rangefinder december 2014

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THE MAGAZINE FOR WEDDING AND PORTRAIT PHOTOGRAPHERS RANGEFINDERONLINE.COM DECEMBER 2014

Photo © Alexander LeKing

The Official Magazine of

®

Long Exposures,

Video Lights, Hyperlapse (and more!)

PLUS: Our Favorite

Images of the Year

Gifts Under $100

the trends

issue

THE MAGAZINE FOR WEDDING AND PORTRAIT PHOTOGRAPHERS RANGEFINDERONLINE.COM DECEMBER 2014

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IFC_001_RF_1114_Millers.indd 1 10/8/2014 4:22 PM

contentsDECEMBER 2014 VOL. 63 / N°12

2 RANGEFINDER DECEMBER 2014

Photo © Elisha Stewart/ www.abbyphotography.ca

An example of the shooting trend of using long exposures. Read more in “Trending Now.”

Features28 Photographer You Should Know

Sandro Miller is the pundit of portraiture. By Libby Peterson

36 The Budget Shopper Holiday gifts under $100 for the photographer in your life. By Aimee Baldridge

42 Imagenomic Portraiture for Video Reviewing the software that never forgets a face. By Greg Scoblete

84 WPPI Second Half Winners’ Gallery

100 Product Roundup Media Cards, readers and wireless storage. By Theano Nikitas

The Trends Issue56 Trending Now

Forecasting what’s hot in wedding photography now and in 2015. By Blair deLaubenfels with Jessica Gordon

70 Editors’ Picks 2014 Our editors choose their favorite images of the year—and explain what made them work. By Photo+ Staff

80 What to Read Now Fourteen recently released photography books for your shelves. By Andre Crump

[56]

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CUPRIPIX-14-007_A_PRO1.indd7-2-2014 2:28 PM Lauren Moise / Lauren Moise

1

JobClientMedia TypeLiveTrimBleedPubs

CUPRIPIX-14-007_A_PRO1PIXMAPRINT7.5” x 10.375”8.375” x 10.875”8.625” x 11.125”ShutterbugPhotographer’s ForumRangefinderDigital Photo ProOutdoor Photographer

Job info

None

Notes

Art DirectorCopywriterAccount MgrStudio ArtistProofreader

Nick DeyringNoneMeagan SackettLauren MoiseNone

Approvals

FontsAvenir (55 Roman, Heavy, Light Oblique, 35 Light), Minion Pro (Regular)

Images01_DESK_SHOT_PRINTER_300TI_CMYK.tif (CMYK; 666 ppi; 44.98%), 213336_05c_Pro1_COMP_swop3v2.tif (CMYK; 745 ppi, 746 ppi; 40.22%, 40.19%), Canon_4C_KO.ai (22.65%), KO_PIXMA_variations.eps (18.53%)

Inks Cyan, Magenta, Yellow, Black

Fonts & Images

Saved at Nonefrom nyc03lmoise by Printed At

usa.canon.com/pro-1

What you see through your lens truly becomes art when

you see it on paper. This is why the right printer is an

essential tool in your workflow. A Canon PIXMA PRO-1

professional inkjet printer provides a level of quality and

accuracy true to your unique vision. Paired with Canon Print

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the shutter to when you hit “print,” your art will appear

Exactly As You Envisioned.

For us, we don’t think photos are photos until they’re on paper.

“ ”Floto+Warner, professional photographers

Simulated images. © 2014 Canon U.S.A., Inc. Canon and PIXMA are registered trademarks of Canon Inc. in the United States and may be trademarks or registered trademarks in other countries. Apple is a trademark of Apple Inc., registered in the U.S. and other countries.

S:7.5”S:10.375”

T:8.375”T:10.875”

B:8.625”B:11.125”

003_RF_1214_CanonPixma.indd 2 11/5/2014 7:41 AM


contentsDECEMBER 2014 VOL. 63 / N°12

Columns14 From the Cubicle

Less screen time, more face time. By Jason Groupp

106 Digital Guru The year in tech. By John Rettie

111 First Exposure Experimenting with HDR

Express 3. By Stan Sholik

114 DSLR Video A filmmaker’s wish list. By Ibarionex Perello

120 Photo Finish A faithful surrender. By David J. Carol

Departments08 From the Editor

By Jacqueline Tobin

12 From the WPPI Director By Jason Groupp

18 Focus By Libby Peterson

119 Ad Index

COMING JANUARY IN PRINT:

ONLINE NOW:

We finally unveil our redesign! New year, new look, new content. Are you as excited as we are? Tell us what you think on our Facebook page!

See the images our 30 Rising Stars honorees submitted with at our extended photo gallery, courtesy of sponsor ShootProof. bit.ly/1GgynrA

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from the editor

JACQUELINE TOBINEditor-in-Chief

For the past three months, the Rangefinder staff here in New York City has been swept up

in a whirlwind of activity: PhotoPlus Expo took place on Halloween weekend (as did the NYC Marathon), WPPI 2015 registration

opened and classes started selling out, we dedicated a substantial block of time to putting together our end-of-year Trends issue, and oh—did I mention that Rangefinder recently went through a major redesign? Look for significant changes coming in the January 2015 issue: new look, new logo, new attitude! In the meantime, you can enjoy some of our favorite images from 2014, a look at the trends in wedding photography this year (and what’s hot for 2015), and 14 photo books you’ll definitely want to stock your shelves with or gift to that special someone. Speaking of gifts, check out Aimee Baldridge’s roundup of the best photo stuff under $100, and for the filmmaker in your life, Ibarionex Perello gives us great ideas for video-related presents. And to round it all out, we’ve got 15 pages of first-place winners’ images from WPPI’s Second Half Members Only Competition (and an image by Alexander LeKing, from the Beauty/Boudoir category, on our cover). Enjoy!

Photographer: Alexander LeKingCamera: Canon 5D Mark IILens: 100mm macroFormat: Shot in RAWComments: This took Third Place in the WPPI Second

Half Members Only Competition in Beauty/Boudoir. Alexander LeKing is a fashion, beauty and celebrity photographer who was born in China, and resides in Los Angeles and San Francisco. This image, of Melbourne model Lucy McIntosh, was shot for the editorial “The Transformation of Lucy McIntosh” in Obvious magazine. See more winners of Second Half, starting on page 84.

Photographer: Alexander LeKingCamera: Lens: Format:

Half Members Only Competition in Beauty/Boudoir.

Editor-in-Chief Jacqueline Tobin

Senior Editor Jessica Gordon

Associate Editor Libby Peterson

Senior Technology Editor Greg Scoblete

Contributing Editor John Rettie

Creative Director Adana Jiménez

Group Production Director Daniel Ryan

Production Manager Gennie Kiuchi

Contributing WritersAimee Baldridge, David J. Carol, Andre Crump, Jason

Groupp, Theano Nikitas, Ibarionex Perello, John

Rettie, Greg Scoblete, Stan Sholik, Amy Wolff

Executive Vice President, Gift & Home, Photo and JewelryChristopher McCabe

Senior Vice President, Photo and Jewelry GroupsJohn McGeary (646) 668-3736

Vice President/Publisher, Photo GroupLauren Wendle (646) 668-3762

Associate PublisherMark Brown (646) 668-3702

Senior Account Executives Mike Gangel (646) 668-3717

Lori Reale (858) 204-8956

Account ExecutivesJon McLoughlin (646) 668-3746

Garet Moses (646) 668-3738

Director of Sales, WPPIMelissa Kittson (813) 366-9329

[email protected]

For subscription information and customer service, call:(866) 249-6122 or locally, (847) 763-9546

RangefinderP.O. Box 2198

Skokie, IL 60076

[email protected]

For list rental information contact:Mike Gangel (646) 668-3717

Operations Manager Neeta Lakhani

Marketing Director Michael Zorich

Rangefinder Magazine 85 Broad Street, 11th Floor

New York, NY 10004

(646) 668-3700

Chief Executive Officer and President

David Loechner

Chief Financial Officer and Treasurer

Phil Evans

Chief Information Officer Bill Charles

Vice President, General Counsel and Secretary

David Gosling

Executive Vice President, Business Development

Darrell Denny

Senior Vice President, OperationsLori Jenks

Senior Vice President, DigitalTeresa Reilly

Vice President, Marketing ServicesJoanne Wheatley

Vice President, Human Resources

Eileen Deady

Vice President, Corporate Operations

Denise Basham

Rangefinder is a trademark owned exclusively by Emerald

Expositions, LLC Copyright © 2014 Emerald Expositions, LLC

all rights reserved

®The Magazine for Wedding and Portrait Photographers

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ADVERTISEMENT

From the moment I FIrst spoke with James

and Yuliya on the phone, I

was intrigued. the Ireland-

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Canyon. the attendee list? the couple, the of-

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JASON GROUPPWPPI Director of Education and Membership

[email protected] (646) 668-3722

from the wppi directorP

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The 16x20 Print, Album, and Filmmaking Competition is now open, and the boxes are starting to trickle in. I can’t wait to see what 2015 brings! I want to thank all of our members who participated in this year’s First and Second Half

Competitions. We had over 6,500 entries, and 4 Golds, 39 Silver Distinctions and 859 Silvers were awarded, not to mention the countless points people earned toward their Honors of Excellence designation. You guys brought us some amazing images, and I’ve watched so many of you grow through this competition. I’m so proud of all of you!

As you consider your entries for this year, I want to offer one piece of advice that stood out for me when judging this year. For some reason there were countless entries featuring a couple kissing. While this is a quintessential pose for us, from a judging perspective it becomes quite repetitive. When gathering your images this year, think about the pose your subjects are in and ask yourself, “Do I love this image because I love this couple?” or “Do I love this image because it’s a unique image featuring something outstanding?” Kissing is beautiful, but if it’s not a kiss that makes you feel it, then it probably isn’t your best image. Make ‘em work, folks and take your images to the next level! Good luck, happy holidays, and happy New Year! xoxo

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As I write this, it’s the Monday morn-ing after our PhotoPlus Expo and Conference and I’m still nursing

some sore muscles after an incredible week here in New York City. It’s such a pleasure to be able to work on two very diverse conferences—PPE and WPPI—both with amazing, talented, dedicated and just fun-to-be-around people! Each show has a unique program, and I am so thankful to be able to participate in them. This year, PPE ran over Halloween weekend, which made for a particularly festive atmosphere. On Halloween Eve we had our “Monster Mash” bash on the 20th floor rooftop of 230 Fifth overlooking the Empire State building, and 1,000 artists came together

with some very fun costumes (see a few above). It was a great week! If you’ve never been to PPE, mark your calendars for 2015: October 21-24.

I traveled to all corners of the globe this year meeting so many of you, and we worked all spring and summer to put together a fantastic conference program. To date, I’ve run over 450 miles this year, and burned over 50,000 calories. My highlight run was through Tiananmen Square as the military guard began its morning routine.

One common thread that I feel really pulled this year together for me was that no matter who I spoke with, everyone was looking for a way to keep/pull/gather the community together. We are a social bunch

who likes to help each other, though most of us, ironically, spend our time sitting by ourselves in front of a computer. We value the time when we get together, whether it be in a workshop, seminar, or just drinks at the corner pub. However, in the world of social media, we have replaced much of that “face time” with more time in front of a screen. Don’t get me wrong, I think the amount of social engagement we can get while still in our pjs is phenomenal, but the vibe I’m getting these days is we’re looking for less screen time and more live time. In a world where time seems to be more pre-cious than ever, time away from my family better damn well be worth it. I’ve spent much time thinking about this, and how

from the cubicle

This page: Jason Groupp (sans facial hair) as the Joker with some of his colleagues and cohorts at the PhotoPlus Expo Monster Mash this past October.

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this applies to my job, as well as what we could do to make WPPI better. As someone who has been attending trade shows and conferences for many years, I know that we come to learn, but what keeps us coming back is the friendships we make. I don’t think anyone will argue that when it comes to WPPI and the bonds that are formed, no one does it better,—but we can always be better, right? I have two goals for this year: Give our attendees more ways to learn for less money, and create great experiences for our attendees that are more intimate and interactive in a way that brings people together.

So what am I going to do for this WPPI? Glad you asked! Here are eight reasons to abandon the confines of your computer screen and get social in 2015:

1. THE PHOTO WALK. Not just a few walks (also known as shootouts), but 50. Fifty opportunities to get your creative juices flowing through live demonstrations in small groups for very little money. We in-tegrated this into PhotoPlus, and watched the groups as they left to tackle the town. Everyone was chatting with each other, and excited to get out and learn. Brooke Shaden, for one, took participants to an abandoned train track and covered her assistant in mud as shutters clicked—it was such a cool sight. Attendees were inspired and learned from their leaders, but will continue to learn from each other.

2. TEN PLUS CLASSES FOR LESS $. Our Plus classes have been reduced to $149 (members early-bird), and you’ll have the opportunity to take two Plus classes instead of one. A Plus class is a full one-day intensive, which will include classroom time as well as live demonstra-tions. These will kick off our conference and be jam-packed with information. I can’t think of a better way to begin your week by making new friends and learning new skills.

3. WPPI UNIVERSITY. The last few years we’ve had some great hands-on experiences for The U, but since we have so much built into the Plus classes and the Photo Walks, we decided to change up this year’s format. Actually, we’re bringing back a popular format from years past: The Business Institute. The University will be all about setting your business up right this year, discovering new marketing tools, and best practices for selling great prod-ucts to increase your bottom line. If you’re a photographer just starting out, or have been in business a few years and you’re looking for a plan to get beyond shooting and delivering images, this class is for you. This full-day intensive will include:• How to move beyond shooting and

burning.• Setting up your business and protecting

yourself with legal documents.• Marketing strategies to help you with

your sales process.• How to build, price and sell great al-

bums. (Sarah Petty will be your host for the day, and you’ll also have the chance to win some great prizes!)

4. PRINT COMPETITION. Okay, so this isn’t new, but if you’ve never at-tended, this is the year to do it! Sit with your peers and watch the live judging; it’s a great way to learn, and I find many people sitting in small groups discussing the scores and work that was judged. We

invite you to be part of this WPPI high-light, and are working on ways to make it even more fun and interactive.

5. EASIER REGISTRATION. If you’ve been to WPPI, you know the registration takes a little bit of time. We’ve worked hard to make the process easier, and I think you’ll agree! 6. NEW SPEAKERS! I wrote a blog post about our lineup a few months ago, but our program will feature more fresh faces than ever before.

7. ACCESS TO OVER 95 CLASSES FOR LESS THAN $100! Nowhere in the world can you get so much learning at such a great price. With that said, we have also changed things up a bit and eliminated the free guest pass. In years past, you had no choice but to pay for two passes, and we felt that was a bit of a drag, so to make things simpler, one pass = one admission.

8. WPPIC. I’m so excited to announce that you can now become a WPPI-certified photographer at WPPI. I’m really excited about this! For the first time, you’ll be able to take a professional accredited course that specializes in wed-ding and portrait photography. Over the next few months we’ll be rolling out more information, but you’ll have the option to come to WPPI to take your test, and re-ceive your certificate on stage during our awards ceremony Wednesday evening!

Registration is now open and by the time you read this, many Master classes will be almost full. At closing time in early November, three had already sold out, so this is not the year to wait! As always, I am here to serve, and if you have any questions, reach out at: [email protected].

from the cubicle

“No matter who I spoke with, everyone was looking for a way to keep/pull/gather the community together.”

—Jason Groupp

Below: Students in Brooke Shaden’s Photo Walk photographed model Kelly, who was covered in New York City mud.

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News, Products, Exhibits and MoreBY LIBBY PETERSON

fo

HUMANS OF NEW YORK’S BRANDON STANTON LAUNCHES LITTLE HUMANSAfter Humans of New York (a blog, book and Facebook page with over 10 million fol-lowers) skyrocketed to unprecedented pop-ularity from its humble beginnings in 2010, it seems only natural that its creator and pho-tographer, Brandon Stanton, would expand the project. Released this past fall is Little Humans (Farrar, Straus and Giroux), a book that, in HONY-style, is dedicated to the kids and representatives of (as Stanton’s dubbed it) the “micro fashion” world. The 40-page collection features brand-new photos, as well as some of Stanton’s favorites from the past few years.

PRICE: $18US.MACMILLAN.COM

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FUNDY DIRECT: ALBUM ORDERING MADE SIMPLEFundy Software has recently launched Fundy Direct, an album- designing and ordering service that aims to streamline the album process for photographers. Now they can design and order albums from participating labs as well as track their or-ders right from Fundy Direct. “When asking photographers, one of the most difficult parts of the album workflow was the handoff from the design software to the lab’s ordering system,” says Fundy CEO and owner Andrew “Fundy” Funderburg. “We wanted to make that process as seamless as possible, doing most of the work for them.” Fundy Direct is partnering with Finao, Miller’s Professional Imaging and ProDPI, among others, and will be adding more labs throughout 2015.

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Left: The work station of Stacy Kranitz, the documentary photographer of blunt and occasionally gritty subject matter. Photos are posted to her wall and her desk is kept tidy, with small figurines included for inspiration. Above: The book’s cover.

Most photographers are familiar with their own creative processes, but how do their shooting peers get their respective creative juices flowing? Stephen McLaren and Bryan Formhals—who are photog-raphers as well as writers—have co-authored a collection called Photographers’ Sketchbooks (Thames & Hudson) that lets readers into the artistic minds of 44 different photographers hailing from a variety of genres. The book, which includes over 500 images of

collages, Polaroid studies, diaries, installations, contact sheets and more, is accompanied by interviews with the photographers in which they pick their brains and explain how their processes mani-fest into creation. (See more new books on page 80.)

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Lush Albums, a new eco- and animal-friendly line of photo albums, hit the market last month, headed by Tamara Lackey in collabora-tion with Fundy and Finao. It offers three different collections so far, each with their own sets of color palettes and materials: Zen Silk, Velvety Suede and Soft Linen. “We wanted to start off with these materials, what we knew were solid,” Lackey says, “and we’re hoping to expand the collections down the road.” Using fine-art paper that is available in a variety of sizes, the albums are handmade and can

come with their own hand-stitched bags. Lush Albums operates ex-clusively through Fundy Direct, and ten percent of the proceeds go to Worldwide Orphans Foundation and Save the Children.

