 2.7 inches—and & now capable of Live View operation, with mira fi, single-shot fcusing activated bythe AF thumb button. The new display even permits coer tuning ‘along withthe usual brightness adjust iment, fora elaser match with our on computer screen The biggest upgrade, though, fs the 14.6-megapixel CMOS image Sensor the K20D shares with its twin, the Samsung GX 20. The Samsung-made chip eaptures ‘ver 40 percent more data than the 10D 10.2-megapixel CoD, with equivalent or batter nolee performance and 2 top earstvty OF 1S0 6400. Yet continuous hooting is stil 39s, with bursts of up to 38 JPEGs, 14 PEF, © 16 1DNG RAW files. (A 21fps setting fees continuous busts 3t 1.6 ‘megaptels.) Other improvements include a PC socket fer plug flash a built-in interval timer; anc user seletable dynamic-range boost, Even the 18-56mm kt lens is sharper than before. cameras | ADVANCED D-SLRs ts number i @ red to miter Maxwum 7-series film SLRS, but the second made n Sony's DSLR line is ore than a step up fram the A Ve ‘Nona 100 that won as year's Entry eye Carer te er Like that EVEL ese) 0 . 700° suasoeee terete eee er: Epa) mihi PT oats, cotcaly ad operational it ESAT icsunat we ne non SLR Lmeaneil ‘An aluminum chassis and magne- sural ute panels ake the F700 relatively hen, the beter fer Steacy stating and hard knack, is onus ae nore sume than ona tical SLR, wnich Ty recs toate sewer ths be in-camera imoge stabilization, (old fo compet higher Hy tres: ts brit, high apni ter vewiide ran erlang hangs rote tel ion abeealnianagil of some other models with APS- Of features for its price, C-sized sensors, while its three- rrerrrs tren ngpes (00 ote a harp Lidice ‘as any we've yet seen on a D-SLR. Sr en fats that limit he heed epochal! to scroll through the menu; one button bring up the A700's eel eth Quick Navigation sereen, allowing fast agustment af many functions witha single controler. The Alpha 700's new 12.25- ‘megapixel CMOS image sensor ‘actually reduces nose bere the signal leaves the chip, technology that saves power and is designed to improve high 180 performance A builtin HDMI termina ‘lows sitet viewing on HOTY, ina D-SLR along with Nikon's D300. The Sony A700 ven reiazers Minot’ pressure sensing grip fignally designe to rovid a bigger head start an focus- ing: eve-tart AF isn't activates Unless the grip is being squeeze. That way the camera doesn't focus aimlessly a it bounces against you, ready fr your nee shotDe HERE COMES THE SUN AND MUSIC'S IN THE AIR! From Long Island's Nikon at Jones Beach Theater to San Francisco's Shoreline Amphitheatre, from Boston's Tweeter Center for the Fee eee ec aren is eeu eRe aus ec ee ec studded rock shows throughout the summer. And that means it's a eee ace Nikon has long embraced the natural link between rock & roll and De Ep ae ee iene ken ene cn Poe h e ueeecaeecc it to heart. It's in that spirit that Nikon Live 2008 rings in the new concert Deen ete eR eee ae cs ‘As part of this celebration, Nikon and American PHOTO announce Ree Ruan Ae aon eke Dee eu ace ee ee acm RT) shots behind the lens—documenting the excitement on the road, on stage, backstage, and behind the scenes—all with the latest and greatest digital Nikon photo gear. The visual results can be seen in the Visions of Rock section of the Nikon Live Website. While visiting the site, you can also access dates and locations to experience Nikon Live events firsthand in markets including Boston, Chicago, Los Angeles, New York, San Francisco and Washington D.C. ‘The Nikon Live Rock & Roll Picture Show will collect the best live- Pau NOU ee a co eee eR a ue see Dee ee ec am See ne ce dod ese ee Na cn Rae cesSine vean | ENTRY-LEVEL D-SERs e é Me Zs oe we ay Pied ce rt Eo Se Een] Wee — PTR Bereceeeccnet nao errr teers Crete eran Xsi ere er The “baby” of the Canon EOS family inherits great genes from its larger, costlier siblings, coming into the world with a low-noise CMOS sensor, large viewfinder and LCD screen, fast shooting speed, and dual-AF Live View. These traits give the Rebel XSi an unusual maturity for its class. thefO annl Dl Rt! rota ete ated EOS 400 Late Eee ra amt strech edn, excl) in RAW canon trighemns sea cctre] ‘and magnify live subject details up to 10X. Tha Lo dnb rhage denn sroon ‘make the camera a pleasure to handle.eee ceed ea eC Cee ne eee ae ae De eee eR ee RRC with it, Luckily the two genres just merged.” ‘A graduate of Brooks Institute of Photography, Milgrim specializes in rock-and-roll imagery, shooting portraits, album covers, and live- Concert shots (visit www.jemphoto.com). His subjects range from established acts— such as Aerosmith, Perry Farrell, and John Mayer—to hot newer artists including eee ke ee eee ae ead networking,” Milgrim says of meeting performers. “People I've worked with have Ce ee ke ne eee aCe Pre Re eR ad but check my shots on the LCD screen. And I've been able to continue using all ‘my NIKKOR lenses,” he says. “In my bag | have three amazing lenses, each with a purpose.” For live concerts, Milgrim shoots with the AF-S VR Zoom-NIKKOR ED 70- 200mm f/2.8G IF. “With its Vibration Reduction it's amazing what you can achieve a ee ee maces Sa er ea eee oe ee Pee ene Stee ee raed wide-angle to normal lens for closeup situations, like portraits In portrait sessions, Milgrim tries to bring out the charisma in his subjects. De eee ee Ute special about them. So I push to find what that is,” he says. “Photography is like this addiction. Every day you try to get another great shot to add to the collection.”Tez: may nok be as big or sharp as the ‘ane onthe neti Alpha 700 (see page 40), but i's actually ‘ore versatile It doubles 28a ve ‘lectrnic viewfinder that sees EV ALPHA 350 eed a Sees, Ido his not with tue Live iw technology (which relays the image fom the “aking” senso) Dutwih a separate, dedlestes sen sorneat he eyepiece. That's 3 nifeantacvartage, allowing fas pose detection RF (focus rocking included) when youre composing fn the LCD, wihou he cumber. Some “minor ipping” that slows ate Live Vew acl coun Ecualy advantageous the ABEOS screen incorporate fod mech ans that lls you suing it up 90 degrees for wast level shooting, fr Gown 45 depres, or vereas ‘Shoting—hihly ust techniques at possbe with aed sreen esl um se and eotoraly shape, the A350 incorporates Soryscustonary abundance of advanced features. Tes clude n-dy Super SteaySht thin compensates for camera ‘ake Cond image ud wih ary Bee ad has the highest resolution Area PS e OTHER TOP CAMERAS WU Si Te iA} Th DMC-L10 Perey ray Dy Prmenes ttosin, mers megapiael Four Thtds-format Lumix BMC-LA, isa hefty tlich instrament ts Leies-nspires metal body is lat on to, has a separate shutter speed dial, and enceles, the lens with an ole-fasiones aperture reg All thats gone from the lighter, polyearbonate-ciad which has a conventional prism hum; a comfortable, shapes hanceip; and newage conto And while the LI was the ist: SLR wit Live Vw the new com ds 9 second, more usable variant in which autofocus is per Fy formed with contrast detection by its 10.L-megapiel, Four Theds- format imaging sensor. This second Live View mode's AF is sigtysiower