I

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SIGMA

w OUR ORLD

Lua wedtsJn" 80m In Mtami in 1967 and 'lIO'oc! 10 New York <."ity in 1990. Her passion for pbotognphy .... -as born the mmu~ iiIM: laid C')ai on the "il)' ..,.;I tw been aflame e..cr sinoe, She IIC\'tt I_a; home wnhout her _ n.e Clly CI';>~a ""'.:real,\«: wort .. ,,"cn, III the age of ~. she bepI displaying her p/lo1oplIpt.. .ntI .t pre.ent ru". woll. fil ls. larwe numb.:,- of Slilents_ PlJu(o dtlltL SJG.w~ II-Jo.. Fl '.4,J DC OS HSM. I I1J ~ Uf'<J.H'~ D/ F4 0

LARA WECHSLER SHOOTS THE WORLD WITH A SIGMA LENS.

In New York City. beauty is everyv,·here, even on the subway platform. The innocent hand ora chitd, graffiti on the windo ..... pecple waitmg for the subway, The dimly lit platfonn of the ~Cw Yurk CIty subway was captul\.-d In crisp detaIl by a Sigma len!t. 11111 stllndllrd. wIde apenure 'loom lens is designed especially for use with digital StR cameras.. and is ideal for phocographlng low light 51lWltiOM such as sunsets or indoor scenes without a tripod. IlK: lenl features Sigma'S ongmal OptIcal Stabihzer funCllOO. Special Low Dispersion (SlD) glass and asphcrical lens technology provide e~ceJ1enl correction or colm- abcmttioos. The super multi-layer !('fl.'! coaling r.:duces nare and ghosting. en.~uring high quali ty throughoulthe entire zoom range. The I I)- per Sonic Motor (I ISM) cn.<;urcs a qUH:t and high-spc.;d Ai-.

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CONTENTS AUGUST 2009 VOLUME 73, NO.8

:3 148 Farther Figure Photographer a:: Paul Kline documents the ~ wood's parentiess children, one ~ orphanage at a time. By John Owens

W TECHNOLOGY SPECIAL ... 52 The Future of Photography

Prepare to bid your camera adieu. Because the Imaging technology of tomorrow will look nothing like today's. By Neal Matthews

o 126 Nature Make art out of dirt I- with a long telephoto and an :;i: ~. fo' the .bst,act. By Bob HWs

~ 32 Lighting Take a shine to jewelry with glittering

inspiration-and a surprising tool-from the disco. By Peter Kolonia

34 Digital Toolbox Control contrast, fix highlights, and

patch spots. It's easy with Photoshop Elements. By Debbie Grossman

11 Editorial We don our detective's hat and discover what you really

get when you think you got a deal. By John Owens

12 The Goods A slim camcorder, protective support for your

compact, and more great new gear.

14 High 5 Affordable tittle netbooks that are tailor-made

for photographers on the go.

16 How I Shot Thi. Flying-and shootlng-solo, photographer

Alex S. Maclean captures a crowd enjoying their moment in the sun.

64 DSLR Test: Cnon EOS Rebel T11 From crisp images to HD

video. the new 15.1 MP Rebel gives you more-at a bargain price. By Philip Ryan

68 DSLR Test: Sony Alpha 330 Designed lor DSLA novices, this

10.2MP offers plenty of performance in a fresh. friendly. and affordable package.

By Philip Ryan

73 Lens Test: Sony DT t a­~5mm t/3.5-S.6 SAM AF

This tele zoom is one of two inexpensive kit lenses that Sony bundles with the new Alpha 330. By Julia Silber

56 The Future That Bombed We admit it, we were wrong. A

trip into the Pop Photo archives reveals the Next Big Things that weren·t .

By Dan Richards

59 Your Future Ltfe ••• Now Going high-tech with your

photography is a whole lot easier. and cheaper, than you think. So why wail?

By Debbie Grossman

42 TIps From a Pro Turn strangers into portrait

subjects. AJI it takes is a little planning and a lot of patience. By Laurence Chen

44 You Can Do It Kick out your blahs with a dynamic, strobe-lit

shot of an athlete in mel ion. By Arl Brewer

1 00 Three Ways Transform ordinary scenes into magical

landscapes by making a very long exposure. By Kathleen Davis

38 Software Problem-Solver Fake your way te selective focus

with a simple and elegant plug-in from OnOne Software. By Debbie Grossman

62 Compact Cameras Two point-and-shOoters thaI Ie! you

get high-dynamic-range images straight Irom the camera. By Dan Richards

84 Picture Doctor For criminally good photos. pull off a frame

job and pocket a projector.