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HOW TO DO PORTRAITS DIFFERENTLYA new instructional book by Benny Migs has been touted to be espe-cially helpful for photographers looking to spice up their approaches to portraits. Shooting flattering and dramatic photos with speedlights as well as working within a wide range of spaces and venues are just a couple of lessons explained within the book’s pages, which are ac-companied by 60 of Migs’ portraits. Alternative Portraiture: Artistic Light-ing and Design for Environmental Photography (Amherst) is due out December 16.

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A NEW ONLINE PHOTOGRAPHY LEARNING PLATFORMPhotographers have a new place to learn new techniques, tips and inspiration online from their successful peers. Skillshare recently launched its School of Photography where over 20 pro photographers with a variety of skillsets and back-grounds are teaching anything from in-studio editorial shoot-ing to food photography. Made for shooters of all skill levels, Skillshare provides video lessons and lets students upload and share work, with the added opportunity to win prizes and trips. Skillshare offers a free membership that limits stu-dents to one hour of learning per month, while the unlimited membership gives students ad-free, endless viewing with full-screen ability.

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A CONVERTIBLE ON-THE-ROAD TRIPODThe shiny, black-and-white Roadtrip tripod from Photojojo is a two-in-one grab-along; in a couple of quick steps, it can be converted into a monopod with a nearly 5.5-foot extension, and then collapse to just over 1 foot long. It comes with a standard mount to ac-commodate the majority of cameras, and the spike-footed legs twist to lock into place. Made of aluminum (it weighs 3.6 pounds, with the ability to hold 17.6 pounds), the Roadtrip pans the full 360 degrees, has a built-in bubble level to keep horizons straight, and comes with its own carrying case.

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Above: An image by photographer Shane McCauley, who is presenting the class “Entertainment Photography: Capturing Music, Events & Lifestyle” in January 2015. Above, right: Social media afi cionado Tyson Wheatley shared his wisdom this past September in “The Possibilities of Instagram: Sharing Your Best Photos.”


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ZOOM, ZOOM: TWO NEW LENSES FROM TAMRONTamron has upped its zoom-lens repertoire with two new lenses: the all-in-one 28-300mm f/3.5-6.3 Di VC PZD lens and the 150-600mm f/5-6.3 Di VC USD ultra-zoom lens, both built with Tamron’s Vi-bration Compensation to reduce camera blur. The 28-300mm sports a smaller multi-stack-cam layout and Piezo Drive (a more compact AF structure), allowing it to clock in at a portable 19 ounces and 3.8 inches in length. The more sizable 150-600mm lens (measuring 10.1 inches and weighing 4.3 pounds) features Tamron’s Ultrasonic Silent Drive, making for faster and more accurate autofocusing.

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Cyberlink aims to raise the sophisti-cation of mobile editing with its re-cently released PhotoDirector app; users have the ability to remove parts of an image, as well as adjust saturation, tone and tweak other settings and effects. There are over 50 preset effects to choose from (Lomo, HDR, Vignette, etc.), plus a skin-smoothening tool. Users can

instantly share their work to social media, and those with the app’s Premium Version will be able to skirt around the in-app ads.

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ALTERNATIVE PHOTO DISPLAYS FROM SIMPLY COLOR LABThe photo display company Simply Color Lab has come out with a host of new products, including Shelfies and 3D Collages, both of which allow photographers to show multiple images at once. The Shelfie is a solid wood base (that comes in black or white, 24 or 30 inches long) with slots for three interchangeable 6- or 8-inch prints; the 3D Collage gives photographers the creative freedom to display three to seven different fine-art, metal or canvas prints in one cluster using Simply Color Lab’s 3D hanging system. There are 20 different 3D collage templates to choose from, in a variety of print sizes.

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www.rangefinderonline.com 29

photographer you should know

THE PUNDIT OF PORTRAITURE

BY LIBBY PETERSON

The photographer behind the viral “Malkovich, Malkovich, Malkovich” project discusses his legacy

and what’s ahead for him in the world of filmmaking.

With a powerful portfolio full of poignant, cutting-edge portraiture, Sandro Miller admits that he “never really followed the trends”—and he never really needed to.

His accomplishments are vast. In 2001, he was invited by the Cuban government to shoot and take part in the first U.S.-Cuban collaboration since 1960 (when the trade embargo was first imposed). A Nikon Ambassador who added motion to his repertoire in 2008 after he was asked to make videos for Nikon, Miller has made a series of short films—including “Butterflies” starring John Malkovich, for which he won the Best New Direc-tor Award at Cannes in 2011—as well as various ad campaigns for clients such as BMW, Dove, Nike and the U.S. Army.

This year, Miller finished a project called Eyes of Morocco, which became his seventh photo book and granted him the nomination for the prestigious “International Photographer of the Year” award through the Lucie Foundation’s International Photography Awards competition.

His résumé is one of the most accomplished and impressive

out there, yet when Miller talks about the work that keeps him so incredibly busy these days, the sense of refreshing wonder in his voice is palpable—practically infectious—like that of an emerging photographer just getting started.

FROM PENN ONIt was Irving Penn’s work that first moved Miller at age 16. He remembers sitting on his bed at home in Elgin, Illinois, leafing through a copy of American Photo magazine and seeing Penn’s portraits of Colette (the French theater actress) and Pablo Picasso. Miller didn’t even own a camera at the time, but still, he says, “everything changed. It just hit me like a brick in the head. They drew me in and kept me there, and I could not turn the page.” Miller came from a family with “zero art back-ground” in what he calls “an extremely dysfunctional home with a strong road to going nowhere.” Aside from taking art classes in school, he had no prior artistic experience, but with Penn’s photos in his hands, he knew he wanted to take power-

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ful portraits of people. “And I knew I had to do it to perfection,” he adds. “I didn’t want to be mediocre.”

Miller bought his first camera, a 1968 Nikon F. After taking photography classes at a community college, he went on to assist commercial shooter David Deahl. By his mid-20s, he went solo in Chicago (where he’s still based) shooting

products; it paid the bills and taught him how to deal with clients, but a few years later, Miller felt the tug to shoot portraits. “I really came to despise shooting prod-ucts,” he says. “Something was missing in my soul.”

With the daunting task of building a portrait portfolio from scratch, Miller went to blues clubs to photograph musi-cians—players like Buddy Guy, Junior Wells and John Lee Hooker—at 2 or 3 in the morning and then showed his work to agencies for critiques. He soon earned himself portrait assignments, photo-

graphing mostly African-Americans—in-cluding Michael Jordan in 1995, a shoot that wound up being one of his most memorable.

He had set up for a seven-hour studio shoot with Jordan, only to find out once the basketball player walked in that he only had three minutes. Miller still man-aged to shoot 72 frames of Jordan span-ning an enormous range of emotion. He asked him to think of a great loss he’d had (Jordan’s father died a few months earlier); seeing him dip his head down with a tear in his eye, Miller snapped

Miller didn’t even own a camera at the time, but still, he says, “everything changed. It just hit me like a brick in the head. [Irving Penn’s]

images drew me in and kept me there, and I could not turn the page.”

Opening spread: Actor and frequent col-laborator John Malkovich as Alberto Korda’s Che Guevara. Above: A ballerina at rest, shot for the Dance for Life Foundation. Opposite page: A portrait from Eyes of Morocco.


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the photo, and it became one of his most iconic photos to date, granting him his first big break in the industry.

GOING VIRALMiller has since moved to shooting with the Nikon D800 and D810 as his main cameras, but he uses a Hasselblad H3 for portraits (he prefers it over the 35mm format). Considered a master of versatile lighting, he can work with just about any available light, but he’s also a gear guru, using anything from strobes and softbox-es to continuous light. This ambidexter-ity in knowledge lets Miller reinvent the wheel all over again, in a certain sense; he considers his shoots separately from anything he has done before.

One of his most recent endeavors is the continuously circulated exhibition “Mal-kovich, Malkovich, Malkovich: Homage to

Photographic Masters,” a prime example of his versatility. Miller met John Malkovich 17 years ago when he first shot him (and other actors) for Chicago’s Steppenwolf Theatre Company; they’ve kept in touch since, collaborating on projects whenever Malkovich swings through Chicago.

When Miller thought of the “Malkov-ich” project—a collection replicating some of the most famous and recogniz-able work by the photography greats—he didn’t want anything to get lost in trans-lation, so he flew to Malkovich’s home in France to explain the concept to him in person. “You could see him visualizing

A NUGGET OF KNOWLEDGE—ADVICE FROM SANDRO MILLER:Get involved and shoot for foundations pro bono. “A lot of photographers don’t work unless they’re getting paid, and that’s mistake number one,” says Miller, who shoots promos for the AIDS fundraiser Dance for Life, among other nonprofits. “If you’re asked to do something, do it. You’re usually allowed your own creativ-ity, and something good always comes out of it.”

Above: Miller began the “Malkovich” project with this replication of Irving Penn’s portrait of Truman Capote (left). The principal dancer for the Joffrey Ballet School flexes for Miller, who shot him for the Dance for Life Founda-tion (right).


RF_PYSK.indd 32 11/7/14 11:11 AM

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it in his mind immediately,” Miller says, “how he would morph himself into these subjects.” Malkovich—sometimes humor-ously, always adeptly—transformed into such iconic subjects as Dorothea Lange’s “Migrant Mother,” Diane Arbus’ “Iden-tical Twins” and Alberto Korda’s Che Guevara portrait (previous page).

Since revealing the project last fall, Miller has had requests from museums worldwide to show the collection. “I

would have been a fool to have thought that this would be picked up all over the globe and shared, but I think it’s the power of a great idea,” he says. “It was the meeting of two minds that brought this to what it could possibly be.”

As for Malkovich’s part, Miller received a note from him that read: “‘Sandro, you created a f***ing tidal wave,’” he recalls with a laugh. “Can you print that?”

TAKING A BREATHCurrently in the midst of directing his first full-feature documentary (about the artist/musician Nick Cave), Miller

will appear in a documentary that will showcase his and Malkovich’s collabora-tion—it should be finished by the end of next year, he says.

“I’m working on personal work every single day of my life,” Miller says. “If I’m not in the middle of a project, I’m think-ing of a new one or promoting one.”

How does Miller’s schedule not over-whelm him? It’s simple: “I breathe. Really, I do. I go out for motorcycle trips, I spend very close time with my family, I enjoy nature,” he says. “I’m up at my log cabin in Michigan now—writing treatments, talking to clients, talking to you—but I’m surrounded by every color of the rainbow in trees, and that helps keep me balanced. If I was all work, I feel like I would easily run out of gas. But I know when to take breathers and really enjoy life.”

“If I was all work, I feel like I would easily run out of gas. But I know when to take breathers

and really enjoy life.”

Above, left: Blues musician Hubert Sumlin. Above, right: Another shot for Dance for Life, one of Miller’s pro bono work projects.

RF_PYSK.indd 34 11/6/14 4:27 PM

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holiday gift guide

The Budget Shopper

BY AIMEE BALDRIDGE

Although your business may be booming, we all love a deal, and with so many photography friends, those holiday gifts can add up. We’ve compiled

eight fun photo presents, each costing less than $100. Put your extra cash in the bank for that medium format you’ve been eyeing.

THE POPPY What do you get when you cross a 21st-century camera phone with an old-school View-Master? The Poppy. By inserting a compatible iPhone into the slot on this mirror-based contrap-tion, you transform it into a stereo-scopic camera that captures and displays 3D photos and videos. You can share them via the Poppy’s free app as well.

$59.95WWW.POPPY3D.COM

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KNOG [EXPOSE] SMARTThis stylishly designed LED light snaps onto a compatible iPhone or iPhone case to provide three levels of illumination in strobe or constant mode. Its beam angle matches the iPhone camera’s for full coverage, and Bluetooth connectivity lets you use it remotely and control the light settings via Knog’s free app.

$59USD.KNOG.COM.AU

LENSBABY LM-10 Creative mobile photographers can use this little optic in con-junction with Lensbaby’s free app to capture images with a sweet spot of sharpness at the center and an adjustable area of soft focus around the edges. The magnet-mount lens works with the iPhone 4s, 5, 5s, 5c and Android devices running Jelly Bean 4.1-Kit-Kat 4.4.

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holiday gift guide

FOTODIOX PRO GOTOUGH SHARKBITE This clever tool makes a great stocking stuffer for anyone who shoots with a GoPro-type action camera. It works as a wrench for tightening thumbscrews securely and keeping you from breaking a finger when trying to loosen them. You can also use it to pop open some of the more compact action cam housings—or a beer.

$14.95WWW.FOTODIOXPRO.COM

iSTICKFinally, someone has done the sen-sible thing and put an Apple Light-ning connector on a USB thumb drive. With the iStick, you can move image files between iOS devices and computers without syncing, display images stored on the iStick on your device, and back up iPhone photos when you’re away from your com-puter and the Internet.

$79.95 (8GB); $99.95 (16GB); $139.95 (32GB); $199.95 (64GB); $349.95 (128GB) iSTICK.CO


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holiday gift guide

OLLOCLIP 4-IN-1 PHOTO LENS FOR iPHONE 6 AND iPHONE 6 PLUSMobile shooters who have upgraded to the iPhone 6 or 6 Plus will get a big boost in photographic options from this little device. It includes four di� erent lenses—wide-angle, fi sheye, 10x macro and 15x macro—and clips easily onto the top of the phone for use on either the front or the selfi e lens.

$79.99WWW.OLLOCLIP.COM

STEADSNAPA high-quality strap that attaches to your camera’s tripod mount can make long shoots more comfortable, but it can also create the hassle of having to remove the strap when using a tripod. This sturdy little adapter makes switch-ing from strap to tripod super fast by allowing you to mount your camera without taking the strap o� .

$34.99STEADSNAP.COM

DESIGN CLUTCHAny photographer who has spent a long afternoon with a hefty camera will appreciate the support this hand strap of-fers. It wraps snugly around the back of your hand so that you can carry your camera securely and keep the controls under your fi ngers without maintain-ing an iron grip at all times.

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SIGMA USB DockUpdate, adjust & personalize. Customization never thought possible. Sold separately.

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I magenomic cut their virtual teeth by algorithmically mas-saging faces in still photo-

graphs to cleanse them of blem-ishes and otherwise give them a clean, youthful glow. For many wedding and studio photographers, the photo plugin is their go-to retouching tool. Now, Image-nomic has embarked on a more ambi-tious task: to apply the same automatic facial retouching to video. We spent some

time using Portraiture for Video in tan-dem with David Patiño, a Northern New Jersey-based photographer and director, to see whether they could pull it off.

PLUGGED INPortraiture for Video works as a plug-

in for most of the high-end video editing titles on the market including Adobe Premiere Pro, After Effects, Apple’s Final Cut Pro, Sony Vegas Pro and DaVinci

Resolve. It’s available for a 15-day free trial after which it’s an annual subscrip-tion of $99 a year.

The software will work on any of the video formats natively supported by your video editor of choice. We tested Por-traiture in Adobe Premiere Pro CC using Cinema DNG and ProRes 422 � les cap-tured with a Black Magic Pocket Cinema Camera. We also tested AVCHD footage from a JVC video camera.

Imagenomic Portraiture for VideoBY GREG SCOBLETE

IT NEVER FORGETS A FACE.

plug-in review

RF_PortraitureiVdeo .indd 42 11/14/14 4:35 PM


We were curious to see how well Portraiture could identify and retouch faces on the � y, and how well it could

handle the boundaries between skin, hair and clothing.

I magenomic cut its virtual teeth by algorithmically massaging faces in still photographs to cleanse them

of blemishes and otherwise give them a clean, youthful glow. For many wedding and studio photographers, the photo plug-in is the go-to retouching tool. Now, Imagenomic has embarked on a more ambitious task: to apply the same automatic facial retouching to video. We spent some time using Portraiture for Video in tandem with David Patiño, a Northern New Jersey-based photographer and director, to see whether Imagenomic could pull it off.

PLUGGED INPortraiture for Video works as a plug-in for most of the high-end video-editing titles on the market, including Adobe Premiere Pro, After Effects, Apple’s Final Cut Pro, Sony Vegas Pro and DaVinci Re-solve. It’s available for a 15-day free trial after which it’s an annual subscription of $99 a year (www.imagenomic.com).

The software will work on any of the video formats natively supported by your video editor of choice. We tested Por-traiture in Adobe Premiere Pro CC using CinemaDNG and ProRes 422 � les cap-tured with a Blackmagic Pocket Cinema Camera. We also tested AVCHD footage

from a JVC video camera.Anyone familiar with Premiere Pro will

have no trouble navigating the Portrai-ture toolset. Upon installation, Portrai-ture will appear in the effects library and behave like any of Premiere’s other baked-in effects tools. Simply drag and drop Portraiture onto the clip you wish to edit and make further adjustments in Premiere’s Effects Control pane.

When you apply the Portraiture plug-in, you’ll have the option of adjusting the smoothing effect either by keying in a value from 1 to 100 directly or by expanding a window to access a slider. We found the sliders much more intui-tive when starting out because it took us a while to understand what Portraiture’s numbers corresponded to in terms of image effects. Next to every option you’ll have the usual “reset parameter” option to scurry back to the default setting.

UP IN YOUR FACEWe were curious to see how well Portrai-ture could identify and retouch faces on the � y, and how well it could handle the boundaries between skin, hair and cloth-ing. For the former, the plug-in worked � awlessly. Patiño pulled up some video he had edited of a fashion shoot hosted in a mall. We chose the clip because we felt it was particularly challenging, not just for the number of faces, but for the variety of skin tones and types it threw at Portraiture in rapid succession. Models

Left: Imagenomic’s Portraiture for Video is available as a plug-in for the major video editors for a $99 annual subscription.

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strutted on the catwalk and passersby streamed through the frame. Portraiture was able to identify all of these rapidly moving mugs and apply its retouch to them instantly.

The � rst thing Patiño relayed about his time with the software was that it “really nailed” wide-open areas of skin. Things got a bit messier at the boundary between skin and hair, or clothing that resembles a skin tone. In one close-up of a model with bleached-blonde hair, we noticed the default effect of Portrai-ture cannibalized detail in the hair and blurred-out texture in the clothing.