but way mare tex: ible, with four different sub-modes that allow you to contro the size and poston of upto 1 focus points The Lumi L10' vitosity is mul tplies by ts 2.5:1ncn variable- foitee | Sites Cie et Peet erates creed eer Sony lens, haticeably exter the tonal range; ninepoint ye-Start AF; automatic sensor cleaning; a moise-reducing Bionz processor; a 720-shot batter an *intlligent” battery meter; and a superiegible, sel otienting data esol But the feature that most distin uishes tre new Alpna fom ts angle LED, which swings out 180 cegreeshorizonaly from the body and rotates 270 degrees. This means not onl thet you ean ca ose from waist-level or overhead but also that you can face the s27¢en forward fr selF-porratue Anther standout aset ofthe L1O f the zoom that comes witht Is rota typical low-budget "kit lens uta beauiully made Leiea competitors is its 14.2-megapiee! (CO image sensor ‘The A35O provides the highest resolution ct ny Sony digital SLR and produces ‘more image detail than cameras costing hundreds or even tha sands of dollars more. Yet atm imum fle size, the A350 can still record an unlimited number o ‘continuous JPEGS o: upto six RAW frames, a upto 2.5, ENTRY-LEVEL D-SERS D.Vario Elmar 14-50mm (28. ‘00mm equivalent) with superb image quality and builtin MEGA Optical Image Stabilization. Being in the les, the latter's smoothing effect i visible inthe L10s view finder. Ané while the née is small ae in most Four Thirds mod fla clever 1.2X magnifying eve piece improves the vow si nificantly,Tro raseetetaccasess aneation when they debuted the tough, sawvy K1OD, the frst \weatherseled D-SLR priced under '$1000. Now they've dane it gain creating an oven less expensive ‘mode! with the same 10.2-megs. nel sensor and vey similar specs, Physical the new i slightly smaller than the K1OD, but ts fiber-reinforced poljearbonate shel and sainess Steel chassis are just as russe, With 60 environmental seals affering pro-caliter protection against rain and dust, The K2000 also shares the KLOD's seneor Vioating Dust Reduction sytem, but it adds something called Dust Alert. This feature creates map of ary remsining dust on the image sensr,cisplaying it on the camea’s 27ineh LD: er, by the way to help with manual cleaning. The K2000 also incorporates Pentax’ own Image Stablization system, which shifts the sensor to offset camera shake. That means you can get sharp shots at shutter speeds up to four stops slower than you'd orginarly need, with ENTRY-LEVEE D-SER Nat [ay E-420 See Grae eee rene feeusoptes, And manual focus is Aided by the K2000's haa, bright ‘ewinder. one ofthe biggest in its clas, with 0.85X magnification and 96 percent coverage. The 2000 also retains the K10D's SSAFOX II AF system, which has 11 focus points—impressively all eross-type. But it moves the [AF area selector and a fe ot foemery extemal canto tits wal bi professional D-SLR can be verl for everyday sheatng Given a choice, we might fake the delghtuly portable 2420 instead It weighs ust 15 ounces—thre lees than ts ‘osestcomptitr—and measures foniy 5.143. 6x2.1 chest squeezes inte a coat pocket even the 14-82mm (284mm ‘equivalent kit ens attacned. And it slimmer stil with the minuscule ew Zuiko 25rym 12.8 (50m equivalent, which has a depth at less than an inch, Despite ite se and bargain price, the 10.1-megapiee! EVOLT £-420 delves dynamic range, rity, and color Tide: hing that af he top of-the-jine Oimpus E-3 (see page 39). lt owes these assets to better wite-balanee calculation, new noise-reducing amplifiers, anda TFuPe Il mage processor. The later sso allows 3.5tps shooting, match ing Canon's Digital Rebe! XS, ‘sa ike the E-3, the E-420 con be Set to selectively boost shadows. The E420 gels a bigger, more iy LOD sereen with a wiser ‘organizad man system. Alt that sad, the new mod 5 maging oblties are remark able too, Tere’ instant RAW capture via a dedicated button; an Expanded Dynamic Range setting that significant improves highlight cetal and in-eamer, postexposure JPEG fier effects nd RAW-f-IPEG conversion, Pet= has most impressive, you preview, in tea time on Screen, the effect of changing set- tings—before you take the shot. viewing angle al sets for Live jew shooting. Ad Live View is ‘avaible wih tee focusing modes three-point, mirorfp phase shit E-410'; contrast detec tion similar te the Panasonic L10's (rity up to 11 focus points), and ‘hybrid mole combining the Wo, for extra precision. Onscree Perfect Shot Preview shows you ‘multiple thumbnails of the Live View image with various effects an adjustments appliad so you ‘can choose the ‘one you want ect Lid ss De tiriseied arenes ee esc ee eet Perec nt) erent eee) ing sab eimamic range make Pete eee OTHER TOP CAMERAS before you soot. While the €-420 Tacks the built-in image stabilize tion of its costlier sibings, 1 does have supersonic sensor cleaning and prograce wireless multi-flash, for managing upto three stro froups on its LCD control pane and tgering ‘on-up fas,MENTOR SERIES Worldwide Photo Treks wi 'W W.MENTORSERIES.COM reentand and shoot 2076 OE most sublime tandscapes planet has to offet TH aiorench begins just nent sorte arbe ccc w0 Ae to se fangertussuad, fre 20 aay fe we inary pro oPPOTUT AS he a oce contact wih ge wiilife including the . ease oxen and caribou. He ship and a se gal usher you thrOUBh, en and’ various lands A Feniand’s second Crest ty, and the DUS, fishing ees reathtaking views Of ipseatt Mountains 3 preaing. Final. creeviands grand glade EP STM yith awe-inspiring W nforgettable MaBe> July 31 —Augu guided tour store sport of DOB sorgredsorse"- August 22-24, 2008 Nikon P) rofessional Ph iotographers: Bill Durrer ince and Rosan ine PennellaFOR THE PAST TEN YEARS, the Mentor Series program has taken photo-enthusiasts to destinations across the country and around the world. With top industry photographers accompany- ing participants every day and teaching them how and what to shoot, there is nothing like a Mentor Series trek. You and your photography will never be the same! Embark on the photographic journey of af reat desert iands of Egypt. THs tr Of Cairo where your camera will 5 23 etme ac the begins Inthe busting ey be tested to the ancient a with ths tek through the gorgeous si and plas ofthe Temple at Karnak one of te nen ‘lfys distinct character wl Stesin exstence nd ts nearby ov gratre sights such 35 Tnty ef Linor ilyour lens wit ae through thecamer enh fine Fl urns wth ee andscapes ofthe ish countiysideen route to nobility. Finally, capture the hallowed and oeetntok one fli aera ee, Yul ote SED Siow ins sae rsh ah eating ce the renowned architecture of Belfast Castle and amble [Journey through the ancient remnants and limites beauty 2 ie eno etd Shar fons where pollcal urls Faypt wl pride mages sna sre rates eauty of tne te sets and brant cra ces alt yur a hen We Eenence the breathtaking views ofthe Giants ci 7 Gxbseway atthe Carica rede Rope Bridge and Wears er 9-1 9, 2008 ‘west coast including picturesque Galway, the Aran islar Nikon Professional | Photographers: Ssherans Meare ty 9 Matt Ciaran ar ea history of Ireland wil leave your portfolio