112 Backstory A portrait by Heimo Schmidt, inspired by

Icelandic mythology and American Gothic.

74 Hands On: Olympus E-P1 It's so cool and compact, you

won't beheve this gorgeous new camera has swappable lenses. By Dan Richards

76 Hands On: Flashpolnt F-1428 Carbon Fiber Tripod

These light legs are made to support a hefty 26 pounds of gear-more than the biggest dg we've got. By JoM Owens

82 Lens Test: Sigma 18-2S0mm f/3.5-6.3 DC OS

HSM AF Huge zoom range, image stabilization, low distortion. It's got something for everyone. By Julia Silber

Web Exclusives ONLY ON WWW.POPPHOTO,CQM

NEWS, REVIEWS. MORE HOW-TOS Just·launched products, straight talk, helpful advice, creative ideas. Everyth ing you need for beller photography is right here.

CAMERAS THAT MATTERED MOST The history of photography is as much about technology as it is about art. Our timeline tells the story of the medium.

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PLUS 8 ..................................... Letters 20 ...................... Your Best Shot 40 .................................. The Ax 77 ............................ Whlth One 90 ...................... Tima Exposure 98 .......................... Cheat Sheet 104 ........................ By the Book 108 ...................... Tech Support 111 .. Speaking of Photography 78 ........... Classitled Advertising

Editorial Director MenagngEditor

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Mark Jannot Miriam Louchta, JaMn B" kllltead Peter Kolonla Dan Ric ha rds Debbie Oro •• man Philip Rya" Jllil a Silber Lori Fredric kson Kathl_n Davis Unaee Kara. lk

Contributing EeI l ...... Tim FItZharris, AlJ6Se/I Hart, Peter Kr8l1SE1, NaaI MatthHws, Arthur Morris, Tony Nagatomo. Bryan F Peterson

In MornofUn He rbert K e ppler

www.PopPhoto.c:om Ed~or Stan Horac • • k

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BUl:iinl;)SS Ot!veIopment ~ Senior Aocount Exaa..itMl

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Jeffrey Roberts Anthon,. M. Ruoto lO Phil Mistry Sara Sc hiano Plynn Bob M eth Tara We.dr.Jd Chip Parham Irene Rey •• Col •• Micheli. C • • t Rachel Weitman I!rin Friedmann Llnds.y Krist Erica .Johnson Yaness. Vazqu ez Athos Kyrlak l des Karen Ralph Lauren Brewer Ylckl Fe lnme l P. t ., Michalsky

Popular Science Media Group Group Publisher Gregg R. Hano

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VIce President. E·Media Bill Allman Vice President. Enterprise Systems Shawn Larson Vice Presdent. Human Resources Cathy Hertz

VP. Corplr81C Corooll.Jnicat,ons Dean Turcol Brand Director John Miller

PubI~hing Consuhanl Millrtin S. Walk. r Corporate Counsel Jaremy Thompson

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At thl' heart of th~ Image

We. Adobe? I'm starting to think your maga1-inc should be fe-titled "Popular Photography and Adobe Products." Virtually every issue has references to Photoshop or Elements. I understand they're currently the industry standard, but so much can be done with Icss-<!lIpensive products. For example, I've been able to do most of the RAW file manipulation I would want to my Nikon D70's images using Nikon's free ViewNX, followed by free Picasa 3. r also find the reasonably priced Corel Paint Shop Pro Photo a powerful tool for digital manipulation.

I recently bought Photoshop Elements ha.scd on references in your articles, and soon realized it brought little additional capability to the table. You should make it dear that there are other products that produce similar results. And not everyone needs the power of Photoshop CS4. Randy Fishwick

Woodland Hills. CA

Yes. thare are plenty of olher programs, and many will serve you well al the

,

8f'Ithu~astihobby level. (Corel's Paint ShOp Pro PhOto X2 and Nikon Capture NX 2 are indeed especially good.) But if you intend 10 t8"'e image.editil"lg as far you can-that is. ma"'e the most subtle and sophisticated changes-the full­fledged version of Photoshop is the way to go. And Ihe best training ground for thai? Elements. Which makes Adobe a 101 like gravily-you can rail against it. but it·s still a fact.