This is largely due to how aggressive the default “smoothing” setting is. Out of the gate, Portraiture applies smooth-ing at 50 percent, and it’s immediately apparent. Patiño liked that the program comes on strong because “you know it’s working.” But this default is probably far more than you need on even th e

most—ahem—deserving of faces. When you crank the smoothing up above the 50-percent default, you rapidly lose facial details and it starts to looks like you smeared Vaseline over your subject’s face.

Suf� ce it to say, Portraiture is not a one-click � x, and, unlike the still version of the program, there are no presets. At a minimum, you’ll likely � nd yourself dialing back the smoothing effect to a more modest range of 10 to 20 per-cent and taking advantage of Portrai-ture’s other controls, such as masking, warmth, tint and contrast control to re� ne the effect. This means you may want to be selective, reserving Portrai-ture for close-ups where you can dial it into just one or two faces. Fortunately, this is easy enough to do.

Portraiture’s overall performance and stability also impressed us. We tested it on Patiño’s 2013 MacBook Pro (2.6GHz Intel Core i5 with 8GB of RAM) and our 2013 Mac Mini (2.6GHz Core i7 with 16GB RAM). Neither would qualify as hardcore video-editing computers, yet

both rendered the plug-in’s effects with ease.

About the only serious hang-up we had was the pricing structure. Like a growing number of software compa-nies, Imagenomic wants you to pay an annual fee for access to Portraiture. To Patiño—who counts the still version of the program as his go-to facial retouch-ing tool and was very impressed with this opening foray into video—the $99 annual subscription seemed a little high for a single-purpose plug-in. At the very least, it would have been nice to have the option to purchase or subscribe.

BOTTOM LINEThis isn’t the tool for the videographer invested in gritty realism or unearthing the human face in all its pockmarked glory. It is ideal for those whose clients include weddings, corporate spokespeo-ple, politicians or anyone looking for just a little bit of relief from the not-so-tender mercies of high-resolution digital video. We only wish you had the option to purchase it outright.

Above: While Portraiture’s default smoothing setting comes on a bit strong, you can use tools such as masking to fi ne-tune its e� ects.

plug-in review

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The Societies Convention

THE SOCIETIES’ LONDON PHOTOGRAPHIC CONVENTIONwww.swpp.co.uk/conventionWednesday 14-Sunday 18 January 2015

NEW FOR 2015 – 4 DAYS OF MASTERCLASSES!The 2015 Convention is a veritable feast of education, with fi ve days of action packed programmes designed to help you put your imagery ahead of the game.

FREE Photographic Trade Show*See all the latest cameras and other photographic gear. The three day Trade Show spanning the Friday to Sunday is a gathering of the who’s who in the photographic industry, with major manufacturers eager to show you the latest in technology and design.*if registered before 31 December 2014

MasterclassesDon’t miss out on the chance to start off the year with inspiration from some of the world’s best photographers. 250 hours of Masterclasses have been confi rmed for the 2015 Convention. You can attend the full 4 day Masterclass programme from just £150.

SuperclassesIf you are looking for a more hands-on experience without having to fi ght the crowds, the Superclasses are for you. Limited to just 15 delegates these informative and educational workshops will enhance your Convention experience.

Location SeminarsWe have spent many months searching for supreme locations, which provide not only the perfect backdrops, but a range of challenging photographic circumstances. The aim of the location shoots is to provide small groups with intensive hands-on learning guided by a leading craftsman.

Business SchoolOur highly-focused power-packed business school has been designed to bring you successful professional photographers who have taken their business to the next level. They will share with you their thoughts and secrets of their business.

20x16” Print CompetitionEnter the 20x16” Print Competition, judging takes place at the Convention, where delegates are invited to watch the judging process free of charge. Merited images will be displayed for visitors to view in the Convention Exhibition Area.

Awards DinnerJoin us on the glittering Awards Night and celebrate the success of photographers from around the world.

JOIN US AT EUROPE’S LARGEST ALL-WELCOME PHOTO CONFERENCE

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NEW THIS YEAR!æ 50 PHOTO WALKSEach Photo Walk will teach participants to sharpen their observation and composition skills while shooting alongside an industry leader.

æ UPDATED PLUS CLASSESLower price; just as intensive! This two-day hands-on workshop will help you improve your technical skills and artistry.

æ PORTFOLIO REVIEWSBrought to you by Palm Springs Photo Festival, this is your opportunity to gain valuable face-to-face feedback on your work.

æ POOL PARTY The o� cial WPPI Pool Party returns! This poolside party is the ultimate Las Vegas event—enjoy cocktails under the stars!

æ THE UNIVERSITY: THE BUSINESS INSTITUTE This one-day workshop for emerging and professional photographers will teach you how to strengthen your shooting skills, market your photography services and run a profitable business.


WPPI HONORS OF EXCELLENCE LIVE JUDGING + PRINT EXHIBITION å

WPPI 16X20 PRINT, ALBUM AND FILMMAKING COMPETITIONS

Listen, learn and take notes as a panel of judges evaluate images, albums and fi lms from around the world—the largest live judging event of its kind!

OPENING NIGHT PARTY AT HAKKASAN åEnjoy food, drinks and amazing music at Hakkasan, Las Vegas' newest megaclub

from a world-renowned nightlife brand.

KEYNOTE WITH JOE MCNALLY åSpend an exclusive evening with lighting guru and 30-year photography veteran

Joe McNally!

LAUNCH PAD åTake a sneak peek at the latest and greatest products from

WPPI exhibitors before the expo opens.

WPPI 2015 AWARDS CEREMONY åThe most prestigious event celebrating excellence in wedding and portrait pho-

tography and fi lmmaking. Join us in congratulating the Honors of Excellence competition winners and great achievements in

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bRYan CapoRiCCi CatheRine hallhiRam tRillo jaCklYn gReenbeRgjohn miReles jose oRtiZDave & quin Cheung Dave williams

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What did we see (and love) this year in wedding photography? On the following pages, we outline what was hot in 2014—be it a camera technique, a business slant or branding craze—and what shows no sign of slowing down.

BY BLAIR DELAUBENFELS WITH JESSICA GORDON

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Most of the time, photographers set fast shutter speeds in order to get crisp imag-es with no motion blur. When you break that rule by elongating your exposure, you open up a world of possibilities that allows you to take creative images while solving difficult lighting problems. With your shutter open, the stars come out, water runs like silk, fireworks fall from the sky, and you can create artistic photos no matter where you are. So, what if your clients ask you to take an outdoor portrait of them at midnight? Follow the lead of Two Mann Studios, using a simple 20-second exposure and the ambient light of the hotel behind them (left). California wedding photographer Jeff Newsom takes it a few steps further by combining a long exposure with double exposure (below). Newsom lights his subjects, then makes a backdrop by walk-ing behind them and popping his flash in quick succession—all while the photo is being exposed.

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When it comes to creating buzz, Facebook, Instagram, Pinterest and Twitter are still the places to be, but there are always new kids on the block hoping to get a piece of the action. The latest upstart, Ello, was created by artists with an intriguing, no-advertising model, larger image sizes than Facebook, and an option

for posting nudes and boudoir images by using the hashtag #nsfw. We asked one of its first adopters, New Jersey photographer Mike Allebach, whether or not it is bound to catch on. “It is still too early to tell, but I like the concept because Ello is a platform meant for showing off BIG photos, so it’s perfect for photographers who hate the

compression and tiny photos of Face-book,” Allebach says. “Currently, Ello viewers can’t just ‘like’ a photo, they have to comment on it if they want to respond, which drives people to have real conversations about your posts.” Sounds good to us Mike; we’re looking forward to seeing if Ello is the next big thing in social media.

ELLO? IS ANYBODY OUT THERE?

Above: Mike Allebach’s Ello page is an experiment with the new form of social media.

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With decorative lights increasingly used for celebrations, photogra-phers often need stronger lighting solutions for images. “LEDs pres-ent a special problem because they can turn everything in the room purple and other crazy col-ors outside of your camera’s color gamut,” says L.A. photographer Brian Callaway. To combat this, he, his wife Allison, and photog-raphers like D.C.’s Erum Rizvi are using video lights instead of flash. “I used my Torch LED light at my last wedding and it was awe-some!” Rizvi says. “I shot a whole wedding with it and no flash. It was a constant battle of coordi-nating with my assistant holding the video light and monopod, but the look and feel of my images was worth it.” For portraits, Brian uses the Lowel GL-1. “It allows us to create more drama and mood,” he says. “The beam can be restricted so that there is no spill-off. First we meter for the room, paying attention to any ambient light that we want to add to our composition. Next we light just our subject.”

This page: When shooting details like this one, Brian and Allison Callaway set their exposures for the room by taking it down one to two stops, so you see just the highlights of the LEDs. “Don’t knock it down too far or you’ll lose the whole room,” says Brian. “Next, turn on your video light and illuminate your tabletop, centerpiece, etc.

SWAPPING FLASH FOR VIDEO LIGHT

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A destination wedding no lon-ger calls for a single day of cov-erage; couples who travel far to tie the knot want their entire vacation captured, including the rehearsal dinner, day-after brunch, and fun activities like hiking, sailing, fishing and swimming. San Francisco’s Ben and Erin Chrisman of Chrisman Studios—who’ve photographed weddings in Italy, Bali, Iceland, Mexico, Hawaii, Guatemala and throughout the United States this year—say the majority of their bookings have been multi-day destination weddings, while U.K. photographers Ross Harvey and Adam Alex have increasingly seen their destina-tion weddings in Europe turn into multi-day events. Beyond a paycheck, the perks extend to the work itself; the Chrismans say that by the second day of an event, “we know everyone’s names, where they live and what they do. Everyone gets so used to us being around with our cameras that the photos evolve from being just about a wedding to being genuine portrayals of the characters and their specific traits. And that, to us, is what photography is all about.”

This spread: A wedding guest gets splashed during a pool party on day one of a multi-day destination wedding in Verona, Italy, covered by Ross Harvey.

WEEKEND-LONG COVERAGE

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With the Fujifilm X-T1 and the Olympus OM-D EM-1 rising to the top of the pack, 2014 proved that mirrorless cam-eras are here to stay. Leading photographers like Daniel Kudish and Tristan Shouldice (Fuji users), and Kate McEl-wee (who shoots with the Olympus) have all added them to their professional gear bags for extra cameras at wed-dings and even as replacements for their DSLRs. Why? Because mirrorless cameras can still be noisier at high ISOs and slower to focus in low light. “I love my Olympus because it is super tiny and easy to carry around,” McEl-wee says. “It auto-focuses quickly, and by touching the LCD screen, you can choose your focus area and take the

picture instantly. Olympus’ 60mm macro is equivalent to a 120mm, and it is perfect for my detail work. Plus, both the Fuji and the Olympus have Wi-Fi so you can transfer the pics to Instagram, add a couple of hashtags and send it out while the wedding is going on. Couples love it and it is great for marketing.”

Below: After packing up her DSLRs at the end of a wedding, Kate McElwee shot this image on the Lenox Hotel rooftop in Boston with her Olympus OM-D E-M1 Micro Four Thirds camera. “I used the articulating screen to get the camera above them and still compose the image,” McElwee says.

THE RISE OF MIRRORLESS

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Of course you have a logo for your business card and the homepage of your website, but do you really need to repeat it everywhere you mar-ket your business? Not necessarily. Graphic designer Alejandro Gómez of In the Ointment (based in the Canary Islands) creates logos with a full suite of design elements that photogra-phers can use for multiple purposes. Catching on with top photographers

such as Sean Flanigan and Joseph Victor Stefanchik, these artistic branding elements are used for wa-termarks and content icons, and then translate well to album covers, photo boxes, t-shirts, tattoos, etc. “My con-tribution is to change the mindset of [photographers],” says Gómez, who has designed for Volkswagen, Audi, Škoda, Honda and Heineken. “Their branding needs to be an extension

of their personality and the goal is always the same: to tell the real story behind each artist. A brand is not a logo, it’s an attitude and a mission— the logo is just the suit.” Stefanchik chose his unique design (including a winged lion) because he loved the bold symbolism and wanted “to at-tract a client with eclectic taste who embraces individual vision and seeks a photographer with visual depth.”

Left: Alejandro Gómez of In the Ointment flips through sketches for JVS creative. Top and above: Joseph Victor Stefanchik plans to use his new JVS logo and branding in a variety of ways, including as a watermark for images.

VERSATILE LOGO DESIGN

B R A N D I N G



Photographers have always been a generous group, and lately more have been offering their services as mentors. Blow-ing up after a recent session on CreativeLive outlining her “Day in the Life” photo ses-sions, Colorado wedding and lifestyle photographer Kirsten Lewis is currently an in-demand mentor, as is Erwin Darmali of L.A.’s Apertura. “[One-on-one] coaching is important because it ultimately fills a void for learning for photographers,” Darmali says. “You can learn by taking workshops, attend-ing seminars or working by yourself, but these are different in effect and nature—they all lack the continuous support that many of us photographers need when we are trying to get better.” For those looking to take their photography to a new level in the coming year, or for a sound voice to help with the challenges and choices that come with being a photogra-pher, finding the right mentor is an excellent option. While Lewis is usually contacted after her speaking engagements and takes on up to 12 mentees at a time, most clients find photog-rapher mentors through their local networks.

This spread: An image from one of mentor Kirsten Lewis’ “Day in the Life” photo sessions. Lewis traveled to Canmore, Alberta, in Canada to spend a day with photographers Lanny and Erika Mann (of Two Mann Studios) and their children.

ONE-ON-ONE MENTORING

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While some would say a good photo is one that’s taken in-camera in the mo-ment, we say when it comes to art—if it feels good, do it! Creating double exposures in-camera is obviously time-consuming, but every once in a while, an opportunity calls for two photos in one. “For us, double exposures started as happy accidents while shooting fi lm,” say photojournalists and wedding photographers Craig and Kitty Fritz of

Twin Lens in New Mexico. “Though we don’t use them for all of our weddings, when we do they serve nicely as an artistic tool that gives us one more way to set ourselves apart esthetically.” For Texas wedding photographer Sara By-rne of Dylan & Sara, double exposures provide an interesting way to combine her two favorite subjects: people and nature. ”My double exposures are cre-ated in-camera using the Canon 5D

Mark III,” Byrne says. “I typically start by taking a subject out to shoot the silhouettes using either the sun or an in-studio backlight setup. After I have that, I am free to go explore nature to fi nd interesting textures and back-drops. Canon makes it easy to overlay the second image using live-view. I can even use that same silhouette several times if I don’t get it right the fi rst time.”

DOUBLE EXPOSURES

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While time-lapse has its place on many fi lmmakers’ reels, the newest craze is hyperlapse—also called “motion timelapse” and “walklapse.” “Hyperlapse is a technique that allows you to apply the standard timelapse principle (taking a lot of photos over an extended period of time) to a camera that moves over bigger distances,” says Matthew Vandeputte, a Sydney-based fi lm editor. He’s been using the tech-nique since 2012, and has creat-ed a hyperlapse video for a “big-budget” Australian wedding. “Instead of moving the camera a millimeter for every photo as you’d do on one of those slider systems, you move the camera a foot or a meter in between pho-tos. After the shoot, you stabilize the footage using software like After E� ects and compile it into a video. The end result is a clip where everything is sped up and the camera seems to be fl ying through time and space. That’s where the ‘hyper’ comes from—it’s like a timelapse on steroids.” The Hyperlapse app for Instagram (named “The Best App of 2014” by the Washing-ton Post’s “Innovations” blog editor) has even popped up, creating an easy alternative to get the super-speedy e� ect. “It’s such a great way to do a time-lapse video,” says Ailecia Ruscin of Oh Snap! Photography in Lawrence, Kansas, who’s used it for one wedding so far. British photographer James He� ernan of FunkyPixel Photography has also played around with it for weddings. As for the hyperlapse trend, Vandeputte predicts it will be used “a ton” in the future because it adds such a unique perspective. “Clients are always impressed with the resulting footage because few of them even realize what is possible,” he says. —JG

HYPERLAPSE

Left: Images of Hyperlapse for Instagram, an app that allows photographers to play with the e� ect on their smartphones and tablets.

Left and below: Stills from U.K. photographer James He� ernan’s video, in which he used the Hyperlapse app for a wedding. He� ernan wrote an in-depth review of his experience on his FunkyPixel.blog called “Carla & Nick—The Insta-gram Hyperlapse Wedding.”

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Photography contests are nothing new, but winning awards as a marketing strategy has never been more popular. When looking at top photogra-phers online this year, couples were likely to see at least one of the following honors featured on their websites: a Fearless Award, a Junebug Weddings Best of the Best, a PDN Top Knots, Rangefinder’s 30 Rising Stars, or WPPI’s 16x20 Print Competition. Winning an award from any of these curators can help elevate name recognition and, inevitably, bookings. Photographer Jacklyn Green-berg of Jag Studios says, “While I submit to contests mainly because they make me critique my own work, I recently booked one of my favorite wed-dings from a photo shown on Junebug’s Best of the Best. I’m grateful to those judges for the recognition, and for the opportunity to have my work seen by a large audience, but what matters most to me is that the photo spoke to my clients and that they wanted me because my style matched theirs.” In addition to bringing in more bookings and opportuni-ties, contests also help raise the bar for the wedding photogra-phy industry as a whole by encouraging photographers such as Adán Díaz, Morgan Lynn Razi and Juya Gentil to look for and shoot award-winning images for their clients who enjoy being part of the process.

This spread: An image by Mexican photographer Adán Díaz, who was named a Fearless winner in 2014.

WINNING BIG

M A R K E T I N G


The editors and contributors at Rangefinder have such diverse tastes that—like we did last year—we thought it would be fun to choose our personal

favorite images of 2014. We set some parameters for ourselves: one image would have to be from a Rangefinder issue this year, and one could be a favorite from anywhere else.

Check out our picks, along with a bit about why they spoke to us.

BY JACQUELINE TOBIN

Why It Worked

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LUCAS MOBLEY, RANGEFINDER’S “WEDDING OF THE WEEK,” JUNE 2014

Because of his background in photojournalism, Lucas Mobley has the ability to think ahead, think on his feet, and adapt to all sorts of environments. That’s why, when faced with photographing a wedding ceremony on the bride’s family’s property in Bremerton, Washington, Mobley was prepared. Using available light, and adjusting his camera settings accordingly, Mobley photographed the bride and groom against a forest of trees. The portrait captures both the spirit of the couple and of the Pacific Northwest.