brimming with Beginning in Dublin, the ¢ lend itself to your lens at sig College. Heading north, pass ate counterpart the Temple ctacular views of the Valley lumerous Egyptian Pharos and Sept. 24-Oct. 3, 2008 Nikon Professional Photographers: ‘Mark Alberhasky and Layne Kennedy QP rrorosuetrer [Moh aicresoft: rete uninn. Nikon.Sie ae SLR LENSES OS Bees NIKKOR aU £/2,86 ED PAPUA Cy PETES NIKON AF-S 7-14mm #/4.0 ED NIKKOR -24mm 1 £/2.8G6 ED One legacy of the film-based Advanced Photo System is that it got optical designers thinking about what they could do with a lens if it didn’t have to cover a full 35mm frame. Indeed, the size of the image sensor in most digital SLRs is roughly based on an APS “C" frame, and along with the even smaller Four Thirds—format chip has allowed designers to create lenses that are faster, sharper, and more compact than ever. NIKON PC-E ‘uyiaPus ZuIKo o1GITAL ‘NKKOR 21mm 14:35mm 12.0 €D SWO me THURON SP AFIO-28mm (25-4501m OTHER TOP SLR LENSES1: epic photographers who shoot with per spectve-contl (PO) lenses can finally add tite to thetr shite. Unik al prior Nikon FC optics except the recent 85mm FC mace, the manual-focus 24mm PC-E Nik har lets you angle the lens up 10 8.5 degrees to ether side, along wth about the seme amount of lateral shift hat made our old 28mm PC Nikkor so reat. This means in ah tion to keeping te fim plane foo image senso paral to the subject to prevent the convergence of para letlinee, you can tf the plane of focus (continued on page 84) This affordable yet high: performance wide-angle 220m StretehesTanvor'scurent 11-18 {14.556 lens on bath ends ot ts focaLlength range, reducing the equivalent in 38mm of about 15 ‘36mm (er Nikon D-SLR ather than the D3) or 16-381 {tor Cn D- SLRs other tan the EOS 5D and 0S 1Ds-series madels). It deivers bratty much the same anges of view, for smalle-chip DSLRs, thatthe tred-ane-true 16-35mmm does for 35mm ot (continued on page 84) 3 eaSm its Four Thtds-format mount that fis ‘Olympus, Panasonic, and Leica Dig luk DSLRs, this 10-elerent zoom stays compaet (about thvoe inches long and wide) but delivers ® powerful 20-40mm range (35mm squivalent).It2ps tram ulravide rele to slightly. wide focal le ‘that can be used with lite evicent stotion. (continued on page 84) 4 asm > Photographers rive of tee furame ‘hooting with 9 28-70mm 12.8, sometimes bemcan that zoom Speed, even though is constant. Prime lenses fling within te some focaLlength range often provide an| 12 maximum aperture or wider, raking ther more versatile in iow light. The zooms 12.8 isa compro rmise—a way both to Keap the max ‘mum aperture constant and preven the lens from getting too big for (continued on page 84) CANON EFS 55-250nm seis Builtin image stabilzaton more than offsets the voriable-apeture desi ofthis compact, lightweight lens—a ‘moderate- fo supertele UD zoom ‘equivalent o 88-400mm (in 35mm ‘Anon, simpler I$ technology bath loners the cost and increases to four the numero tops by wnieh you ean safely shoot andheld below the focal length’ reciprocal, ‘Atte lens’ nighest magn cat for example, you eauld shoot at 130th second and shake would be countered well enough to prevent image blur. We arabably woulda't trust aur am steadiness at such a Sow speed; we fee safer at wo to three stops slower. Assuming you dont (continued on page 84) ‘Afine math fr the impres ‘sve Pentax K200 (see page 40), is razor-sharp, smooth-focusing tee photo becomes a 300mm #72. (in 38m terms) wien you use it on that camera, And the 300mm was always a bread-and-buter op fer 35mm sports and wilde pho tegraphers, aval abe for ust about any brand of SLR. That lens was, hefty thougn, witha barrel length of 10 inches & more, a gith of ua to five inenes, and weight approaching Sik pounds. By contrast, the new Pentax 200m 12.8 (which meets the same tough weather. and d resistance spot as the K20D bodys. only ha that long, jst over three inches in (continued on page 84) PENTAX smc DA" ‘200mm ined an) som Accurate focus is eral when you’ shooting macro photographs, ven ne inherently shallow depth of feld at such clove working distances This fl-meal, manva-ecus lens forthe Nikon F-mount makes the easier by guing you a wider max- Imum aperture—and thereto 3 bight viewfinder and mare deeive paint af fcus—than withthe 12.8 ff most other macros, (Fer shooting very clese we find autofocus to be more of a (continued on page 84) 8 ere Avalable fr Canon (EF-S} and Nikon (OW DSLRs, ths constant aperture, wide-angle com proves that inde ene eremalers can bul enees rat are every bit 9s good as, if not better than, those offered by the SLR makers themes. eink is ‘optical quality equals or beats at of is closest competitors, which include lenses with 10-20mm, 10 2amm, (continued on page 84) t This zooms very wide to moderat-tale range is ial for full-frame DSLR. So why woul Sory bring out such a lens, even nat te smale-than-35mm chip in Sony D-SLRs makes ian olé-schoo| 35-105m? To prepare for Sony's full frame, 24-mogapixel pro DSLR, (continued on page 84) OTHER TOP SLR LENSES EIS MAKRO- PLANART 100mm 122 roxas more eee tee { ‘SONY 218s ‘VARIO‘SONNAR T* 24 70mm v2.8 28CAMERA CELLPHONES yard CAMERA CELLPHONES SONY ERICSSON c902 cy Pere from providers suc DOC Wm eect or eras om rae ENS ECL) vibeo et a) AT&T and T-Mobile. The camera cellphones that made our cut this year have much in common. On the camera side, they all feature five megapixel resolution—enough for an 8x10 print, lenses, compression, and processing permitting. (And their lenses are often name-brand.) These models also share a barlike shape resembling that of compact cameras, one that serves photographic purposes well. All have integral music and video players, e-mail support, Web browsers, FM radio, and TV.out connections, They even have secondary cameras that let you make video calls—if you have the service. These phones are all GSM models: Buy them unlocked from a retailer and you can use them with service h as SONY ERICSSON C902 Pees Pat z ae re F re Gaus Sens ial eo rs tardNokia N82 This bs: phone ie sleek bu ust big and boxy enough fo give it a rmera-like fl wen you hold it horizontally switch net to its ss AF lens (equiaent to 3 35mm ‘ca lent in 35am photogra phy) and fash (a traditional tube father than an LED) ips azan the lens cover and turns on the cam era, Along with state-of the-at five-megapixel resolution, ‘the N82 offers most of the options you'd expect from a good com act inclusing macro and ian: Scape focus moses; portal, Sports, night, and night portrait Scene modes, and 2 custom able, “user-cefined” mode, It flash modes include fil and red ‘ye reduction, shot timing options inelude a burst mode, a variable selttimer, and even time-lapse settings. White balance, contrast. and sharpness are adjustable, as isthe cameras equivalent Speed, which can be set to high {180 400), meciurn (80 200}, or low {180 100). The N82 captures italy stabilized VGA ‘video, also on microSD cards, at 30 in the MPEG: 4 format {Wou'l be gla to have the sup plied 268 microSD car.) To help you with compesition, the NB2 can display a rule-o thirds grid overlay