GUSTAVO MARX, PDN’S PHOTO OF THE DAY, AUGUST 2014

Fashion photographer Gustavo Marx has worked with Brazilian clothing brand Apartamento 03 many times over the years. For a recent shoot, he drew inspiration from legendary photographer Lillian Bassman and her classic black-and-white fashion portraits. Marx used continuous lights and shot with a handheld Contax camera, allowing the model to move freely within the set. The elegant result helped to define Apartamento 03’s Autumn/Winter 2014 clothing line.

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BY JACQUELINE TOBIN

CHRISTOPHER TESTANI, BON APPÉTIT, “SUMMER CASUAL,” AUGUST 2014

Because my best friend gifted me a subscription to Bon Appétit this year, it’s further fed my obsession with food photography, and I had to choose an image from one of the magazine’s regular shooters, Christopher Testani. This particular photo captures the beauty of the recipe (seared scallops with tomato water, lime and mint). The real question is, what doesn’t work about this photo? Its composition fits deliciously on the page—either horizontally as it was in the magazine, or vertically here—and the color pal-ette of green and peach says “summer.” Plus, the lighting is such that even the olive oil dollops are visible in the tomato water. All of these elements are crucial to food photography, and in my opinion, more seductive than anything on the pages of W or Elle.

JUSTIN & MARY, RANGEFINDER, “OVERCOMING DARK VENUES,” SEPTEMBER 2014

My colleagues are probably sick of hearing me talk about this image, but I don’t care; I fell in love with it in our Sep-tember How-To issue and would’ve happily put it on the cover of our magazine. Sure, it would have been tough to take a bad picture of this gorgeous woman and her chic haircut, but Justin & Mary capitalized on her beauty by constructing a portable lighting setup in a matter of min-utes with a gray backdrop, keeping everything super simple. By focusing on the bride for this beautiful, formal portrait, this is a great example of what to do when natural light isn’t available to still make something really special.

Jessica Gordon | SENIOR EDITOR, RANGEFINDER

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editors’ picks




DARYL HENDERSON, “THE AMERICAN” SERIES

I first met Daryl Henderson during a portfolio review at PhotoPlus Expo in 2013. I was taken with his work then and am equally enamored by his style and vision today. The L.A.-based fashion shooter is quick on his feet, coming up with backup solutions when Plan A falls through, like with this shot when a motel manager kicked Henderson and his crew out even though he had paid for a room the day before. The photographer decided to im-provise, shooting instead on the sidewalk in front of the hotel, which he says worked out even better. I, like Henderson, find this image, shot for a personal project, haunt-ing yet peaceful. “The smoke rolling ever so slightly out of her mouth looks more like a soul escaping the body, and the way the light was falling so intensely only adds to the sense of mystery,” he says.

MALIA JOHNSON, RANGEFINDER, 16X20 CONTEST GALLERY, MAY 2014

Having seen an endless array of wedding images and styles during my 25-plus years in the photo industry, it’s hard not to see repetitive themes or similar setups now and again. But I’ve never seen an image quite like Malia Johnson’s, who won first place for it in WPPI’s 16x20 Print, Album, and Filmmaking Competition (“Bride and Groom Together: Non-Wedding Day”). Shot in late afternoon on the island of Fiji, Johnson says the bride and groom were very experienced surfers and swimmers. I love how graceful the bride appears and how ethereal the overall feel of the image is. It’s soulful, spiritual and simply breathtaking.

Jacqueline Tobin | EDITOR-IN-CHIEF, RANGEFINDER

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WE ARE THE RHOADS, ROLLING STONE, “LIFE AFTER PUNK,”

MARCH 2014

A well-deserving PDN’s 30 of 2014, the husband-and-wife duo Chris and Sarah Rhoads take fashion, advertis-ing and lifestyle photos of a warm, carefree world you wished you lived in. It’s easy to get lost in their port-folio, only to realize you’ve been scrolling through it for over an hour (I’m writing from experience). There was something about this portrait of Carrie Brownstein, the co-star of the quirky TV sketch comedy Portlandia, that drew me in. Her boldness and humor are captured at once, plus the Rhoads give a nod to Brownstein’s years as a member of the punk/indie band Sleater-Kinney with the inclusion of her sleek electric guitar.

ANDY GAINES, RANGEFINDER, 30 RISING STARS OF WEDDING PHOTOGRAPHY, NOVEMBER 2014

Of the thousands of photos I looked at during the judging process of the 30 Rising Stars, I stopped at this one the longest. It is so not what I would think of as a wedding photo, but Andy Gaines has encapsuled the day’s not-often-seen discord—the moody teen-ager with a woman riffling through her purse, a little tutu-donning girl trailing a woman who pushes a stroller, an-other woman who’s set her stuff in the grass to take a photo, and the little girl letting go of or reaching for a soon-to-be-lost balloon. Taken a second before or after, and this photo wouldn’t have had quite the right mix of chaos and charm as it does now.

Libby Peterson | ASSOCIATE EDITOR, RANGEFINDER

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DYLAN & SARA PHOTOGRAPHY, RANGEFINDER, WEDDING PHOTOG-RAPHY CONTEST, OCTOBER 2014

I see thousands of images come across my screen, whether it’s from one of our competitions, an educator’s website, working with the RF crew, or from daily life. My opinion of what “turns me on” has really changed (or evolved? I’m not sure). I can say that anytime there is a “human element” in the image, it will make me stop, and really look. This image from Sara and Dylan just sucks you in, and once you’re looking, you notice the beau-tiful highlights and range of tones.

MARCUS BELL, WPPI’S 16X20 PRINT, ALBUM, AND FILMMAKING

COMPETITION, 2014

Marcus Bell’s image took third place for “Wedding Bride and Groom Together—Wedding Day” in our annual 16x20 Print, Album, and Filmmaking Competition. I also have this print hanging in my office, and it’s one of those images that you must see the printed piece to really understand why it’s so special. What I find interesting is that the image has no white space; it’s all tones of black and grey. It’s almost like looking at a negative, but it’s not, and it’s just some-thing completely different. It’s really a magical image and stands as a testament to the importance of the printed piece.

Jason Groupp | DIRECTOR OF WPPI MEMBERSHIP AND EDUCATION

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WHAT TO READ NOW

ANOTHER MAN: MEN’S STYLE STORIESBy Alister Mackie, Je� erson Hack, Ben Cobb

Another Man magazine is a popular men’s publication that focuses on style, design, thought and good living; each edition is so large that it can itself be considered a collectible. The magazine’s editors place a strong emphasis on stories drawing on the magazine’s vast picture archive to present to the reader over 300 photos, as well as a portfolio of interviews with icons such as writer William Gibson, supermodel Kate Moss and William S. Burroughs. Don’t miss the surreal photo of Tom Ford in a bath-robe vacuuming a carpet on the set of a photo shoot.

Rizzoli, Hardcover, 304 pages, $75

book roundup

THE ART OF FASHION PHOTOGRAPHYBy Patrick Remy

Ideal for anyone interested in the world of high fashion, The Art of Fashion Photography highlights the work of several emerging photographers who have been published in international fashion and de-sign magazines. The editor says in addition to bringing their talent directly to the reader, the purpose of this project is to also appreciate “how they navigate the delicate balance between art and commerce.” Any photographer who has a com-mercial client and an artistic vision can appreciate that challenge, and will therefore truly appreciate the resulting work of those featured in this volume.

Prestel, Hardcover, 240 pages, $55

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BY ANDRE CRUMP

Our annual book roundup does not disappoint this year, with plenty of options for the fashion photography and fi ne-art lover, as well as text on the history of women photographers and a study in animal dwellings.

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ANIMAL ARCHITECTUREBy Ingo Arndt, Jürgen Tautz

Any photographer who is inspired by or specializes in architecture or interiors should stop what they are doing and look out the window. Or rather, stop what they are doing and go outside to the park, because that’s where true inspiration lies: in the work of our animal co-citizens on Planet Earth. In animals’ instinctual quest to survive, eat and reproduce, they have taken the quality of self-produced nests, cocoons and individual habitats to a level that can only be achieved through a long process of evolution. Shot both in studio and in-situ, photographer Ingo Arndt has succeeded in bringing to the viewer 120 architectural animal homes.

Harry N. Abrams, Hardcover, 160 pages, $29.95

STREET STYLE SAN FRANCISCOBy C. Bliss

I’m happy to say that we also have a new photo publication on which this writer worked. In STREET STYLE San Francisco, young photographer C. Bliss captures the unique, energetic and exciting fashions found on the streets, avenues, and boulevards of the City by the Bay. From flower child to fashionista, from techie to sporty, the trends of San Francisco citizens are spotted and added to this streamlined yet focused photographic compilation.

TCB Cafe Publishing, Softcover, 120 page, $14.95

THE LIGHT BETWEEN US By Vincent Peters

Born in Germany and seasoned in New York, Vincent Peters is an international fashion photog-rapher who embodies the art of classic portraiture. A unique use of lighting and his ability to focus on the simple and subtle rather than the grand and obvious have resulted in much-requested personal images that are the favorites of his famous subjects. Their roster is quite impressive and includes Emma Watson, Christian Bale, David Beckham, Scarlett Johansson, Kim Basinger, Charlize Theron (cover), Clive Owens, Michael Fassbender and Bono. This new publication contains 54 color and 198 duotone photographs, and proceeds benefit the Family Justice Center of the Protection Against Violence department at Berlin’s Charité hospital.

teNeues, Hardcover, 208 pages, $125

PATRICK DEMARCHELIERBy Patrick Demarchelier, Introduction by Anna Wintour

Patrick Demarchelier is a prolific, award-winning modern photographer who since the mid-1970s has worked for almost every major fashion publication, including Vogue, Vanity Fair, Harper’s BAZAAR, Allure and Glamour. This new monograph collects over 400 of his most referential images from that period of time. Originally published to be available for his exhibition at the Petit Palais in Paris, en-titled “Patrick Demarchelier: Images et Mode à Paris,” this book is thick with both imagery as well as artistic inspiration. The works range from commercial print editorial to private portraits, and although extremely proficient in the use of color, Demarchelier truly excels in the arena of black-and-white monochromatic photographs.

Steidl, Hardcover, 360 pages, $75

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book roundup

I JUST ARRIVED IN PARISBy Juergen Teller

Opening the handmade boxed set of Juergen Teller’s I Just Arrived in Paris is like opening a really nice birthday present. It turns out that there is a lot inside to savor. Created as Teller photographed Nicolas Ghesquière’s first fashion collection as the artistic director of Louis Vuitton, the box contains more than an actual hardcover book: there are also Fall/Winter 2014/15 Louis Vuitton campaign prints, backstage posters, pho-tographs, frameable images, and intros by Teller and Ghesquière in both English and in French.


SWEET SERENDIPITY: DELICIOUS DESSERTS AND DEVILISH DISHBy Stephen Bruce, Foreword by Melissa Rivers and Joan Rivers

Comedian Joan Rivers knew a good dessert, and some of her favorites came from legendary New York restaurant Serendipity 3. In this revised edition of the establishment’s cookbook, 75 desserts and recipes are presented to the reader for recreation at home—many are also beautifully photographed by Liz Steger.

Rizzoli, Hardcover, 128 pages, $25

W STORIESBy Stefano Tonchi

W Stories curates eleven of avant-garde W magazine’s most intriguing editorial stories from over 20 years of publication, including the accompanying photographs, outtakes and mood boards. The selected stories all share the common trait that they were the centerpiece of the issue in which they appeared, and for good reason. The topics, models and photographers read like a provocative Who’s Who list, including Steven Meisel, Tilda Swinton, Carmen Carrera, Steven Klein, Paolo Roversi, Mert and Marcus, Shalom Harlow, Amber Valletta, Kate Moss and Alex Prager.

Harry N. Abrams, Hardcover, 256 pages, $75

PRIVATEBy Mona Kuhn

Well known for her famous semi-saturated and rich depth-of-field nudes, this publication by Mona Kuhn takes the same set of photographic skills to the desert, which she captures with a similar perspective. Beautiful images of empty buildings, empty housing developments, arid landscapes and native flora and fauna are interspersed with her trademark clothing-free models, all within the same color palette, focus and context.


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RICH AND POORBy Jim Goldberg

This study of the wealthy and the very less-than in San Francisco was created between 1977 and 1985, and was featured as part of the “Three Americans” ex-hibition at the Museum of Modern Art. Using a combination of photographs and text, this photo essay truly brings to the viewer not just the sense of the times, but also of the hopes, dreams and (very likely) future disappointments of the sub-jects. One striking image among many is that of a young man with a cat and a hat living in a transient hotel who states that his goal one day “is to build an empire.” This volume is a redesign and reissue of an out-of-print 1985 edition.


THE WEDDING DRESS: THE 50 DESIGNS THAT CHANGED THE COURSE OF BRIDAL FASHIONBy Eleanor Thompson

A proper photo of the wedding dress is often considered to be one of the most important bridal elements, at least as far as the bride is concerned. In order to truly appreciate the modern mystique and construction of bridal dresses, it is often useful to know the designers and detailed designs from whence they sprang, as well as the princesses, starlets and socialites who wore them. For those reasons alone, photographers who specialize in weddings should have this book as not only a professional reference, but also as a resource for clients. It will certainly help when you hear the names of designers such as Carolina Herrera, Cristóbal Balenciaga, Jeanne Lanvin and Sarah Burton.

Prestel, Hardcover, 192 pages, $29.95

ROWING BLAZERSBy Jack Carlson, F.E. Castleberry

The publisher and creators of this photographic collection of rowing jackets from clubs and universities knew something that most people would not: these jackets are incredible. Each one embodies not just the sport and the athlete, but also the histories and cultures behind the organi-zations. Most surprising is that rather than being gaudy—or just as likely, boring—the jackets and emblems together are almost sartorial works of art. Most readers will come away with not only an appreciation of the intriguing images, but with also a strong desire to join a rowing group just for the chance to don its blazer.

Vendome Press, Hardcover, 256 pages, $50

WOMEN PHOTOGRAPHERS: FROM JULIA MARGARET CAMERON TO CINDY SHERMANBy Boris Friedewald

Boris Friedewald has taken up the challenge of identifying 55 of the most influential women photographers in the 19th and 20th centuries. Such an international list is always going to be incomplete, but he does a laudable job of bringing together a comprehensive collection of many whom we know made their mark on the art and industry, as well as others who did but are not as well known. This is an important book for the library of the photographic historian, as well as anyone who wishes to have a better appreciation of important women in the field.

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Second Half helps entrants to improve their craft and develop their voice before the 16x20 Print Competition live judging at the WPPI Conference & Expo in Las Vegas.

First-, second- and third-place winners are featured in the WPPI online winners’ gallery, and all images from 2014 First and Second Half are en-tered to compete for the Grand Award in Las Vegas ($2,000 cash prize). On the following pages, enjoy the fi rst-place winners of each category.

To view the online gallery for First Half, visit www.wppiawards.com.

Congratulations to the winners of the Second Half Members Only competition!


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BRIDE AND GROOM TOGETHER: NON-WEDDING DAYWAN KIN TONG “Untitled”

COMMERCIALMARK DUFFUS“Dash of color and design in breakout kitchen”

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CREATIVE DIVISION

FASHIONBAMBI CANTRELL “Berta Bride”



BRIDE OR GROOM ALONE: NON-WEDDING DAY LENO OOI“Untitled”



CREATIVE DIVISION

COMPOSITEENYA MAREINE“Golden Portal”

ILLUSTRATIVEFOROUGH YAVARI “The God is Tired”



BEAUTY/BOUDOIRJB SALLEE

“Twin Refl ex”

ANIMALS/PETSKUTUB UDDIN

“Wasp”



PORTRAIT DIVISION

HIGH SCHOOL SENIORJAMIE BARD-DUBE“Her One True Love”



INDIVIDUALROB SHAW“Untitled”



PORTRAIT DIVISION

GROUPENRIQUE OLIVER“Untitled”

CHILDRENBIANCA MORELLO

“Girl in a Hat”



BRIDAL PARTYENRIQUE OLIVER“Untitled”



WEDDING DIVISION

WEDDING PHOTOJOURNALISMMICHAEL ANTHONY “Refl ections of the Mother”

BRIDE AND GROOM TOGETHER: WEDDING DAYXIAOYI ZHANG“All About Light”



ENGAGEMENTLENO OOI“Untitled”



WEDDING DIVISION

BRIDE OR GROOM ALONE: WEDDING DAYXUBAO GUO “Untitled”

WEDDING DETAILSRYAN SCHEMBRI

“Untitled”



ALEX PANBased in Guangzhou, China, Alex Pan fell in love with wed-ding photography at the age of 18. He has launched Perfect Frame Wedding Photography in Australia and achieved numer-ous awards with WPPI and a celebrated WPPI Master.

DANNY DONGDanny Dong began shooting weddings in 2008 and within five years, built a high-end wedding studio in the San Francisco Bay Area. Dong has received numerous awards from international competitions and frequently speaks at professional photography organizations to share his vision and skills.

JERRY GHIONISAs a Grand Master of WPPI and widely regarded as one of the top wedding photographers in the world, Jerry Ghionis has been involved with WPPI competitions as an entrant, judge and judge chairman for over a decade. Ghionis is a U.S. Nikon Ambassador and he and his wife Melissa serve as competition directors of WPPI’s annual 16 x 20 competition.

BAMBI CANTRELLWedding and portrait photogra-pher Bambi Cantrell is one of the most decorated and celebrated professional photographers in the industry. After 25 years of photographing some of the most exquisite images from around the world, the author of three bestsell-ing books is affectionately known as the “Queen of WPPI.”

JACQUELINE TOBINJacqueline Tobin is the editor-in-chief of Rangefinder magazine. Previously, she was managing editor at Photo District News, where she worked since 1986. She is the author of two books, Wedding Photography Unveiled and The Luminous Portrait.

LUKE EDMONSONA Master of WPPI, Luke Edmonson began his career in commercial photography and transitioned to wedding photography in 2003 to launch Edmonson Weddings. Ed-monson’s work has been featured in notable industry publications such as Rangefi nder, Photo District News, Modern Bride, The Knot and Grace Ormonde Wedding Style.

CHRISTIAN LALONDEChristian Lalonde has worked as a photographer with Photolux Studio since 1997. As a principal photographer, Lalonde has made his mark in the industry, demon-strating a remarkable versatility as a commercial photographer and photo illustrator with clients that include Estée Lauder, Sony and Yves Saint Laurent.

JASON GROUPPJason Groupp is the director of education and membership for PHOTO+ (PhotoPlus Expo and WPPI). After 25 years as a wedding photographer based out of his Chelsea, New York, photography studio, Groupp now calls the downtown offices of the PHOTO+ home, where he says that each day is truly an adventure.

THANK YOU TO OUR JUDGES

REGISTER TODAY! WPPI 2015 LAS VEGAS Conference February 26–March 5, 2015 | Expo: March 2–4, 2015

Registration Launches Members: October 15 | Non-members: October 23

wppionline.com


CategoriesPersonal • Stock • Editorial

Commercial • Photo Books

Entry Fees$25/single or series

PrizesOne Grand-Prize

winner will receive:

$1,500 Cash

A $600 Fotocare gift card

All fi rst-place winners will receive:

A $100 Fotocare gift card

All winning images will be featured in the April issue of

Rangefi nder and a gallery on Rangefi nder online.

Register today at

The ultimate animal photography contest

R

angefinder presents...

Members receive

entry fee

Members receive

Deadline:

01 • 08 • 2015

PHOTO © KRISTIN BEINKE

www.bestfriendsphotocontest.com

v4_BestFriends_1214.indd 1 11/10/14 9:50 AM


Media Cards, Readers and Wireless Storage

product roundup

BY THEANO NIKITAS

Speed, versatility and mobility are part of every photographer’s vocabulary, whether shooting 4K, downloading images or keeping gear bags light while traveling.

We’ve put together some the latest and most useful media cards, readers and wireless storage accessories to help maintain a smooth and speedy

workflow—whether in the studio or on the road.

DELKIN BLACK SDHC/SDXC CARDSOther than speed and capacity, it’s not easy to differentiate one SD card from another. But Delkin’s new rugged SDXC cards definitely stick out from the pack. Dubbed “Black Cards,” the latest media from Delkin are manufactured using a proprietary injection molding process that makes them extremely durable and waterproof—they can stay submerged up to 72 hours. They’re also dustproof, resistant to extreme temperatures (-40/185 °F) and unbreakable. While we’re not sure we’d purposely let the dog use them as a chew toy, Delkin says the cards can withstand up to 45 pounds of force. Better yet, Delkin has a no-questions-asked replacement insurance policy with a 48-hour turnaround—just be sure to register your cards. If something terrible happens to them, give the company a call and you’ll get a new card in two days. Available in 32GB, 64GB and 128GB capacities, these UHS-I Speed Class 3 cards offer transfer speeds up to 99 MB/s and are speedy enough for 4K recording.

PRICE: SET BY INDIVIDUAL RETAILERS; SEE WEBSITE FOR LIST OF AUTHORIZED DEALERSWWW.DELKIN.COM

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HR2 READERS AND STORAGE DRIVESThe HR2’s mix-and-match modular design lets you configure the hub with whatever readers and drives fit your needs. Readers are available for SDHC/SDXC, CF, XQD, microSD and, now, CFast cards. Lexar also released two compatible solid state drives—the DD256 and DD512—in 256GB and 512GB capacities. Just pop the read-ers and drives into the slot and you’re good to go. Card readers and drives are removable and can be used indepen-dently when you’re on the road.

PRICES: STARTING AT $30 (CARD READERS); $151, $215 (HARD DRIVES)

PROFESSIONAL WORK-FLOW HR2 READER AND STORAGE DRIVE HUBReady to speed up your workflow? Check out Lexar’s HR2, the next gen-eration of its four-slot card reader hub. This time, the updated hub also accepts solid state drives (see right) and supports Thunderbolt 2 and USB 3.0 connections. Software such as Photo Mechanic supports simultane-ous downloads, and while programs like Photoshop, for example, only support consecutive downloads, we think the HR2’s speed and conve-nience are well worth the price. An excellent choice for any studio.

PRICE: $200

PROFESSIONAL 2000X/1000X SDHC/SDXC UHS-II CARDSKeeping pace with our need for speed, Lexar recently added two new UHS-II (UHS Speed Class 3) SDHC/SDXC cards to its lineup. With read speeds of up to 300 MB/s (2000x) or 150 MB/s (1000x), these cards are perfect for every type of file, from still images to full HD, 3D and 4K video. Backwards compatible with UHS-I devices, both cards come with a small UHS-II card reader to take full advantage of the maximum transfer speed, as well as a free downloadable copy of Image Rescue software. The 2000x cards are available in 32GB and 64GB capacities; the 1000x card capacities range from 16GB to 256GB.

PRICES: 2000X, $105 (32GB), $185 (64GB); 1000X, $32-$547 (16GB-256GB)

WWW.LEXAR.COM

LEXAR



LACIE FUEL WIRELESS DRIVEAvailable in 1TB and 2TB capacities, this wireless hard drive is a spacious portable storage option that also functions as a go-between when mov-ing files between devices and com-puters. Extremely versatile, the drive is compatible with iOS, Android and Kindle Fire as well as Windows and Mac operating systems (and Drop-box, too). Using the free mobile app, you—and up to four other users—can access the drive at the same time, as long as you’re within 150 feet of the drive. With up to a 10-hour battery life, the LaCie Fuel will last through day-long shoots or multiple meetings. If you need faster file transfers to your computer, just connect the Fuel using the bundled SuperSpeed USB 3.0 cable. The device weighs 9.7 ounces and measures 4.5 x 4.5 x 0.9 inches, which makes it slender enough to stow in your camera bag.

PRICES: $180 (1TB); $250 (2TB)WWW.LACIE.COM

product roundup

EXTREME PRO SDHC/SDXC UHS-1 CARDS If you shoot plenty of video, espe-cially 4K video, SanDisk’s Extreme Pro 512GB SDXC card will keep you recording longer. With write speeds up to 90 MB/s and read speeds up to 95 MB/s, the Extreme Pro UHS-1 cards can keep pace with the latest camera technology and the need for a fast workflow. These Extreme Pro cards are also available in 128GB and 256GB capacities and are pretty tough. They’re shockproof, X-ray proof and waterproof, and will continue to function whether you’re shooting in extreme cold or blazingly hot conditions.

PRICES: $400 (128GB); $500 (256GB); $800 (512GB)

CONNECT WIRELESS MEDIA DRIVEFor portability, not many products can beat the tiny, solid state Con-nect Wireless Media Drive. The device measures a mere 2.6 x 2.6 x 0.52 inches and easily slips into most pockets. (If you need something smaller, check out the SanDisk Con-nect Wireless USB Flash Drive.) Its aluminum housing protects the drive, while a non-skid rubber bottom keeps it in place on your desk. The drive is compatible with iOS, Android, Win-dows and Mac and, as a bonus, has its own SDHC/SDXC card slot so you can easily transfer images or backup images from a shoot before you head back to the studio. Multiple users can access the device via the free San-Disk app and, if you’re bored on the road and need some spontaneous entertainment, you and your team can stream up to five movies at the same time. It’s available in 32GB and 64GB capacities. I’m a big fan of the media drive and carry one with me when-ever I travel.

PRICES: $80 (32GB); $120 (64GB)

WWW.SANDISK.COM

SANDISK



SEAGATE WIRELESS PLUS HARD DRIVE Perfect for sharing among team members, the Wireless Plus supports up to eight tablets and smartphones simultaneously for quick and easy access using the free app. Available in 500GB, 1TB and 2TB capacities, the Wireless Plus provides plenty of permanent and temporary stor-age. Compatible with iOS, Android, Kindle Fire and Windows devices, as well as Mac and Windows computers, the device covers a lot of bases. For ten-times-faster transfer speeds, use the bundled USB 3.0 cable to shuttle images to and from your computer. Although not pocketable, at 3.5 x 5 x 0.83 inches and 9.6 ounces, it’s easily transportable from studio to location and back again.

PRICES: $150 (500GB);$180 (1TB); $200 (2TB)WWW.SEAGATE.COM

WESTERN DIGITAL MY PASSPORT WIRELESS DRIVEWith multiple connectivity and streaming options, Western Digital’s My Passport Wireless Drive provides a variety of solutions for your storage and sharing needs. In addition to wireless compatibility with iOS and Android via the free My Cloud mobile app, you can speed things up with a USB 3.0 cable to Mac and Windows computers. But, the drive also works with DLNA/UPnP-equipped devices so you can stream content to compat-ible TVs, media players and even gaming consoles. And, as a bonus, it has a built-in SDHC/SDXC slot. The drive is available in 1TB and 2TB capacities.

PRICES: $180 (1TB); $220 (2TB)WWW.WDC.COM/EN

TRANSCEND U3 SDXC CARDEarlier this year, Transcend released a line of fast, UHS-1 Speed Class 3 (U3) SDHC/SDXC cards with read speeds of up to 95 MB/s—perfect for any type of capture, whether you’re shooting stills or 4K video. Cards are available in several capacities including 32GB and 64GB, with write speeds up to 85 MB/s, or 64GB and 128GB cards that offer write speeds up to 60 MB/s. All of the cards have built-in error-correcting codes and come with access to RecoveRx soft-ware. The cards are affordable, so pick up a few; they’ll last a long time (they’re good for 10,000 insert/re-moval cycles). While you’re at it, grab one of Transcend’s UHS-1 compatible card readers for optimum perfor-mance when transferring images.

PRICE: STARTING AT $35WWW.TRANSCEND-INFO.COM


www.bhphoto.com/catalog

Prices, speci� cations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.

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18-200/3.5-5.6 DX G AF-S ED-IF VR II Digital Lens• Exclusively designed for Digital SLRs• 35mm equiv.

27-300mm• VR II Vibration Reduction• SWM (Silent

Wave Motor)• 3.5-22 f/Stop Range• Focus 1.6' to Infi nity• Weight 19.8 oz

SB-910 Speedlight i-TTL Shoe Mount Flash• Tungsten & Fluorescent Filters Included• Guide No. 111.5'• Simplifi ed Graphic

User Interface (GUI) • Bounce, Swivel

& Zoom Head (17-200mm)

• Wireless Controller• Weight 14.8 oz

10-22/3.5-4.5 EF-S USM Digital Lens• Exclusively designed for Digital SLRs• 35mm equiv.

16-35mm• 3 aspherical

lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5"• 77mm fi lter diameter• Weight 13.6 oz

600 EX-RT Shoe Mount Flash• Dust and water resistance• Guide No. 197' • Wireless Radio

Multiple Flash System• Bounce and

Swivel Head• Zoom Head (20-200mm)• 18 Custom Functions• Weight: 15 oz

EOS-60D DSLR• 1920 x 1080 HD Video Capture• DIGIC 4 Image Processor• SD/SDHC/SDXC Card Slot• Works with all Canon EF & EF-S Lenses• Vari-Angle Clear View 3.0" Flip-Out LCD• 5.3 fps Continuous Shooting• ISO 6400 - Expandable to 12800• HDMI Output to HDTV

Body Only #CAE60D .........................................899.99 18MegaPixels

EOS-70D DSLR• Dual Pixel CMOS AF with Live View• DIGIC 5+ Image Processor• SD/SDHC/SDXC Card Slot• Uses Canon EF & EF-S Lenses• 3.0" Vari-Angle Touchscreen• 7 fps Continuous Shooting• Full HD 1080p Video

Body Only #CAE70D ....................................... 1,199.00Kit with 18-55mm STM #CAE70D1855 ..........1,349.00 20Mega

Pixels

AF FlashesSB-300 ...... 146.95SB-500 ...... 246.95

SB-700 ...... 326.95SB-910 ...... 546.95

R1 Wireless Twin Flash ...............................R1C1 Wireless Twin Flash System ...............

DX ED-IF Lenses for Digital Only10.5/2.8 Fish-Eye ......................................35/1.8 G AF-S (52ø) .......................196.9540/2.8 G AF-S Micro (52ø) ..............276.9585/3.5 G ED VR Micro (52ø) ............526.9510-24/3.5-4.5 G AF-S (77ø) .......................12-24/4 G AF-S (77ø) ................................16-85/3.5-5.6 G AF-S VR (67ø) ..................17-55/2.8 G AF-S (77ø) .............................18-55/3.5-5.6 G AF-S II (52ø) ....................18-55/3.5-5.6 G AF-S VR (52ø) .......196.9518-105/3.5-5.6 G AF-S VR (67ø) .....396.9518-200/3.5-5.6 G AF-S VR II (72ø) ..596.9518-300/3.5-5.6 G AF-S ED VR (77ø) .......996.9555-200/4-5.6 G AF-S (52ø) ........................55-200/4-5.6 G AF-S VR (52ø) ........246.9555-300/4.5-5.6 G AF-S VR (58ø) .....396.95

D-Type AF Lenses14/2.8 D ED .......... 24/2.8 D (52ø).......16/2.8 D (39ø) with Hood ...........................24/3.5 D ED PC-E (77ø) .............................28/1.8 G AF-S (67ø) .......................696.9528/2.8 D (52ø)....... 35/2.0 D (52ø).......45/2.8 D ED PC-E Micro (77ø) ....................

D-Type AF Lenses50/1.8 D (52ø)....... 50/1.4 D (52ø).......50/1.8 G AF-S (58ø) .......................216.9550/1.4 G AF-S (58ø) ..................................60/2.8 D Micro (62ø) (1:1) .........................60/2.8 G AF-S ED Micro (62ø) ....................85/1.8 G AF-S (67ø) .......................496.9585/1.4 D IF (77ø) .......................................85/1.4 G AF-S (77ø) ..................................105/2.8 G AF-S ED-IF VR Micro (62ø) .........105/2.0 DC D with Hood (72ø) ...................180/2.8 D ED-IF (72ø)................................200/4 D ED-IF Micro w/Case (62ø) .............200/2 G AF-S ED-IF VR II (52ø) ...................300/4.0 D AF-S ED-IF (77ø) .......................14-24/2.8 G AF-S ED-IF ................1996.9516-35/4.0 G AF-S ED VR (77ø) ......1256.9517-35/2.8 D AF-S ED-IF (77ø) ....................18-35/3.5-4.5 G ED (77ø) ...............746.9524-70/2.8 G AF-S ED-IF (77ø) .......1886.9524-85/2.8-4.0 D IF (72ø) ...........................24-120/4.0 G AF-S ED VR (77ø) ..........1296.9528-300/3.5-5.6 G AF-S ED VR (77ø) .....1046.9570-200/2.8 G AF-S ED-IF VR II (77ø).......2396.9570-300/4.5-5.6 G-AFS VR (67ø) ......586.9580-200/2.8 D with Collar (77ø) ...................80-400/4.5-5.6 D VR (77ø) ........................200-400/4 G AF-S ED VR II (52ø) ................TC-14E II (1.4x) Teleconverter .....................TC-17E II (1.7x) ..... TC-20E III (2x) ........

EOS Flash System (USA)270EX II .....169.99320EX ...................

430EX II .....299.99600 EX-RT..549.99

MR-14EX Ringlight ......................... 549.99MT-24EX Twin Flash ....................... 829.99

EF-S Lenses for Digital Only (USA)(Not compatible with full frame cameras)

60/2.8 USM Macro (52ø) ................ 469.9910-22/3.5-4.5 USM (77ø) .............. 649.9915-85/3.5-5.6 IS USM (72ø) .......... 799.9917-55/2.8 IS USM (67ø) ................. 879.9917-85/4-5.6 IS USM (67ø) ............. 599.9918-135/3.5-5.6 IS (67ø) ................ 499.9918-200/3.5-5.6 IS (72ø) ................ 699.9955-250/4.0-5.6 IS USM (58ø) ........ 249.99

EF Lenses (USA)20/2.8 USM (72ø) .......................... 539.9924/2.8 IS USM (58ø) ...................... 599.9928/2.8 IS USM (58ø) ...................... 549.9935/2 IS USM (67ø) ......................... 599.9950/1.8 II (52ø) ............................... 125.9950/1.4 USM (58ø) .......................... 399.9950/2.5 Macro (52ø)........................ 299.9985/1.8 USM (58ø) ............................ 419.99100/2 USM (58ø) ........................... 499.99100/2.8 USM Macro (58ø) .............. 599.9928-135/3.5-5.6 IS USM (72ø) ........ 479.9970-300/4-5.6 IS USM (58ø) ........... 649.9970-300/4.5-5.6 DO IS USM (58ø) ....... 1399.0075-300/4.0-5.6 III (58ø) ................. 199.9975-300/4.0-5.6 III USM (58ø) ......... 234.99

TS-E MF Lenses (USA)17/4.0 L ...2249.0045/2.8 .....1399.00

24/3.5 L II ..1999.0090/2.8 .....1399.00

EF “L” Lenses (USA)14/2.8 USM II .............................. 2249.0024/1.4 II (77ø) ............................. 1649.0035/1.4 USM (72ø) ........................ 1479.0050/1.2 USM (72ø) ........................ 1549.0085/1.2 USM II (72ø) ..................... 2099.00100/2.8 IS USM Macro (67ø) .......... 949.99135/2.0 USM (72ø) ...................... 1049.00180/3.5 USM Macro (72ø) ............ 1499.00200/2.0 IS USM (52ø) .................. 5999.00300/4.0 IS USM (77ø) .................. 1449.00300/2.8 IS USM II (52ø rear) ......... 6599.00400/5.6 USM (77ø) ...................... 1339.008-15/4.0 Fish-eye USM ................ 1349.0016-35/2.8 USM II (82ø) ................ 1699.0017-40/4.0 USM (77ø) .................... 839.9924-70/4.0 IS USM (77ø) ................. 999.9924-70/2.8 USM II (82ø) ................ 2099.0024-105/4 IS USM (77ø) ................ 1149.0028-300/3.5-5.6 IS USM (77ø) ...... 2549.0070-200/4.0 IS USM (77ø) ............. 1299.0070-200/2.8 USM (77ø) ................ 1449.0070-200/2.8 IS II USM (77ø) .......... 2299.0070-300/4.0-5.6 IS USM (67ø) ...... 1449.00100-400/4.5-5.6 IS USM (77ø) .... 1699.001.4x III Tele ..449.99 2x III Tele ....449.99

Call for Available Rebates & Promotions on Select Bodies, Lenses and Flashes!