on its 2.4-inch LCD. PietBridge support lets you send photos directly to a printer Nokia N82 builtin software makes it e934 to Upload photos and videes fo the Web, which you ean do by WiFi winen you're within range. A Sym bian $60 thirg-eution 0S ana “sia platform mean you ean ada third-party mobile imaging applications, inciwing oft ware that uses the N82" builtin GPS capability to geotag your photos. About $500. Sony Ericsson Cyber-shot K850 Modeled on Sony's Cybershot compacts, ths eponymous bar [hone haga camera-stle saith for flecting photo, vdeo, of playback ‘ede. When you choose pots or video is lens opens up and buttons on the alphanumeric keypad {urn inte camera contra, ented by illuminated icons. Camera specs and features are similar to those on Sony's 6902 (oppose, right), with five megapieels of resolution and modes such as BestPic and Photo fix helping you get good shot both befor and ater you take it "The KB5O offers te srs of white balance, cole, an fash selections you'd expect from a regular snap shot camera, alongwith some you might not—spot metering, acjustable ISO, panorama mode, and digital image stabilization. And re regular camera comes loaded with Sony Ericsson Cybershot Kas the K8S0's photo-blogging software, which makes eso Upleae phot (saved on Memory Stik Micro cares) tothe Wed. On the downoad sca, its Java platform ies you add your favvitemebiie imaging software programs. Abou '$500, in geen, be, or back. ‘Samsung SGH-G800 The only model with an ‘optical zoom in ou stslar ‘0up, this sider phone has a 3x focal-length range that’s roughly equivalent (in 36mm) to 35 105mm. I also incorporates 3 tube ach and 2.4-inch LCD. 8 iding lens cover pane turns on the GBQO's photographic turetons when opened, and gives it avery amerake ook, The new ahane is camera-like insice 28 wel, with face-detection autofocus, image stabilization, and a Wide Dynamic Range Optimization mode that opens up shadows while pre serving highlight detail. The (G80 offers scene, burst, macro and panorama mades; adjustable white balance and ISO settings {and ree-eye reduction. It also pro vides PitBridge support for sen Ing polos directly toa printer images are antec to meres ern cy cards; use the supalie ful-SD. adapter to download photas with your card reader. About $400. Ora CoAT CELLPHONES SAMSUNG StH-6800 LG Ku990 Viewty ‘stylish bar phone with a Schneider lens, this model sets itself apart with photograph coviented features such as manual focus (quaint set witha ring around the lens), 2 top light: sensitivity of 180 800 (which ‘can be adjusted manual), and digital image stabilization, the later two useful fo ow-ligrt shooting without Nash. The View: ‘y's lash isan ald-fashioned tube, not an LED. And just ike fon a conventional eamea, there's 2 three-postion switch for chang. ing from photo to playback to Video. (Unlike most camera cell: Danes, the Viewty can shoot Wob-quality videos a! 120Ips, for slow-motion playback) ‘A tvesinch, touch-sensitive LCD screen makes an especialy nice Viewfinder ang an intuitive inter: face for changing settings, which In adtion to ISO include seane ‘modes, macro focusing. and a variable selttimar tat las you put youself in the picture. You ‘can write itectly onthe sree vith a stylus to acd notes to your Dhotos, and the Vewty’s handwi Ing recogition software allows you torwrite out Web addresses so you dot have to punch tiny buttons “That way, you can get your pic tures feaved to micraSD or mere SDHC earda) online even faster About $450. —ANr suoaicae AMERICAN | Ls xus90 ViEWTY 4earn PUNIU EN Ea AN This year saw the advent of specialized plug-ins for Apple's Aperture 2.1 and nondestructive localized editing in Adobe's upcoming Lightroom 2.0—bringing Photoshop-style control of specific image areas to these picture-management powerhouses. Some of their fans just might not need Photoshop anymore! CUT et eee ene 24 laa gntrie program, a winer in our 2 os eee Se canon tees ae Maree cette Ge ec eee ee including s Ga eats Sean Sree eae ant eee APERTURE 2.1 —{—z{_————— . This remarkabe ° Like pre Dlugin brings the innovate U- vious versions of Dx0 Labs’ highly This affordable Win Point technology first introduced in sophisticated image corection soft Aer wo yeus of walling, Mec. dows imaging suite combines Pho- Nikon Capture NX to Adobe Photo- wate, Optics Pro 8 carects near owners fall get a brand-new “ee- _toshop-sve peel editing with shop and Elements, 2 wells starton, vignetting, cole fring- mental" version of fulledged Pho- graphics creation, a browsev/rge ‘Apple's Aperture 2.1. totfes @ ng, detail softening, and ater opt+ _tashop CSS. Elements 6 for Mac. iter, and @ Learing Center for iy simplified approach to cal defects using ropetary proies retains many of C83'e essential dail newcomes. Notable is its ‘making local adjustments to strengths—for way ies cash, new Express Lab, which apolies ‘an image—moe or less eliminating Thus comes withthe topnotch base image corrections without the nee ta create complicated [Adobe Camera Raw procescer and opening the fullfunction editing selections or masks. To change 5 “ron-loc ‘he pro-evei Bridge browser, window Anew HDR test brightness, contrat, saturation, or sre dell, eliminate moire for image argaizing and batch” bracketed exposures hus, jot drop 2 Color Contrat rfc, and enhance operations. Also new are CS3.ike _igh-dynamic-rang Point where you need it arc use low-igt imagery. Its newiy deve- layers, Rstvies, lens carection, outstanding quality. We ike X2s ts pop-up sliders to adjust image oped alge reduction is applied backsound extraction, expert black- Photoshop-like assets: plugin parameters and the afec'sdlame- pri to RAW ccrversion, rendering and-whitecorwersan, and limited compatibility; cures, layers, and ter. You can cleanly darken a sky extremely tine “grain” while pre- 16-bit support. PSE 6 gets its own layer styles; CMYK imporverpot; even iit broken up by an regu: serving sharpness, saturation, and ook: a dark-ray Lightroom-like and fullledged ool manage lar horaor, oF dodge a smal tea. colar aceuray even at high SOs, interface wth 9 Photo Bin that ment. Plus, ascif “Time Machine” Even better, you can use Viveza Version S also gets amore intuitive, shows chosen images anda tabbed effect will ven age your photo ‘3 @nondestuctve Smart Filer in atactive interface and batch dust. Edit Pane! with Full, Quick, and graphs to match the era you send Photoshop €$3, About $210, emova, From §150 to $270. Guides moles, About $90. them to, About $100.—6 OTHER TOP IMAGING photoshop SOFTWARE eeLa ea PRINTER OF THE YEAR Tapas Art comes in all sizes, and fortunately for photog: raphers, so do inkjet printers. An 8x10 print doesn’t cut it anymore—particularly given the amazing image quality from the latest D-SLRs. Our choices this year output prints from 13 to 64 inches wide canon s imagePROGRAF r PF5100 CANON imagePROGRAF iPF5100 7 OTHER TOP FINE-ART PRINTERS anon’s new wide-format enty is he mast affordable photo-qualy mative fr those of us ao want ® printer that produces 17-Inch-wide out pul and alse offers roll paper capil. With 12 Lucio inks and simaltanenus blacks, th combines wey high image quality with an important convenience tea ture—theabiity to swith, on demand, fram glossy to matte back ink, and there fore from glossy ta matte paper—that is lackingin the (Continued on page 85) EPSON | Ome, sTyLus | 7 5 PRO Dei This top-ot-the-tine model is stat See ri miles ‘re never satisfied. No sooner does a new piece of photo equip ‘ment come to market than someone asks, What's coming nest? ‘That someone i usually us, and occasionally we gt hints of whats next from a high-end model that» manuactuer tings out to test the waters, to prove ae technology, orto eve that technology ahead star an the path to economies of scale that wil make k more affodaale te build and bu. ‘Those reasons drove the release ofthe Ps and also explain why we've chosen it as ou Fine: Art iter of he Year. With a $13,500 price tag and a 64-inch rll-vaper capabily, the SP11880 is Unlikely to find @ home except with wel-lunded photographers who want tomake ver large prints But we think this highly innovative pigment based inkjet printer ceserves recognition asa harbinger of things te came. Fst things Ist the SP11880 hat anine channel printhead, and therefore oes nat require the user to manually remove anc reinstall photo black anc mate black inkcarvidges when switching fom (continued an page 5) a a ° “wo years aan our Finer Printer of the Year was the HP Photosmart Pro BSIBO, an shoto R190 eight-color,pigment-baredinkit best black: especialy go at prodvcing dea: and-nhite pri fra black-and-white output among this ye inch contenders isthe HP Photosmart Pro 88850 (ish), the Epson Stylus Photo R1900 That printer has since gained many lagmiters, and HP's Photosmart Pro 88850 wil sllow mare of them to tay into its technology, The 88850 isthe best at color eutput. Though uses the same eight Viera archival its number suggests i's an inere- inks a the B1BO, with ive colors ‘mental upgrade from the three-year and three blacks photo (gs ‘01d R1800, the R1900 uses anew matte, an light gray-—that ave inkset in (continued on page 85) ts mono- (continued an page 85)Stunningly quick Stunningly easy Stunning results ‘gave it the ultimate test and used Portrait Professional on an image | SHUTTERBUG had already retouched and was amazed at the improvements it made.” Joe Farace The Next Generation In Photo Touch Up Portrait Professional is new, intelligent portrait enhancement software ‘trained’ in human beauty. It offers complete creative control, improve any aspect of your portraits, just by moving sliders. Fast. Easy. Fabulous results. But don't take our word for it. Get the free trial. ‘American Photo readers can claim an extra 10% by ig the coupon W6244 when buying. “Not only can it achieve similar results to: DNolograohe Mz cont acne cits parece www.portraitprofessional.comEN UPR OSLO AUR UC aN ed Coie ‘Our goal at One Softwares to uid tools that easly solve tne consuming task in Photoshop so you can get back o shooting. De ee er eee ee ee a er ey re ee een Photaols ,PhotoTune 2 and FoclPont 1. The onOne Plug-In Suite 4incudes Professional Eton ofthe following sx onOne Softwar products: a nL Ce aT cost oad net pa achintenen me Tree maT er Fret Cpe mm ern Ta re ed ee er meee) me tet Pet te ee er caer Paine ae ante ee Deed CoN Ee Lens tehioe ispspepatan SAC) MCs CencPONLTPOLICThe Fife) Tower tranetermed ART, "Sy tain Goer INSPIRATION, ADVENTURE oO" the past five years, photography has seen a bewildering number of tech- nological advancements (see State of the Art, page 33) and an astonishing rise in the number of workshops offering guidance to devoted enthusiasts These two developments are not unrelated. The sophistication (and often com- plexity) of modern photography has created an unquenched thirst for knowledge of the digital arts, from shooting to postproduction and printing. (Conversely, there are also plenty of workshops dedicated to those photographers who are enthralled by “antiquated” processes and technologies, including film.) But the demand for technical training doesn't fully explain why workshops have become 0 popular and plentiful. Many also offer the chance far travel (if not adventure). Others can be @ source for valuable career mentoring. The very best ones offer both students and teachers the chance to dwell, for a few days at least, ina place where inspiration flows in all directions. On these pages you'll find a dozen workshops that fulfil all those goals. Our choices reflect a range of prices and locations, as well a5 photographic specialties from commercial and fine-art photography to photojournalism. You'll also find exclusive master classes with three different and remarkable workshap mentors. So get ready to learn. ». Sonta Fe Photographic Workshops is more than DP usta pace to lear, ii fulledged community Instructors from all walks of photography, students fam ‘rou the glee, and some ofthe best ft sain the business came hee to lear fram each ater, exchange industry news, and indulge a mutual love of the medium, all withthe stunning and dramatic beauty of the Sangre {e Cristo Mountains 2 a backsiop, is the meeting place ofthe photographic world, Santa Fe has a workshop for evry approach, interes, and skill Instructors: | So many the website level Asmal sanyping:Stocents ean tna ut wnat t includes an index ‘means to create visual poetry wth Keith Carter une 22- search by last name 28); refine the use of tgureground relationships in their owe Santa Fe, New Mexico; hotegranhs wth Jy Moise uly 20-26), get an intro oon re He destination tours ‘uction to creating volume using studio lighting with Bobbi Lane (July 27-August 2, or com the nity-gritty why: | Like Rick's Café, every Df advanced Photoshop for ahotagraphers with Joshua ‘che Gowns ta Sentai Withers Une 29-Ju Participants can also experience the quality and favor How Much: | Most Santa Fe of Santa Fe workshop offsite, Just one of the many workshops around Cesinatonorented offerings available through the work $000; tours! shons, for example, is Raul Touzon’s Dance of the Gods vary wldaty depending (Osrace, Mesica (July 19-26), which glues students iy den access to traitional cancers at the Guelaguetz nn destination tion inthe village of San Antonio a Contact: | santafeworkshops.comMENTOR (ata Dittien ae font mene of the Magnum Photo Agen and frequent conteibutor to National Geographic magazine, has recently added another job listing to his résumé. “Mag hum named me is Minister of Education, he says, chuckling, “As they say, no good ‘deed goes unpunished Though i's nota formal tle, the new moniker recognizes the enthusiastic follow ing that Harvey has developed as a mentor for young photographers, Harvey has heen teaching at workshops around the coun for many years, and in 2006 he launched his own, which he held in his loft apart ment in a magnificently runedowun building inthe Williamsburg section of Brooklyn, The building, home to a numberof photog rapers (including Paolo Pellegrin, Stan Greene, and Rabert Clark), cam known within the photo wold as Butz. It proved! to be an intriguing for Harvey's particular talent The