EOS-5D Mark III D-SLR• 3.2" Clear View High Resolution LCD• DIGIC 5+ Image Processor • 61-Point

High Density AF • Uses Canon EF Lenses• Dual CF, SD Card Slots • Up to 6.0 FPS• Durable Magnesium-Alloy Construction • Full HD 1080/30p and 720/60p Formats• Built-In HDR and Multiple Exposure Modes

Body Only #CAE5D3* .....................................3,399.00Kit with 24-105mm L IS #CAE5D324105 ........3,999.00 22Mega

Pixels

EOS-1Dx D-SLR• Dual DIGIC 5+ Image Processors • Magnesium Alloy Body • Eye-Level Pentaprism Viewfinder• 3.2" LCD Monitor • Uses Canon EF Lenses • Dual CF card slots• 1920 x 1080 HD Video Capture • Live View Still and Video Recording• 61-Point High Density Auto Focus

Body Only #CAE1DX*......................................6,799.00 18MegaPixels

EOS-6D DSLR• Full-Frame CMOS Sensor • 3.0" LCD• DIGIC 5+ Image Processor• Uses Canon EF Lenses• SD/SDHC/SDXC Card Slot• Built-In Wi-Fi and GPS Connectivity• Full HD 1080p with Manual Controls• Built-In HDR and Multiple Exposure Modes

Body Only #CAE6D ........................................1,899.00Kit with 24-105mm f/4 L #CAE6D24105 ........2,499.00 20Mega

Pixels

OM-D E-M1 Mirrorless System Camera• 3.0" Tilting LCD Touchscreen• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• Full HD 1080p Video• Built-In Wireless Connectivity• Dust/Splash/Freezeproof

Magnesium Alloy Body

#OLEM1* 16MegaPixels16Mega

Lumix DMC-GH4 4K Mirrorless System Camera

• DCI 4K 4096x2160 at 24p• UHD 4K 3840x2160 at 30p/24p• 3.0" LCD • Live View Finder • Full HD

up to 60p • High-Speed 49-Point AF• Support for 59.94p, 23.98p, 50p, & 24p• 4:2:2 8-Bit or 10-Bit HDMI Output• Magnesium Alloy, Weather-Sealed Body

Body Only #PADMCGH4* 16MegaPixels

EOS-7D Mark II DSLR• 3" Clear View II LCD • Native ISO 16000• Dual Pixel CMOS AF with Live View• Dual CF and SDHC/XC Card Slots • Built-In GPS Receiver & Digital Compass• Full HD 1080p/60 Video

Body Only #CAE7D2 ............................1,799.00EOS 7D Body Only #CAE7D ..............................................................................1,499.00EOS 7D Kit with 18-135mm IS #CAE7D18135 .................................................1,799.00EOS 7D Kit with 28-135mm IS #CAE7D28135 .................................................1,699.00

20MegaPixels

NEW

Rangefinder 12-14 JN140942.indd 1 10/23/14 9:37 AM

122014

Page 2


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58 AF-2 TTL Shoe Mount Flash• Guide No. 58'• Full TTL Mode • Zoom Head (24-105)• Bounce & Swivel Head• Update via USB Port• Weight: 12.8 oz

#ME58AF2* .............................. 399.99

285HV Professional Auto Shoe Mount Flash• Guide No. 120'• Automatic exposure

range to 70'• 4 auto f/stop settings • Removable sensor• Bounce Head • Zoom Head (28-105) • Weight 14.9 oz

#VI285HV .....................................84.95

• 4 auto f/stop settings

Q� ash TRIO Parabolic Refl ector Flash• Guide No. 110'• Bounce and

Swivel Head• Built-In FreeXwire• Radio Wireless TTL• High Speed Sync• USB Port • TTL compatible

#QUQF8* ....................................875.00

622 Super Pro TTLHandle Mount Flash• Requires Head• TTL with appropriate module• Guide No. 200• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16• Vari-Power

#SU622S* ..................................179.95

Handle Mount Flash• Requires Head• TTL with appropriate module

• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16

Flash SystemFL-300R Flash .........136.00FL-600R Flash .........299.95

FL-50R Flash ...........499.95RF-11 Ring Flash .....249.95

Zuiko 4/3 System Digital Lenses35/3.5 Macro ED (52ø) ............................................ 229.9550/2.0 Macro ED (77ø) ............................................ 499.957-14/4.0 ED (72ø) ................................................ 1,799.9511-22/2.8-3.5 ED (72ø) ........................................... 799.9512-60/2.8-4 ED SWD (72ø) ...................................... 999.9514-42/3.5-5.6 ED (58ø) ........................................... 249.9518-180/3.5-6.3 ED (62ø) ......................................... 499.95EC-14 1.4x Teleconverter ......................................... 439.95

AF Flash SystemAF-360FGZ ........................ AF-540FGZ II .....................

DA Digital AF Lenses21/3.2 AL Limited “Pancake” (49ø) ......................................40/2.8 Limited “Pancake” (49ø) ...........................................70/2.4 Limited HD (49ø) ......................................................10-17/3.5-4.5 ED IF (77ø) ..................................................16-50/2.8 ED AL IF SDM (77ø) ............................................50-135/2.8 ED IF SDM (67ø) ...............................................50-200/4-5.6 ED WR (52ø) .................................................55-300/4-5.8 ED (58º)........................................................

Flash SystemHVL-F20M ...............149.99 HVL-F20S ................ 149.99HVL-F43M ...............398.99 HVL-F60M ............... 548.00

Digital Lenses 24/2 Carl Zeiss (72ø) ............................................. 1399.9950/2.8 Macro (55ø)..599.99 50/1.4 (55ø) ............ 449.99100/2.8 Macro (55ø)................................................ 799.9911-18/4.5-5.6 DT (77ø) ........................................... 799.9916-80/3.5-4.5 DT Carl Zeiss (62ø) ........................... 999.9916-105/3.5-5.6 DT (62ø) ......................................... 699.9918-250/3.5-6.3 DT (62ø) ......................................... 649.9970-200/2.8 G APO (77ø) ........................................ 1999.99

Octacool Light Kitwith 29.5" Octobox

• Octacool 6 or 9 Lamp Fixture

• Removable Aluminum Refl ector

• 28w Lamps• Internal Diffusion Baffl e

Octacool-6 #IMOC6SB ........................................ 199.95Octacool-9 #IMOC9SB ........................................ 259.00

Background System

Background StandsEconomy ..............................74.95Port-A-Stand ....................114.95*Multi 3 Polevault ..............217.99

Paper BackgroundsAvailable in 48 Colors

53" x 12 yds.........................24.95107" x 12 yds w/Core ...........45.95

Octacool-6 Front

Octacool-9 Back

* FREE! Roll of

White Paper w/ Purchase

D7100 DSLR• Magnesium Alloy Body • Moisture Resistant• EXPEED 3 Image Processor • 3.2" LCD• 1080p Full HD Video Capture• Accepts Nikon AF Lenses (1.5x factor)• Dual SD/SDHC/SDXC Card Slots• Built-In Flash with Commander Function• Nikon Inc. limited warranty included

Body Only #NID7100 ................................................. 1,199.95Kit with 18-105mm VR #NID710018105 ....................1,599.95 24Mega

Pixels

Alpha A7 DSLR• Full Frame Exmor CMOS Sensor• Direct Compatibility with E-mount Lenses• 3.0" Tiltable TFT LCD • Multi-Interface Shoe• SD/SDHC/SDXC, MS Pro Duo/

Pro HG-DuoCard Slots• Full 1080/60p with Uncompressed Output• Built-In Wi-Fi and NFC • Direct Access Interface

Body Only #SOA7BKit with 28-70mm Lens #SOA7KB 24Mega

Pixels

D3300 DSLR• EXPEED 4 Image Processor • Full HD 1080p

Video Recording • 3.0" LCD • 5 fps Shooting• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Available in Black, Grey or Red• Nikon Inc. limited warranty included

Kit with 18-55mm VR II #NID33001855* ......................646.95D3200 Kit Black w/18-55mm VR #NID32001855* ....529.95 24Mega

Pixels

Panel Frame Re� ector KitsZebra Gold / Zebra Silver

• Reversible Two Sided Fabric• Collapsible

Aluminum Alloy Frame

• Tool-Free Assembly• Padded Shoulder

Bag Included

43 x 67" #IMFPK436ZGZS ................................... 299.9559 x 82" #IMFPK598ZGZS ................................... 464.95

#IMFPK436ZGZS

59x82" Silver

43x67" Gold

D4s DSLR• FX-format (full-frame) CMOS Sensor• 14-Bit RAW Files & 12-Bit RAW S Format• EXPEED 4 Image Processor • ISO 50-409600• Full HD 1080p Video at 60 fps • 3.2" LCD• Compatible with Most Nikkor Optics• 11 fps Shooting for 200 Shots with AE/AF • CF Type 1 & XQD Compatible• Nikon Inc. limited warranty included

Body Only...................... #NID4S ................6,496.95 16MegaPixels

D5300 DSLR• EXPEED 4 Image Processor• Full HD 1080p Video at 60 fps• 3.2" Vari-Angle LCD • ISO 100-25600• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Nikon Inc. limited warranty included

Kit with 18-55mm VR II (B, G, R) #NID53001855* ........896.95Kit with 18-140mm VR (Black) #NID530018140 ........1,299.95D5200 Kit with 18-55mm VR (B) #NID52001855* .....796.95 24Mega

Pixels

Alpha A6000 Mirrorless System Camera

• Uses Sony E-mount Lenses• 3.0" Tilting LCD• SD, SDHC, SDXC,

MS Pro Duo, MS PRO HG Duo Card Slot• Full HD 1080i/p AVCHD Video at 24/60 fps• Up to 11 fps Shooting and ISO 25600• Built-In Wi-Fi Connectivity with NFC• Available in Black or Silver

Kit with 16-50mm OSS Lens #SOA6000* 24MegaPixels

D810 D-SLR• FX-Format CMOS Sensor • Optical Low-Pass Filter• EXPEED 4 Image Processor • CF & SD Dual Card

Slots • Nikon F Mount Lens Mount • 3.2" LCD • Full HD 1080p Video at 60/30/24 fps• External Mic and Headphone Inputs• Continuous Shooting to 5 fps in FX Mode• Multi-CAM 3500FX AF Sensor w/51 Points• Nikon Inc. limited warranty included

Body Only #NID810 ...................................................3,296.95 36MegaPixels

NEW

D750 DSLR• FX-Format (Full-Frame) CMOS Sensor• Uses Nikon AF Lenses • 3.2" Tilting LCD• SD/SDHC/SDXC Card Slot • Built-In Wi-Fi • Full HD 1080p Video Recording at 60 fps• Nikon Inc. limited warranty included

Body Only #NID750 ................................2,296.95Kit with 24-120mm VR #NID75024120 ...3,596.95D610 Body Only #NID610 ..............................................................................1,996.95D610 Kit with 24-85mm VRt #NID6102485 ...................................................2,596.95

1,996.9524Mega

Pixels

NEW

Rangefinder 12-14 JN140942.indd 2 10/23/14 9:36 AM104_105_RF_1214_BH_lr.indd 104 11/5/2014 10:40 AM

www.bhphoto/hdslrhub.com

www.bandh.com

Prices, speci� cations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.




Over 70,000 square feet of the latest gear

The most knowledgeable Sales Professionals

Hands-on demos

Convenient free parking available


Subscribe to ourfree CatalogBandH.com/catalog212-444-6633

Page 1

www.BandH.com

18-200/3.5-5.6 DX G AF-S ED-IF VR II Digital Lens• Exclusively designed for Digital SLRs• 35mm equiv.

27-300mm• VR II Vibration Reduction• SWM (Silent

Wave Motor)• 3.5-22 f/Stop Range• Focus 1.6' to Infi nity• Weight 19.8 oz

SB-910 Speedlight i-TTL Shoe Mount Flash• Tungsten & Fluorescent Filters Included• Guide No. 111.5'• Simplifi ed Graphic

User Interface (GUI) • Bounce, Swivel

& Zoom Head (17-200mm)

• Wireless Controller• Weight 14.8 oz

10-22/3.5-4.5 EF-S USM Digital Lens• Exclusively designed for Digital SLRs• 35mm equiv.

16-35mm• 3 aspherical

lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5"• 77mm fi lter diameter• Weight 13.6 oz

600 EX-RT Shoe Mount Flash• Dust and water resistance• Guide No. 197' • Wireless Radio

Multiple Flash System• Bounce and

Swivel Head• Zoom Head (20-200mm)• 18 Custom Functions• Weight: 15 oz

EOS-60D DSLR• 1920 x 1080 HD Video Capture• DIGIC 4 Image Processor• SD/SDHC/SDXC Card Slot• Works with all Canon EF & EF-S Lenses• Vari-Angle Clear View 3.0" Flip-Out LCD• 5.3 fps Continuous Shooting• ISO 6400 - Expandable to 12800• HDMI Output to HDTV

Body Only #CAE60D .........................................899.99 18MegaPixels

EOS-70D DSLR• Dual Pixel CMOS AF with Live View• DIGIC 5+ Image Processor• SD/SDHC/SDXC Card Slot• Uses Canon EF & EF-S Lenses• 3.0" Vari-Angle Touchscreen• 7 fps Continuous Shooting• Full HD 1080p Video

Body Only #CAE70D ....................................... 1,199.00Kit with 18-55mm STM #CAE70D1855 ..........1,349.00 20Mega

Pixels

AF FlashesSB-300 ...... 146.95SB-500 ...... 246.95

SB-700 ...... 326.95SB-910 ...... 546.95

R1 Wireless Twin Flash ...............................R1C1 Wireless Twin Flash System ...............

DX ED-IF Lenses for Digital Only10.5/2.8 Fish-Eye ......................................35/1.8 G AF-S (52ø) .......................196.9540/2.8 G AF-S Micro (52ø) ..............276.9585/3.5 G ED VR Micro (52ø) ............526.9510-24/3.5-4.5 G AF-S (77ø) .......................12-24/4 G AF-S (77ø) ................................16-85/3.5-5.6 G AF-S VR (67ø) ..................17-55/2.8 G AF-S (77ø) .............................18-55/3.5-5.6 G AF-S II (52ø) ....................18-55/3.5-5.6 G AF-S VR (52ø) .......196.9518-105/3.5-5.6 G AF-S VR (67ø) .....396.9518-200/3.5-5.6 G AF-S VR II (72ø) ..596.9518-300/3.5-5.6 G AF-S ED VR (77ø) .......996.9555-200/4-5.6 G AF-S (52ø) ........................55-200/4-5.6 G AF-S VR (52ø) ........246.9555-300/4.5-5.6 G AF-S VR (58ø) .....396.95

D-Type AF Lenses14/2.8 D ED .......... 24/2.8 D (52ø).......16/2.8 D (39ø) with Hood ...........................24/3.5 D ED PC-E (77ø) .............................28/1.8 G AF-S (67ø) .......................696.9528/2.8 D (52ø)....... 35/2.0 D (52ø).......45/2.8 D ED PC-E Micro (77ø) ....................

D-Type AF Lenses50/1.8 D (52ø)....... 50/1.4 D (52ø).......50/1.8 G AF-S (58ø) .......................216.9550/1.4 G AF-S (58ø) ..................................60/2.8 D Micro (62ø) (1:1) .........................60/2.8 G AF-S ED Micro (62ø) ....................85/1.8 G AF-S (67ø) .......................496.9585/1.4 D IF (77ø) .......................................85/1.4 G AF-S (77ø) ..................................105/2.8 G AF-S ED-IF VR Micro (62ø) .........105/2.0 DC D with Hood (72ø) ...................180/2.8 D ED-IF (72ø)................................200/4 D ED-IF Micro w/Case (62ø) .............200/2 G AF-S ED-IF VR II (52ø) ...................300/4.0 D AF-S ED-IF (77ø) .......................14-24/2.8 G AF-S ED-IF ................1996.9516-35/4.0 G AF-S ED VR (77ø) ......1256.9517-35/2.8 D AF-S ED-IF (77ø) ....................18-35/3.5-4.5 G ED (77ø) ...............746.9524-70/2.8 G AF-S ED-IF (77ø) .......1886.9524-85/2.8-4.0 D IF (72ø) ...........................24-120/4.0 G AF-S ED VR (77ø) ..........1296.9528-300/3.5-5.6 G AF-S ED VR (77ø) .....1046.9570-200/2.8 G AF-S ED-IF VR II (77ø).......2396.9570-300/4.5-5.6 G-AFS VR (67ø) ......586.9580-200/2.8 D with Collar (77ø) ...................80-400/4.5-5.6 D VR (77ø) ........................200-400/4 G AF-S ED VR II (52ø) ................TC-14E II (1.4x) Teleconverter .....................TC-17E II (1.7x) ..... TC-20E III (2x) ........

EOS Flash System (USA)270EX II .....169.99320EX ...................