idea for the workshop came out of the bl Starting to do about that time,” he says, Harvey's blog, called Road Trips (go to dvidalanharves-com, has become one of the most enthusiast ‘ally read photo forums on the Web, More than a diary, the blag is an ong: nversation that Harvey conducts with a wide audience of young photog. raphers around the world Workshop: | The Loft Workshop Where: Why: phot become one of the intry and Magnum’s r of Education” How Much: 0 for seven days. Contact: | davidalenharvey.comHarvey discusses specific techniques and broad philosophical issues on the blog, som times simply waxing poetic about his own images. ("i hear a sad song ... i do not under stand the words, but ean cel itis sad. ‘wander S50 Paul, with nota clue where i am, but am told jam ex in the heart of Samba.) He also challenges his audience with photo assignments, while moderating and directing the comments and responses he receives to his posts. “if you want to know what my work- shops are like, just read the blog,” he says Harvey limiis his workshop, which will be hel for the third time this October, to ten students, whom he selects after reviewing their portfolios. He sends them on assign ments throughout the city, and, at the end of the week, holds a high-pressure slide show in which they present their final projects to the likes of James Nachtwey and Eugene Richards, Throughout the week Harvey also. borings peaple fram the News York journal ism, ar, and publishing worlds to his lft to meet his students, About 75 percent ofthe students are inerested in photojournalism, but we also have people who consider themselves fine ant photographers,” he says. *We get mid: ‘carver people and people just starting out. We ar sy tow pour Haney ‘was becoming, the agency enlisted him to launch a series of Magnum workshops. The frst, held last January in Oslo, Norway, attracted more than 100 students, Another ‘one is planned for this fall in New York. (Visit ‘magnumphatos.com for information. Through his blog, Harvey has also. launched what he calls the Emerging Pho= tographers Fund, a grant of $20,000 that will go to help one photographer each year fund an ongoing project. (Visit davidalan hharvey.com.) Earlier this year, Harvey and the other residents of the kibbutz were ‘evicted due to building-code problems. He hopes to be back in his lot by Qetober but thas made alternative arrangements for the workshop, justin case HARVEY ON RISKS ‘Some people pay a lol of money for 2 ahoto workenop, then won't take 2 risk nen they ome. The toughest students often ae the mid career people who have achieved some ‘success—theyte already freelancing, they're working. They want to show what they can ‘ready do. | take those people and try to make them do things they Raven't cone before For them the fst couple of days ofthe work sion canbe stessfl. The best student 1 had rom the fist workshop had o experience but he was free ab a bird, ready tog, ‘Some people come tothe workshop and have Something to say. They're the easy ones to direct and challenge. Bul wth other people you have tobe abit of a psychologist. You've otto get in their minds and see whet makes them tie, then unlock thee thoughts. You've got to tgure out why theyre stuck wnere they Bre and how to get them to open up. It's not ” really abou YOU'VE GOT _ teething tech O-GEr soot heen IN THERE AND students discover FIGURE OUT thenseves, ana WHY YOU'RE __thicicuizon STUCK WHERE 1) Lon tds YOU ARE.” tah tht wok Sicily, 2007" (top) and “Cubs, 1998" (bottom), both by HaverFLASHPOINT ACUTE iE Meu) MIONQUGHTS 1d deliver consistent performance ttngs, quick ecycng time, audbe Nash-ready Available exclusively at adorama.com Tipess Shown wOptonal Head ANSRAMA Sneed Adorama Camera & N 19, for 15” Diagonal Soft Leather H6PE Soft Leatherette PT LM LT ML Ed ¥6r0 UU ee Lt Nylon Rm #6BCBK Black Gee RU UL wesosy = Gy Pee re teen compart 2 rugged beg that will not. scream ksi, come ar st offee an the go ina usiness Bag. SE eek Ca an een sity! You n Ce ee Memo & less weight than standard aluminum ball heads.rare ce?a Organizer: Where: Why: How Much: Contact: Rich Clarkson Jackson, Wyoming, and Colorado Springs. colorado One-on-one training with instructors at the pinnacle of their fields $1,000 (Sports, Photography Workshop, June 15-20); $1,950 (Fell Summit | and I, September 28-October 3 and October 5-10) photographyatthe ‘summit.com With» supertaw instructarto-stc "Summit Series of Workshops pr real quality time wit the photographic super and photo eitors on board fe Photography Workshop (September 21-2 reads ike a Who's Who inte tls: Dave Blac Keith Ladzinsi, S Rich, Bath Rh workshops etten raghie soaks, a a in the Grand famous, Phocographers who folio Damia Mart Teri and pe ture editore Brad Smith and Porter Bike, hotograghers, Denis Rese specializes what he tems "wedding photojournalism, an approach that favors naturalistic ima over formal, contrived portrature. For Reggie, the approacn isnot so much tecnn'eal 35 prio sophie. He likens ita the kinds of people who shop at chains ike Whole Foods Marke, which 1.” Held several times Sa 9,000-sauarefoot home and office, Reese's Conclave Atlanta Worksna9s tude his lighting tc ata local ch Organizer/ Instructor: Where: Why: How Much: Contact: Denis Reggie Atlanta, Georgia A chance to lean technique from the man who revolutionized ‘wedding photography $1,950 for two-andahalt days denisreggie.net/ ‘workshops.htmlmrerroemenss Same ore erro eases Beier pene peti Jay Dickman and the other Firstlight Workshop it makes an poies and lense ‘Organizer: | Jay Dickman where: | Duboi Analog bei digital pertePORTFOLIOHow Much: Contact: Jonathan Maher Italy, Mexico, Namibia, New York City, United Kingdom Instructors who have bigtime photo cred $500 (Creative Seeing in 2 Days, June 7-8); $7,400 (The Tribes and Dunes of Namibia, October 419-November 1) vspworkshops.com Here you can travel and photograah very experiences ands, ineluding Joe ecNally, Nine dermen, ane VSP Workshops founder Jonathan Mahe, whe atende each event Tou, wershops, and masterclasses alow dents to choose fm cifferent sil levels anc mixes of teemnica|instuston an free time, ‘Wihen not bettering tei technique, patcpants an roam places like the wild-hors fies of ‘camargve, 1 the dunes of Kalahar Namibia. ¥SPs YouTube forum (youtube. com’ vspurrkshops) features instructional videos mace on locaton; at the VPS Website, students Stay in touch with frends made during the Wp Dimui Phototours sseciaizes in exsloring the dives terrain and culture of Irae Fach tout begins with» hats, teenie ‘orientec seminar to make gure that students are samfertabl and uptospead fer work i the fel ‘hey went want te mis a single shot while poring the natural beauty ofthe Dead Sea or the complex ste life of Jerusalem, Instuctors and tour gudee help partiipants explore ana ‘capture such sites as the Golan plateau andthe City of Dawa A use ini of every tout, a min: ge processing rounds out the struction, With all mals and accer price, Dinu strives to 0 turs of rae that students wll remember fra ifetime. Cofounders: | Neil Folbere and Michael Jacobs Wher: why: | Learning couched in luxury and cultural richness $7,200 (Seeing Workshop, November 16-21); $15,240 The High Negev Desert, November 2-7) Israel Contact: | aimul.comAiristestastoe acing photog phy for 12 yeas, which sometimes strikes he as funny considering she dict ‘gaduate irom college until 2002 she's $4) Arbus talent for teaching photography has never been in dispute, however. The claughter of photographer Diane Arbus, she has been around the medium all her life She also studied fora year at Boston's School ofthe Museum of Fine Ars, but she says her mast important education was on the streets of New York City asa photog phe for The Village Voice in the 1980s, Her ability to approach strange them to stand for portraits sets her apart not ‘nly as an artist but also as a tea “People come to me to make better pc tures of people,” she explains. She tells them to be patient and kind with subjects, and to cultivate 2 genuine interes in peo ple. Not coincidentally, those qualities also make for a good tand busy) work shop instructor In the next few months Arbus has three classes scheduled, atthe Fine Arts Work Center in Massachusetts the Anderson Ranch Workshops in Colo- rado, and the Maine Medlia Workshops lochere she has taught for eight years) Arbus also has taught classes athe School ofthe Intermational Center of Photography in New York for more than a decade. Because great photography is hard to vetbalize, Arbus likes to teach by shemsing: She often shoots portraits of students in nd whan she’s not show ing, she er students to do, 6, do. For her ICP class titled “The Narrative Portrait.” students work on one story froat ofthe clas, Workshops: | Fine Arts Work Center (Provincetown, Massachusetts); Anderson Ranch (Snowmass, Colorado}: Maine Media Workshops (Rockport) Why: | “People come to me to make better pictures of people. How Much: | $700-1,045 Contact: | amyarbus.comthroughout the ten-week course, She designed the curriculum to be a miniature version oi lives ave realy lke of selF-doulb and paralysis guest speakers to her class, which have included photographer Taryn Simon, who pat they wil ge they don do,” she explains help them throug! infu igh that something downtime tog deeper and more interesting ile steeped in the inefia. Arbus’ students, few min bile, Arbus’ classes also hone hatd-and-fast techniques. She pays special attention to edit ncing, find ‘often show up withthe “wrong i had done litle m say a few words, the student turned to him and! asked, “Where have you been all my lie? They cantinue ta collaborate on projects 3 these relationships that printed Inthe end, ii Arbus defines a successful class. “I think rkshop has been an enormous success if group that maintains contac he says tha she : Arbus's students are also terested to hear a how she created the "15-minute porta Ww The Fourth Wall, with each other th was lke having the rug pulled “AVEDON . CRAVED A ine alot PHOTO 4 COMMUNITY, AND HE seein TREATED US So erthing LIKE PEERS.” *Symposium Head Judge Darius Himes Judges Jen Bekman Jen Bekman Gall Elisabeth Biondi rhe 1 Frish Brandt Fraenk Charlotte Cotton \acma Stephen Gill Lesley A. Martin 4: Alan Rapp Book: Kathy Ryan 7» Brian Ulrich ograph Denise Wolff Phaidon Pr Canon PHOTO pun International Salon anc rT) SS eee Photography Book Now isan intern inthe moverne rip to San Francis atted by ma self-published book liveBooks ckr SmugMug @ photography boo] now International Salon and Symposiurr Sympc Tales) 4 phot oie nal juried tock competition, traveling salon and symposium July 14th for your chance atthe $25,000 grand prize, 18 your book using Blurbs free software and commercial-quality printing, 0Instrctor Sets Resnick Seth Resnick and Jamie Spritzer Various locations from New York to San Francisco Why: | To tame the digital workflow How Much: | $4,099 (four days) Contact: | ¢-65.com {An outot-contro digital worktlow con be pretty sears. Good ting that incor sistent ests, lst fs, frustratingly Unproductve hour at the seeen, and fembarassing re-cos when submitting for publication ean become a thing of the past alter 2 mere four days spent with Sets Resnick and Jamie Spite This do is inthe Ousiness of show ing photographers, photo editors, and lent haw te manage ang all aspects of pos-shootng Aigtal processing. They don't skip a Sp a8 they Umble though the ba tp to assigning metadata and Keyword ing, then ease trough rooting, and attaching ICC paties before driving home the importance of areniving ane digital camer unkeen Because the D465 workshop starts with the fundamentals an then touc fon advanced topics, such as cresting actions in Lightroom for smoath and toneistent file processing and the Insane pyight and security ‘issues, this elass can benefit any level photographer wicanPhotoMagcom 75MENTOR-CLOSEUPGost teh aed ata Rak port College asa fulltime photo student in 1999, Cig Harvey made a crucial discov ery about her rai. “Meamed that you could make pictures about things and not just of things, through the language of metaphor and says Harvey, symbolism and iconography ‘who went on to become a Boston-based! a photographer and a highly respected teacher atthe Maine Media Workshops. “That what ‘want my students to grasp and understand— because its so pleasurable, Itcan sustain an centie lifetime of making pictures, As a photographer, Harvey specializes in sli portraits and sil lifes that combine enigmatic storytelling striking composition, and often ‘wry humor visi eigharvey:com), Hut she avoids pushing her awn style on her pupils * abso Tutely want students to find their own view point” she says, “I believe everyone has his for her own voice, vision, ancl style, and i's just a matter of making enough pictures and ‘working hard enough for that to come out." To that end, Harvey admits that she's abit cof aslave driver in the MMUW's inten ‘weeklong sessions, “When students tell them to check in with ther loved and then call them back five days later” she says with a laugh, “Because being an alist i rot about putting on your smock; its about the discipline af making art. This workshop is total immersion—concentrated and incense, The Maine Media Workshops Workshop: Where: Why: Rockport, Maine One of the MMW's, many distinguished teachers, Harvey instils a powerful combination of discipline and personal vision in her students. $1,020 for seven days How Much: Contact: | theworkshops.com literally 16- and 17-hour days of shooting, lectures, slide shows, and critiques, On the fist night | tell them, ‘You'e going to live as a tive anist forthe next five days. Suspend allMENTOR expectations, give it everything you've got, and | promise it will he worth it. And remem- ber your sense of humor—you'll need it For all the tough love, though, Harvey's ‘photo criiques rely moe on the cartot than the stick. "In review sessions, {always come from a place of wiat’s working rather than what's no” she say. “Is about how to get this student ‘om where they are tothe next place. And so its not about ripping apart what they are doing, Harvey says she ges all levels and types of students, "There are pros, amateurs, doctors, documentary shooters, college students... all with different intentions of what theyre tying to do with their work and different stages of where they are,” she says,“ just try to steer ‘each of them toward what is authentic.” 