430EX II .....299.99600 EX-RT..549.99

MR-14EX Ringlight ......................... 549.99MT-24EX Twin Flash ....................... 829.99

EF-S Lenses for Digital Only (USA)(Not compatible with full frame cameras)

60/2.8 USM Macro (52ø) ................ 469.9910-22/3.5-4.5 USM (77ø) .............. 649.9915-85/3.5-5.6 IS USM (72ø) .......... 799.9917-55/2.8 IS USM (67ø) ................. 879.9917-85/4-5.6 IS USM (67ø) ............. 599.9918-135/3.5-5.6 IS (67ø) ................ 499.9918-200/3.5-5.6 IS (72ø) ................ 699.9955-250/4.0-5.6 IS USM (58ø) ........ 249.99

EF Lenses (USA)20/2.8 USM (72ø) .......................... 539.9924/2.8 IS USM (58ø) ...................... 599.9928/2.8 IS USM (58ø) ...................... 549.9935/2 IS USM (67ø) ......................... 599.9950/1.8 II (52ø) ............................... 125.9950/1.4 USM (58ø) .......................... 399.9950/2.5 Macro (52ø)........................ 299.9985/1.8 USM (58ø) ............................ 419.99100/2 USM (58ø) ........................... 499.99100/2.8 USM Macro (58ø) .............. 599.9928-135/3.5-5.6 IS USM (72ø) ........ 479.9970-300/4-5.6 IS USM (58ø) ........... 649.9970-300/4.5-5.6 DO IS USM (58ø) ....... 1399.0075-300/4.0-5.6 III (58ø) ................. 199.9975-300/4.0-5.6 III USM (58ø) ......... 234.99

TS-E MF Lenses (USA)17/4.0 L ...2249.0045/2.8 .....1399.00

24/3.5 L II ..1999.0090/2.8 .....1399.00

EF “L” Lenses (USA)14/2.8 USM II .............................. 2249.0024/1.4 II (77ø) ............................. 1649.0035/1.4 USM (72ø) ........................ 1479.0050/1.2 USM (72ø) ........................ 1549.0085/1.2 USM II (72ø) ..................... 2099.00100/2.8 IS USM Macro (67ø) .......... 949.99135/2.0 USM (72ø) ...................... 1049.00180/3.5 USM Macro (72ø) ............ 1499.00200/2.0 IS USM (52ø) .................. 5999.00300/4.0 IS USM (77ø) .................. 1449.00300/2.8 IS USM II (52ø rear) ......... 6599.00400/5.6 USM (77ø) ...................... 1339.008-15/4.0 Fish-eye USM ................ 1349.0016-35/2.8 USM II (82ø) ................ 1699.0017-40/4.0 USM (77ø) .................... 839.9924-70/4.0 IS USM (77ø) ................. 999.9924-70/2.8 USM II (82ø) ................ 2099.0024-105/4 IS USM (77ø) ................ 1149.0028-300/3.5-5.6 IS USM (77ø) ...... 2549.0070-200/4.0 IS USM (77ø) ............. 1299.0070-200/2.8 USM (77ø) ................ 1449.0070-200/2.8 IS II USM (77ø) .......... 2299.0070-300/4.0-5.6 IS USM (67ø) ...... 1449.00100-400/4.5-5.6 IS USM (77ø) .... 1699.001.4x III Tele ..449.99 2x III Tele ....449.99



EOS-5D Mark III D-SLR• 3.2" Clear View High Resolution LCD• DIGIC 5+ Image Processor • 61-Point

High Density AF • Uses Canon EF Lenses• Dual CF, SD Card Slots • Up to 6.0 FPS• Durable Magnesium-Alloy Construction • Full HD 1080/30p and 720/60p Formats• Built-In HDR and Multiple Exposure Modes

Body Only #CAE5D3* .....................................3,399.00Kit with 24-105mm L IS #CAE5D324105 ........3,999.00 22Mega

Pixels

EOS-1Dx D-SLR• Dual DIGIC 5+ Image Processors • Magnesium Alloy Body • Eye-Level Pentaprism Viewfinder• 3.2" LCD Monitor • Uses Canon EF Lenses • Dual CF card slots• 1920 x 1080 HD Video Capture • Live View Still and Video Recording• 61-Point High Density Auto Focus

Body Only #CAE1DX*......................................6,799.00 18MegaPixels

EOS-6D DSLR• Full-Frame CMOS Sensor • 3.0" LCD• DIGIC 5+ Image Processor• Uses Canon EF Lenses• SD/SDHC/SDXC Card Slot• Built-In Wi-Fi and GPS Connectivity• Full HD 1080p with Manual Controls• Built-In HDR and Multiple Exposure Modes

Body Only #CAE6D ........................................1,899.00Kit with 24-105mm f/4 L #CAE6D24105 ........2,499.00 20Mega

Pixels

OM-D E-M1 Mirrorless System Camera• 3.0" Tilting LCD Touchscreen• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• Full HD 1080p Video• Built-In Wireless Connectivity• Dust/Splash/Freezeproof

Magnesium Alloy Body

#OLEM1* 16MegaPixels16Mega

Lumix DMC-GH4 4K Mirrorless System Camera

• DCI 4K 4096x2160 at 24p• UHD 4K 3840x2160 at 30p/24p• 3.0" LCD • Live View Finder • Full HD

up to 60p • High-Speed 49-Point AF• Support for 59.94p, 23.98p, 50p, & 24p• 4:2:2 8-Bit or 10-Bit HDMI Output• Magnesium Alloy, Weather-Sealed Body

Body Only #PADMCGH4* 16MegaPixels

EOS-7D Mark II DSLR• 3" Clear View II LCD • Native ISO 16000• Dual Pixel CMOS AF with Live View• Dual CF and SDHC/XC Card Slots • Built-In GPS Receiver & Digital Compass• Full HD 1080p/60 Video

Body Only #CAE7D2 ............................1,799.00EOS 7D Body Only #CAE7D ..............................................................................1,499.00EOS 7D Kit with 18-135mm IS #CAE7D18135 .................................................1,799.00EOS 7D Kit with 28-135mm IS #CAE7D28135 .................................................1,699.00

20MegaPixels

NEW


122014

Page 2


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58 AF-2 TTL Shoe Mount Flash• Guide No. 58'• Full TTL Mode • Zoom Head (24-105)• Bounce & Swivel Head• Update via USB Port• Weight: 12.8 oz

#ME58AF2* .............................. 399.99

285HV Professional Auto Shoe Mount Flash• Guide No. 120'• Automatic exposure

range to 70'• 4 auto f/stop settings • Removable sensor• Bounce Head • Zoom Head (28-105) • Weight 14.9 oz

#VI285HV .....................................84.95

• 4 auto f/stop settings

Q� ash TRIO Parabolic Refl ector Flash• Guide No. 110'• Bounce and

Swivel Head• Built-In FreeXwire• Radio Wireless TTL• High Speed Sync• USB Port • TTL compatible

#QUQF8* ....................................875.00

622 Super Pro TTLHandle Mount Flash• Requires Head• TTL with appropriate module• Guide No. 200• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16• Vari-Power

#SU622S* ..................................179.95

Handle Mount Flash• Requires Head• TTL with appropriate module

• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16

Flash SystemFL-300R Flash .........136.00FL-600R Flash .........299.95

FL-50R Flash ...........499.95RF-11 Ring Flash .....249.95

Zuiko 4/3 System Digital Lenses35/3.5 Macro ED (52ø) ............................................ 229.9550/2.0 Macro ED (77ø) ............................................ 499.957-14/4.0 ED (72ø) ................................................ 1,799.9511-22/2.8-3.5 ED (72ø) ........................................... 799.9512-60/2.8-4 ED SWD (72ø) ...................................... 999.9514-42/3.5-5.6 ED (58ø) ........................................... 249.9518-180/3.5-6.3 ED (62ø) ......................................... 499.95EC-14 1.4x Teleconverter ......................................... 439.95

AF Flash SystemAF-360FGZ ........................ AF-540FGZ II .....................

DA Digital AF Lenses21/3.2 AL Limited “Pancake” (49ø) ......................................40/2.8 Limited “Pancake” (49ø) ...........................................70/2.4 Limited HD (49ø) ......................................................10-17/3.5-4.5 ED IF (77ø) ..................................................16-50/2.8 ED AL IF SDM (77ø) ............................................50-135/2.8 ED IF SDM (67ø) ...............................................50-200/4-5.6 ED WR (52ø) .................................................55-300/4-5.8 ED (58º)........................................................

Flash SystemHVL-F20M ...............149.99 HVL-F20S ................ 149.99HVL-F43M ...............398.99 HVL-F60M ............... 548.00

Digital Lenses 24/2 Carl Zeiss (72ø) ............................................. 1399.9950/2.8 Macro (55ø)..599.99 50/1.4 (55ø) ............ 449.99100/2.8 Macro (55ø)................................................ 799.9911-18/4.5-5.6 DT (77ø) ........................................... 799.9916-80/3.5-4.5 DT Carl Zeiss (62ø) ........................... 999.9916-105/3.5-5.6 DT (62ø) ......................................... 699.9918-250/3.5-6.3 DT (62ø) ......................................... 649.9970-200/2.8 G APO (77ø) ........................................ 1999.99

Octacool Light Kitwith 29.5" Octobox

• Octacool 6 or 9 Lamp Fixture

• Removable Aluminum Refl ector

• 28w Lamps• Internal Diffusion Baffl e

Octacool-6 #IMOC6SB ........................................ 199.95Octacool-9 #IMOC9SB ........................................ 259.00

Background System

Background StandsEconomy ..............................74.95Port-A-Stand ....................114.95*Multi 3 Polevault ..............217.99

Paper BackgroundsAvailable in 48 Colors

53" x 12 yds.........................24.95107" x 12 yds w/Core ...........45.95

Octacool-6 Front

Octacool-9 Back

* FREE! Roll of

White Paper w/ Purchase

D7100 DSLR• Magnesium Alloy Body • Moisture Resistant• EXPEED 3 Image Processor • 3.2" LCD• 1080p Full HD Video Capture• Accepts Nikon AF Lenses (1.5x factor)• Dual SD/SDHC/SDXC Card Slots• Built-In Flash with Commander Function• Nikon Inc. limited warranty included

Body Only #NID7100 ................................................. 1,199.95Kit with 18-105mm VR #NID710018105 ....................1,599.95 24Mega

Pixels

Alpha A7 DSLR• Full Frame Exmor CMOS Sensor• Direct Compatibility with E-mount Lenses• 3.0" Tiltable TFT LCD • Multi-Interface Shoe• SD/SDHC/SDXC, MS Pro Duo/

Pro HG-DuoCard Slots• Full 1080/60p with Uncompressed Output• Built-In Wi-Fi and NFC • Direct Access Interface

Body Only #SOA7BKit with 28-70mm Lens #SOA7KB 24Mega

Pixels

D3300 DSLR• EXPEED 4 Image Processor • Full HD 1080p

Video Recording • 3.0" LCD • 5 fps Shooting• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Available in Black, Grey or Red• Nikon Inc. limited warranty included

Kit with 18-55mm VR II #NID33001855* ......................646.95D3200 Kit Black w/18-55mm VR #NID32001855* ....529.95 24Mega

Pixels

Panel Frame Re� ector KitsZebra Gold / Zebra Silver

• Reversible Two Sided Fabric• Collapsible

Aluminum Alloy Frame

• Tool-Free Assembly• Padded Shoulder

Bag Included

43 x 67" #IMFPK436ZGZS ................................... 299.9559 x 82" #IMFPK598ZGZS ................................... 464.95

#IMFPK436ZGZS

59x82" Silver

43x67" Gold

D4s DSLR• FX-format (full-frame) CMOS Sensor• 14-Bit RAW Files & 12-Bit RAW S Format• EXPEED 4 Image Processor • ISO 50-409600• Full HD 1080p Video at 60 fps • 3.2" LCD• Compatible with Most Nikkor Optics• 11 fps Shooting for 200 Shots with AE/AF • CF Type 1 & XQD Compatible• Nikon Inc. limited warranty included

Body Only...................... #NID4S ................6,496.95 16MegaPixels

D5300 DSLR• EXPEED 4 Image Processor• Full HD 1080p Video at 60 fps• 3.2" Vari-Angle LCD • ISO 100-25600• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Nikon Inc. limited warranty included

Kit with 18-55mm VR II (B, G, R) #NID53001855* ........896.95Kit with 18-140mm VR (Black) #NID530018140 ........1,299.95D5200 Kit with 18-55mm VR (B) #NID52001855* .....796.95 24Mega

Pixels

Alpha A6000 Mirrorless System Camera

• Uses Sony E-mount Lenses• 3.0" Tilting LCD• SD, SDHC, SDXC,

MS Pro Duo, MS PRO HG Duo Card Slot• Full HD 1080i/p AVCHD Video at 24/60 fps• Up to 11 fps Shooting and ISO 25600• Built-In Wi-Fi Connectivity with NFC• Available in Black or Silver

Kit with 16-50mm OSS Lens #SOA6000* 24MegaPixels

D810 D-SLR• FX-Format CMOS Sensor • Optical Low-Pass Filter• EXPEED 4 Image Processor • CF & SD Dual Card

Slots • Nikon F Mount Lens Mount • 3.2" LCD • Full HD 1080p Video at 60/30/24 fps• External Mic and Headphone Inputs• Continuous Shooting to 5 fps in FX Mode• Multi-CAM 3500FX AF Sensor w/51 Points• Nikon Inc. limited warranty included

Body Only #NID810 ...................................................3,296.95 36MegaPixels

NEW

D750 DSLR• FX-Format (Full-Frame) CMOS Sensor• Uses Nikon AF Lenses • 3.2" Tilting LCD• SD/SDHC/SDXC Card Slot • Built-In Wi-Fi • Full HD 1080p Video Recording at 60 fps• Nikon Inc. limited warranty included

Body Only #NID750 ................................2,296.95Kit with 24-120mm VR #NID75024120 ...3,596.95D610 Body Only #NID610 ..............................................................................1,996.95D610 Kit with 24-85mm VRt #NID6102485 ...................................................2,596.95

1,996.9524Mega

Pixels

NEW



104_105_RF_1214_BH_lr.indd 105 11/5/2014 10:40 AM

Every two years in Germany, the giant photo show Photokina takes place and photographers

eagerly anticipate the announcement of new cameras. There have been plenty of developments and innovations that have made the past two decades a period of giant upheaval as the industry switched from film to digital. However, as I write this column on the year in technology, I’m hard-pressed to name any single new product that moved the needle, at least for me. Of course, other pro photogra-phers might disagree, and it’s certainly not to say there have not been any new product introductions in the past year worth looking into.

FULL FRAME DSLRs (THAT COST LESS) One of the most significant new cam-eras was announced at the beginning of the year and is now widely available. Although I have not yet been able to shoot with one, I think it’s fair to say that the medium-format 51-megapixel Pentax 645Z DSLR, with a reasonable price of $8,500 for the body, is a camera worthy of consideration for wedding and portrait photographers. The high cost of similar medium-format cameras from Hasselblad, Mamiya Leaf, Phase One and others in the past has relegated medium format to commercial photog-raphers with big shooting budgets. The 645Z could change that.

Because less-costly full-frame DSLR cameras have become widely available in the past couple of years, this is the area that has seen the most new products for Rangefinder readers. Many of you have probably made the transition from cameras with APS-C sensors to the bigger full-frame sensors, which lead to better quality, especially in low light for any

given number of pixels. Nikon definitely lead the way in 2014 with three new full-frame bodies: the D4S, D810 and most recently the D750. Canon’s only new pro-level DSLR in 2014 was the 7D Mark II with an APS-C sensor.

MIRRORLESS CAMERAS GET EVEN BETTERMost action in 2014 happened in the mir-rorless market. There were new entries from Olympus, Sony, Fujifilm, Samsung, Leica and others. Many pro photographers are adding a mirrorless camera to their kit as the lighter weight and compact size makes it easier to carry a camera at all times and is less obtrusive than a traditional DSLR. Since many of these cameras use the same APS-C or four-thirds sensor found in a DSLR, the image quality is now on par with that from an equivalent DSLR. Aside from the electronic viewfinder, which not everyone likes, the advantages of a mirrorless cam-era are quickly outweighing the disadvan-tages for most photographers. Samsung’s new NX1 camera is one to keep an eye on, as it offers several new features. We plan to review it soon.

SMART PHONES UPPING THE COMPACT GAME With the quality of smartphones getting better every quarter, it’s easy to see why the market for compact point-and-shoots has all but evaporated. While there are always cynics, I’ll bet every reader of this magazine uses a smartphone and takes plenty of pictures with it. In fact, the quality is often better than that

obtained by a “real” camera, as the software is so much better on a smart-phone—and that is a major component in creating a good photo.

As an example of the progress that’s being made, the newest iPhone 6 Plus

The Year in Tech Better software, lower prices and an invitation to “hack.”

BY JOHN RETTIE

digital guru


Above: Mirrorless cameras are gaining in popularity and the Panasonic Lumix DMC-GH4 is one of the standouts, especially for those shooting 4K video. Below: Apple’s latest iPhone 6 Plus moves the needle as a camera with optical stabilization and more manual controls for photographers.

RF_DIgi Guru_JG Edits.indd 106 11/7/14 9:51 AM


has an optical image stabilization sys-tem mimicking that found in DSLRs. The camera—sorry, phone—can also shoot video at 240 fps, further enhanc-ing the slow-motion capabilities of the previous models. And, yes you can get a simplified version of Photoshop that runs on the iPhone. Adobe says it is committed to continually enhancing its creative programs so they will work on smartphones and tablets. If it sounds far-fetched, it’s worth remembering that today’s smartphones are more powerful than desktop computers were a decade ago, so running a program such as Pho-toshop isn’t too difficult. 4K VIDEO: GOOD ENOUGH FOR STILLS If developments in still photography have reached a plateau, that’s not true in videography. Since 3D failed in its fourth attempt at becoming a main-stream product, both Hollywood and TV manufacturers have high hopes that 4K will be the next big thing. Thanks to the amazing power of modern electron-ics, it’s now possible for small cameras to produce 4K footage. Again, it’s not the major players that are leading the way, but rather the newcomers, such as GoPro, which has introduced the

Hero4, that can shoot in 4K. However, Panasonic has probably made the big-gest splash this year with its mirrorless Lumix DMC-GH4 camera that can also capture high-quality 4K footage. Because the camera only costs $1,700, it has caught on with filmmakers in much the same way the Canon 5D did with those shooting HD just a few years ago.

Some time ago, industry pundits pre-dicted still cameras would disappear and we would all shoot video and then grab individual frames for use as still images; it’s becoming partially true, as good 4K video can provide decent 8-megapixel still images. Panasonic, for example, is promoting this feature in its new com-pact Lumix LX100 camera.

ADOBE SOFTWARE NEVER QUITSThough there’s not a lot of room left for significant developments in the hard-ware end of our business, the same is not true of the software side, which still has plenty of room for ongoing im-provement and functionality.

I recently attended the fascinating an-nual Adobe Max conference for profes-sional users of Adobe products (some 4,000 creatives, including many photog-raphers from around the world, attended the event in Los Angeles). Even though

Adobe produces a wide array of programs that cover numerous genres of creativity, Photoshop still seems to be the favorite, judging by the response from the audi-ence in the popular “Sneaks” event where Adobe engineers showcase potential new features in programs.