7a Americar CLOSEUP here are certain “common goals” that Harvey emphasizes: “Now you are on dead- line to make a portfolio. Then you submit to shows. And how do we balance art and life? ‘And how are you going to carve aut time for the creative person i you? | try to instil the same level of seriousness, whether they plan to make a living from photography or not.” ‘Along with a heightened understanding of photography and a new set of fiends, Harvey's students come away with a healthy level of exhaustion. “You're like a worn-out sponge aftervard—totally spent, but with that gid ‘ness you get where you're totally exhausted," she says with a laugh. “L always think after I've spent a week in Maine, {couldn't have packed in one more thing. Harvey's “The Hope Chest, Rockport, Maine, 2007, EYE OF THE BEHOLDER A ot of my work is set-prtaitine and Images about my werld, but | don't encourage far push penple that way,” Cig Harvey says. R peture ean be an autobiography it's 9 lanéscape. Photogranhy is tied to subject mat ter, andi’ revealing what people putin front ofthe lens believe that one can learn about someone's hopes, reams, fears, al of it just by looking at thelr contact sheets—if they shoot enough pictures. | think that's one YOU NEED TO of what | teach: URGUNEED TO ste es WHERE THE imc, WORK |S COM- ING FROM.” the artist an the photographs.”digital ee discover the world of photography on PHOTO «. Photigraphy have teamed up online to bring you the latest news, reviews, how-tos and inspiration right to your inbox. Don't miss the Photo Tip of the Week, a new exclusive feature for our newsletter subscribers. Check out the new Buying Guide. A\l the must-know info you can’t get anywhere else. Also add your own reviews and buy directly from our participating checkrated retailers. Sign up for our free weekly e-mail newsletter! Please visit www.popphoto.com/newsletter for more information.Instructors: | Amy Arbus, David Hilliard, Douglas Holleley, Jonathan Singer, Jim Stone, ‘and many others Where: | Snowmass Village, Colorado Why: | Location, location, location! Plus a versatile set of instructional programs How Much: | Most workshops $1,040 plus @ studio fee; housing and meals separate Contact: | andersonranchorg Anderson Ranch Workshops organizers warn stents wi \erk late int the nignt to stay on the path and remain alert on the way back to their dorms. Apparently bears and fores love the gorgeous landscape around Snowmass Village just 35. rich as photographers co, and with god reason. ‘round this pat af Colorado, elear air and warm ight blanket thick forests anc mountain peaks, making evrything look ike it was spun from chocolate and marzipan. Wha better place to spend a week working with Amy Arbus (Behing the Scenes: Portals at Events; June 30-July 4), David Hiliard ane Jonathan Singer (3x5, Three Genes, Five Days July 14-18), and David Hiser (Rocky Mountain Filé Inte ‘ve; September 8-19), to name jus afew of the tantalizing options at Andorson Ranch. ach leader structures his or her own workshop, so the daily plan can vary widely depending on the teacher and the s ject mater, Gunerally time for making images combines with daily critique sessions to cumulatively bull and enhance technical and conceptual skis ver the run a the werkshop. In addition to all the shooting, the feedback sessions, and the occasional opportunity t siep, workshop students Whe purenase a meal plan (many diferent options are avall= able get access to one of Anderson's powerful and attractive asaets he cafeteria, Creativity stretches into the ktche ‘at Snowmass. Mote important, the cafeteria is where stu ents can rub elbows with instructors, fellow students, and father peaple who can emich a love of photography that wil persist lng ater the workshop is ove. — Gamaniel Jaze, Peruvian Shope (ura MerPORTFOLIOInstructors: | Greg Gorman, with various guest speakers Where: | Mendocino, California (August 3-8. ‘guest Katrin Eismann; September 21-26, guest Seth Resnick) ‘Why: | Digital photography with a healthy dose of good living $4,250 gormanphotography.com Fame for his portraits of the famous and beautiful as wel as fr stunring male and female nudes, Greg Gorman brings together mary talents and interests inthe Greg Gorman Photography Workshops. ‘nv itimate group of nine participants pe vrkshop convene at Gorman's home in Me ocino to drink exceptional wine, eat gourmet food prepared by the phot ands {tend the reowned Chef Ushi and take Inthe surptous beauty of the California coast. On, yes, the workshop als offers dally instruction in mastet-level digital photopraahy, focusing ‘on shonting (vo mode's are neluded Inthe wrkshop price) and editing techniques, pis Photoshop for pho 8, In aditon, each workshop fea 3 2 guest speaker, which in 2008 will include Robb Car, Jeff Schewe, Karin Elsmann, and Seth Resnick. A couple of the workshops are alo visited by guest wine ‘maker trom the region ust ta remind pate: ans tat realy good chotegraphy work ‘hop shovlent be al wrk and no pla. As John Sexton Photography Work shopa celebrates a slvr annive reputation as the pinnacle of black-and-white ‘inting ecueation only continues to grow. Sexton and his smal but deviated tearm have helped over 1,200 students on their quest to make batter black-and-white photography. These students come all the waytathe ils of Carme! Valley, California, for Sexton's si day Expressive Black ano White Pint exper Belon: Soft sunrise light, shot on ‘alormuated EMax 400, n Sexton's "ree Fetn Det carmel, Caters, nee, whieh affords them a chance to work ina master printer's darkroom, In additio very aspect of refining the Diack ane-wnte image from start to fn, with demonstra tions on the Zane System, advance! fim development, anc iocalzes pein manip tion, just to name a fe. sf Sar ary and end late at John Sesto Photography Worksheos, with time eusige the darkroom for litle shooting on the Mor terey Peninsula, home of white-sand bead! ard! lovely vistas, Sesto aso offers portalio ‘eviows to gauge incvidual progress with Dackand-white printing, taking care to adress the conceptual aswell as the teehncal goals of each photographer. ‘Tose ishing to take thelr printing a step further ean enlln Sexton's follow-up work shop, Fine Tuning the Expressive Print, whic Is eomparativly stil a baby, raving been taught for only 20 years. Here, participants fine ‘out everything they ve ever needed to know shout ceaoper formulas, meskes Tsing, and troublesooting hrd-teint negatives, rong ather topics. Photographers who leave this worktop with unansweres questions wil have no-one but themselves to blame, a. Instructors: Where: Why: How Much: Contact: John Sexton, also Ray McSavaney Carmel Valley, California You love the smell of fixer in the morning, $875 (The Expressive Black and White Print); $950 (Fine Tuning the Expressive Print) Johnsexton.com