This year Adobe showed two things that might (read: probably will) appear in future versions of Photoshop. First was a Defog filter that automatically removes haze from a picture without affecting the quality of the underlying image. It can also add “fog” if one wants to create a dreamy look. The other new filter is a Time of Day filter that can change the lighting from broad daylight through dusk to night.

Perhaps more significantly, Adobe showed off upcoming versions of Photo-shop and other programs that can work on a tablet, allowing for editing in the field.

HACK & MAKE (AND WHAT’S IN STORE FOR THE FUTURE) In my opinion, we have reached a point where traditional DSLRs are producing still images that are amazingly good, ob-viating the need to upgrade as often as we have in the past. In reality, there is not a tremendous amount camera manufactur-ers can do to improve still image quality.

Above: Olympus’ OPC open source initiative was one of the most promising announcements made in 2014 as it allows third-party engineers to develop enhancements on the software side of a camera. Adobe showed off a Defog Photoshop filter during Sneaks at the Adobe Max conference for creatives.


However there is a lot that can be done to improve workflow for pro photogra-phers. I dream of the day when a major camera manufacturer works with a com-pany such as Apple to produce a hybrid DSLR. Think about how great it would be if your iPhone could be used as the interface for your camera body with its larger sensor and extensive range of inter-changeable lenses. You would have dozens of apps that could be downloaded to work with your camera/smartphone combo.

I realize that there are already apps that can do some limited things such as remote firing, but full customization will only happen

if the camera manufacturers fully open up access to the electronic guts of a camera so third-party engineers can develop apps to en-hance the experience of using a real camera.

Although it did not make the headlines, Olympus showed a prototype Micro Four Thirds camera at Photokina. It was not much more than a small box, but it’s part of a new initiative by Olympus called the Open Project Camera, or OPC Hack & Make. As described on the project’s website (opc.olympus-imaging.com/en), Olympus is opening up access to the camera’s electronics and encouraging developers to create software to enhance

the camera’s capabilities. It’s truly an encouraging sign that per-

haps the conservative, not-invented-here attitude of Japanese camera manufac-turers will change; it will have to if they want to stay in business, already having lost the amateur compact camera market.

Imagine if Apple decided to produce a camera with interchangeable lenses; with the company’s expertise in software, it would be game over for the traditional camera manufacturers. In the meantime, it will be wonderful if the Olympus OPC initiative paves the way for bigger competitors to do the same.

digital guru

“[With Open Project Camera] Olympus is opening up access to the camera’s electronics and encouraging developers to create

software to enhance the camera’s capabilities.”

Rangefinder, founded in 1952, reborn in 2015.

The new look of wedding and portrait photography.

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RF Redesign Ad.indd 1 11/6/14 9:50 AM108 RANGEFINDER DECEMBER 2014


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IS HERE. SPREAD THE WORDAnswers to the photography questions your friends and family ask most. Shutterlove is a new one-stop resource where photo enthusiasts of all levels can fi nd useful tips and gear reviews, share their photos and view great new photographs.

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H igh dynamic range (HDR) imaging has found a place in the toolbox of profes-

sional and enthusiast photogra-phers. But for newcomers, the learning curve can be steep—not so much on the capture s ide, but rather in post-processing. There are a number of sophisticated HDR post-processing programs on the market, but few for photographers who want a taste of the realistic—as well as the other-worldly—results possible with HDR.

Uni� ed Color produces two of these sophisticated programs—HDR Expose and 32 Float—as well as the perfect introductory-level HDR program, HDR Express. With the release of version 3, Uni� ed Color has made HDR Express even more accessible and user-friendly.

HIGH-END FEATURESHDR Express 3 adds to the functionality of the previous version by incorporating some of the features of its higher-end programs, but without making it more dif� cult to learn or use. The initial screen to merge source images now has radio buttons to � lter images in a folder, rather than a drop-down menu. A new option for DNG images has been added to those for RAW, TIFF and JPEG � les.

During a series of HDR captures, objects moving in the frame from capture to capture cause “ghost” images if the software does nothing to eliminate them. Every HDR program uses some technique to exorcise ghost images, but the most successful method is found in higher-end HDR programs, and now incorporated in HDR Express 3. This method involves choosing a “key frame,” or one of the

captures that has the moving objects in the position you want them. Any change in position of these objects in other cap-tures is ignored when creating the initial HDR image.

The problem with using a key frame is that often, you don’t know if you’ve chosen the correct capture until the pro-gram has merged the images together. Express 3 eliminates this issue by allow-ing you to choose a key frame and run a quick (and small) preview of the merged result. Using this tool, I was able to choose a key frame without a bird � ying through it, which saved me from having to spend time cloning out its ghosts in the merged HDR.

GOODBYE, HISTOGRAMUnfortunately, these changes to the interface resulted in the elimination of the histogram of the source images that was available in version 2. Perhaps this is justi� ed in an introductory-level HDR program in which users may not under-stand its usefulness. But I miss the ability to see where the dynamic range of each of my captures lies relative to the frame ends of the histogram, and the ability to exclude any captures that would add little information to the HDR because they are too over- or underexposed.

Other than eliminating the histogram, these changes to merging source images are welcome. But they didn’t prepare me for the surprise that awaited me when I clicked the Merge button. I often shoot seven or nine captures to create an HDR

Experimenting with HDR Express 3

BY STAN SHOLIK

Left: Even with the local contrast (Detail slider) nearly set to maximum, Express 3 cre-ates an image with far less of a grunge look than that possible with other HDR programs.

� rst exposure

Unifi ed Color’s HDR software proves it’s more accessible and user-friendly with this newest version.

REVIEW

RF_FirstExposure.indd 111 11/14/14 4:32 PM


first exposure

image, and must patiently wait while the HDR program aligns, de-ghosts and merges them. HDR Express 3 virtu-ally eliminates the waiting. Where HDR Express 2 was about average among HDR programs when creating the initial merged image, Express 3 takes only about a third as long. This is a most wel-come speed boost—and it puts Express 3, along with the other Unified Color HDR programs, among the fastest in creating the initial merged image. ADJUSTMENT WORKSPACE Once Express 3 creates the initial HDR image, the image opens in the adjust-ment workspace, which includes a set of presets to get you started. By clicking on the presets and watching the position of the sliders in the panels to the right of the preview, you can see the result of adjusting the sliders in various ways. You can also create your own presets.

The black-and-white presets achieve their look by simply desaturating the im-age. If you are looking for a monochrome result, you will have more control by exporting a color image and using a more complex approach. But in keeping with the program’s appeal to users new to HDR and the presence of other sliders to

adjust tonality, it does have a place here.Above the adjustment panel is a 32-

bit histogram. The histogram is sur-

rounded by a gray zone that shows the typical dynamic range of a computer monitor. By properly tone-mapping the image, you can bring the entire 32-bit HDR image into the display zone of the monitor, and thus your printer if you plan on creating a print. Clicking the ‘H’ (highlight) or ‘S’ (shadow) in the histogram panel displays warning zones in the preview for tones outside of the dynamic range of the monitor. SO MANY SLIDERS The sliders in the adjustment panel allow you to perform the necessary tone-map-ping. The sliders for exposure, highlights,

Top: The initial HDR image created with Express 3 generally looks flat. The gray box around the histogram in the upper right shows that the dynamic range of the HDR image is well within the dynamic range of the display. Middle: By adjusting the sliders below the histogram or by choosing a preset first and adjusting, you can match the dynamic range of the image when it is exported to the dynamic range of your display. The Detail slider adjusts local contrast. Bottom: You can zoom into the image at set ratios and navigate through it to view the effect of your adjustments. Below: The end result. Express 3, along with the other Unified Color HDR soft-ware programs, is a good choice for creating natural-looking HDR images.


SYSTEM REQUIREMENTSOS: Intel-based Mac OS 10.6 (SnowLeopard) or later; 32-bit or 64-bit Windows (Vista, Windows 7, Win-dows 8)

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shadows and black point are self-ex-planatory. New to Express 3 is a Gamma slider, which adjusts the shape of the histogram curve, changing the relation-ship of midtones and shadows without af-fecting the highlights. It’s a powerful and effective tool for adjusting the image, but takes a little playing with to understand. As with all of the adjustment sliders, the result of moving them is displayed in the preview. Unfortunately, the results are not dynamically displayed—you must move the slider to a new value and release the mouse to see the result.

There is also a Detail slider to adjust local contrast and a Saturation slider, as well as a white-balance eyedropper and Warmth and Tint sliders. There are fewer available adjustments than found in the other Unified Color HDR programs, but enough to give someone starting out in HDR imaging a fast, easy and natural-looking result.

For new users, the retail price of HDR Express 3 is $119. The price to upgrade from previous versions is $59. For more information and excellent tutorials, visit www.unifiedcolor.com.

There are fewer available adjustments than found in the other Unified Color HDR programs, but enough to give someone starting out in HDR imaging

a fast, easy and natural-looking result.

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The past year has been an exciting one in the world of video capture. As the industry segues from 1080p

resolution into the ultra-detail of 4K, there are a host of products that will prepare you for the next evolution in video.

Whether you’re a prolific event shooter or a documentary filmmaker, we’ve compiled a short list of products that you may want to gift yourself or the filmmaker in your life this holiday season.

PANASONIC LUMIX DMC-GH4Panasonic continues to build on the suc-cess garnered by the video performance of its mirrorless camera system with the latest flagship camera, the Lumix DMC-GH4. One of the first cameras to feature 4K recording, the GH4 is designed around a 16-megapixel Micro Four Thirds Live MOS sensor, which—despite its smaller size relative to full-frame DSLRs—delivers exceptional video quality.

Weighing only 19.75 ounces, the GH4 records and outputs 4K files at 30 frames per second (fps) and 24 fps directly to an

external recorder. High-resolution 1080p recordings can be saved to high-capacity SD cards. Recordings can be made using several codecs, including MOV and MP4 at ultra-high 200 Mbps (All-Intra) or 100 Mbps (IPB).

A wide selection of Micro Four Thirds lenses from Panasonic, Olympus and others, plus the availability of third-party lens mounts, increases the lens choices to include Leica, Nikon and Canon optics, which may already be part of your kit. Price: $1,699 (body)

SAMSUNG NX1Not content to let Panasonic have all the fun, Samsung has thrown down the gauntlet with the announcement of the NX1, a 4K-compatible camera that uses the new H.265 codec, soon to replace the long-standing H.264. The new codec enables the NX1 to record 4K UHD footage directly to a high-capacity SD card, rather than an external storage device. It also includes an HDMI port for outputting uncompressed video directly to an external storage device.

The NX1 became Samsung’s flagship camera, and thanks to its 28-megapixel backside-illuminated CMOS sensor with a 15-fps burst rate, it is being marketed as an affordable mirrorless system ideal for both professionals and enthusiasts.

The camera boasts a Hybrid AF system that includes 205 phase detec-tion points with 105 cross-type sensors, which promises precise and smooth autofocus performance for both stills and video.

The camera’s DRIMe V high-speed image processor is not only designed to provide improved autofocus perfor-mance but also includes cutting-edge

noise reduction, which should allow the APS-C-sized sensor to deliver quality still and video footage at higher ISOs.Price: $1,499 (body)

BENRO AERO 4 VIDEO TRAVEL ANGEL TRIPODCapturing quality video footage requires stability and smoothness of movement. The Aero 4 delivers both in a compact and lightweight design for videographers who want to reduce weight, but not perfor-mance. Supporting up to 8.8 pounds, it has a collapsible length of just 21.7 inches due to its folded-leg design. The Aero can also be quickly converted to a monopod when you have to move quickly.

It weighs just 5.8 pounds, making it an ideal choice not only for traveling, but also for docu-mentary and event shooters. The tripod legs include three locking positions and retractable spiked feet. It also comes with its own deluxe carrying case. Price: $259

BY IBARIONEX PERELLO

dslr video

A Filmmaker’s Wish List

This spread, clockwise from above: Latest Lumix DMC-GH4, with a 16MP Micro Four Thirds Live MOS sensor; the 4K-compatible Samsung NX1; the four-channel Zoom H5 recorder; the Sony Alpha a7s; and the Benro Aero 4 tripod.

A holiday guide of cameras, lighting, software and more.

RF_DSLR.indd 114 11/6/14 5:19 PM


ZOOM H5 HANDY RECORDERThe Zoom H5 Handy Re-corder supplants the compa-ny’s H4n, which had become the de-facto standard audio recorder for many videogra-phers. Built around the same technology that exists in its flagship six-channel recorder, the Zoom H6, the H5 is a

four-channel recorder, which delivers improved sound quality with a lower noise floor.

Sporting two dual-combo XLR/TRS inputs as well as an XYH-5 X/Y unidi-rectional condenser microphone set at a 90-degree angle, the recorder provides the versatility needed for capturing quality audio. A separate headphone and lineout jacks provide for direct transmission of audio from the recorder to the camera without the need for an attenuator cable.

The H5 includes improved pre-amps for better audio with external mics including wired lavalieres and shotgun microphones. Price: $269

SONY ALPHA A7SThe full-frame Sony Alpha a7s mirrorless camera is the one to beat for quality high-ISO performance. Though the camera is designed around a modest 12-megapixel sensor, it delivers nearly noise-free un-compressed 4K video at ISOs as high as 409,600. Though such high ISOs claims normally result in useless footage, test footage from the camera has delivered very usable footage at ISOs as high as 25,600 and sometimes higher.

Suited for event shooters and documen-tary photographers who often contend with low-light conditions, the camera is cross-compatible with third-party lenses using adapters, which expand on Sony’s line of optics. And in addition to sup-porting the standard 24p/30p and 60p recording formats, the camera delivers frame rates as high as 120 fps at lower resolutions for slow-motion footage. Price: $2,499

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ATOMOS SHOGUNThe advent of uncompressed raw and 4K video has resulted in a need for external recording devices, and one of the best is the new Atomos Shogun. Via an HDMI connection, you have the ability to record 4K ProRes and CinemaDNG RAW from your camera’s sensor. It also features two-way conversion between HDMI and SDI.

A bright, 7.1-inch 1920 x 1200 (320-ppi) monitor offers a 178-degree view-ing angle and makes for more precise composition and focusing. It has a host of features, including focal assist, zebra, waveform and 2:1 zoom.

Video � les can be saved to SSD, HDD or CFast media as well as an optional RAID caddy offered by the manufacturer. Price: $1,995

RED GIANT SHOOTER SUITECapturing video footage on your camera is just the � rst step in creating a � nished multimedia project. To help you effectively transition from capture to a � nal edited piece, the Red Giant Shooter Suite features seven software applications that provide you reli-able backup, audio syncing, noise reduction and more, all in an affordable package.

The Shooter Suite includes Of� oad 1.0, which allows you to back-up your footage while you’re still in the � eld. It copies footage from your media card and actually compares it to the original data to ensure � delity. PluralEyes takes the head-ache out of syncing audio between your camera and an external audio recorder by eliminating the need for timecode or clap-board. It also features a powerful noise-reduction tool, an upconverter to take

high-resolution � les to 4K and a deinter-lacer for converting older footage to 24p. Price: $399

G-SPEED STUDIO XLAccumulating hours of video requires a place to store gigabytes- and even tera-bytes-worth of data. The G-Speed Studio XL provides a solution for photographers who majorly incorporate video into their businesses.

The unit is a hardware RAID 8-Bay Thunderbolt 2 solution that offers gen-erous capacity and solid reliability for storing thousands of hours of edited and unedited footage. Providing up to 64TB of storage, this Mac-compatible system features eight removable disk modules that can provide storage capability be-tween 24TB and 64TB.

dslr video

Far left: The 4K-compatible Atomos Shogun, an external recording gadget that works with a camera’s sensor. Left: The Red Giant Shooter Suite is an all-in-one program for video capture.

RF_DSLR.indd 116 11/14/14 4:30 PM


It is designed to support multi-stream compressed 4K work� ows as well as other large volumes at data transfer rates of up to 1350 Mb/sec. The RAID system is con� gu-rable as RAID 0, 1, 5, 6, 10, 50 or 60. The unit is cooled using reliable smart-fan technology and comes with a three-year manufacturer’s warranty.Price: $3,599 (24TB)

F&V K4000S BI-COLOR LED STUDIO PANELThough resolutions are rising and low-light performance is improving in many cameras, that doesn’t mean you can forget about lighting. The F&V K4000S Bi-Color LED Studio Panel provides the solution for illuminating your subject or scene whether in the studio or out in the � eld.

Designed with 400 pure-color power LEDs, the light produces up to 2490 Lux at 1 meter. It can also output a color temperature range from tungsten (3200K) to daylight (5600K).

Weighing in at just 5 pounds (without batteries), thelight can be powered using a V-mount battery plate or AC adapter. It also features two Ethernet ports and supports daisy-chaining multiple units, which can then be controlled through a DMX board. Price: $499

Left: The Bi-Color LED Studio Panel is stacked with 400 pure-color LED lights, packing a punch in the studio and on location.

Above: G-Speed Studio XL.

RF_DSLR.indd 117 11/7/14 3:16 PM

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photo finish

O riginally a painter, Angela Bacon-Kidwell now uses pho-

tography as her medium to express her feelings and experiences. Over the last few years, she has made a series of images, “Home By Night-fall,” in reaction to her father’s illness and eventual passing.

“During the three years of relentless

discord, I created 70 images of these ambiguous queries,” Bacon-Kidwell explains, “emoting, sensing and seek-ing to create an external landscape that would calm the chaos of despair in our internal psyches.”

The image featured here, “A Faithful Surrender,” is the final pho-tograph in the series. “I attempt

visually to articulate the complete acceptance of his death with arms wide open, ready to surrender his fate...the boy, my son, represents a life once had.”

To see more of this beautiful and touching series, visit www.angela baconkidwell.com

BY DAVID J. CAROL

A FAITHFUL SURRENDERP

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Your � ash deserves better.Your work deserves better. The PocketWizard ControlTL System lets you get your � ash off your camera and frees you up to take your work to the next level while giving you the ease and spontaneity of TTL metering.

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rangefinder december 2014

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