Kid stuff \\'hat camera would you recommend for children? I have a son who ~oon will turn 3 years old. Eric Fogle

j\loon Township, PA

Here's a trio of kiddie cams that are billed as for ages 3 and up. They're big and chunky. with rubbefized griPS. oversized buttons and oops-resistant construction. All have internal memory and low, loy-caliber resolutioo: _ Fisher-Price KkI-Tough Digital ($50, street) is waterproof for 30 minutes In up to 3 feet of water. It comes in blue or pink, stores up to 500 photos, and has an SD-card slot for more. _Npower VGA 300K Pixel Digital Camera

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($60, street) lets Uttle Ansel review the Shots on a l.4-lnch LCD. The 8MB memory holds about 80 photos. and there's aJso an SO slot. Styled in Dora Ihe Exp~erorSpongeBobl~.

. vrach Kidizoom Camera ($60. street) comes with software so kids can create wacky pictures and effects when they plug the cam9f'a into a computer. In addition 10 holding up to 120 photos, it shoots up to 5 minutes of video. Also includes games such as TIC Tac Toe and a Memory matching game.

Really unreal In your article on using greenscreen (Lighting. June 2009), the single most inlportant thing for making compositcd images believcablc was omitted: Foreground and background irrkIges should be shot at the same focal length, aperture, point of focus on the footage scale (usc a stand-in when shooting a background), and, of course, with as similar lighting a~ possible. Bob WIemer

Las Vega.~. l'>IY

GET IN TOUCH! E-mail usatPoDEditor@hfmvs.com.

pop PHOTO AUGUST 2009

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EDITORIALL-----~----------:~1iiiL1~.iijiiii"

DETECTIVE

Pop Photo's editOrs have long raged al§:aimt online camera deals that seem too good to be true. OUf latest outburst was in Apri12009. when a reader asked about a Nikon D3 with a load of 3ccessorics for just $3,475. Since we'd seen that camera for no less than $4,350, we declared the deal either a fantasy or a sl:am.

Soon after, several readers took w to task. Among them. Tessa Reevel'ts of DeKalh. IL, ..... im reported landing on eBay a "brand-new Nikon D90 with a tripod, tabletop tripod, five Nikonlenses, 16GB memory card, fla.~h. battetywith charger. camera bag. USB card reader. UV filters, and free shipping for Sl ,344.M

Holy cow! So I went to cBay and typed in "Nikon D90.~ Seconds later, I had Tessa's deal. as well as \'ariations on it from a bunch of camera retailers I've never heard of. Each promised a brand-new, not refurbished, nnt gray· market 090, a pile of extras, and a panoply oflcnses. For sheer volume of stuff, all of these eBay deals seemed amazing, But then I looked closely.

Consider the (ense5, Tessa's kit did contain three Nikkors-an 18-55mm fI3 .5-5.6, a 70-300mm fl4-5.6, and a 50mm flt.S. But the wide-angie le ns

~ PHOTO AUGUST 2009

What do you really get for your money?

and telephoto weren't Nikkors at all, just those typically inexpensive converters that

attach to the front of a regular lens. Fin~ for a point·and·shoot,

but for a state-of·the·art OSLR? And thafs where I question even th~

Nikon lenses in this package. Despite the impressive range, none n...'tails for more than $160, l"he only one I would buy is the SOmm, since the low.light capability of fJI .8 is hard to beat for $135. Not that the 18-55mm and 70-300mm are bad-they just aren't as up-to-date as the camera. (In fact, the 70-300mm is a lO-year.old design.)

Don't confuse them with the 18-55mm £I3.5-5,6G VRAF-S OX and 70-300mm f/4.5-5 .6G VR IF·ED AF­S Nikkors. These are the latest shake­beating "rR versions, giving you 2 to 3 stops of handholding leeway. (Tessa's lenses don't ha\-'e VR.) Graflted, they sell for $190 and $540, respectively, but in lenses as in life, you generally get what you pay for--especially with the more e;\:pensLvc 70-300mm and its int~mal·focusing syrtem (so filters don't tum as you focus), Silent Wave Motor ('-{uick and quiet) , and chromatic-abeITIItion-battiing ED glass eic..'Illcntl.. Nonc of which can be said about the 5 160 model.

But what if you want a D90 and don't want to spend more than

WWW.POPPHOTO.COM

Tessa did? How fllr does $1,344 go? I shopped at the websites of some retailers I do know- Adorama and B&H-and found what I think are better uses for Sl ,344: How about a 090 with a VR version of the 18-105mm and that 50mm fl1.8?

Better yet. the camera with a 5439 shake-fighting Sigma 1S-200mm £13.5-6.3 OS DC lens. Or with another !iitabili7.ed 7-OOfll , Tamron's 28-300mm fI3 ,5-6.3 XR VC LD, At $349. it leaves you with 595 to put toward an 18-55mm. And there are many other combos to suit your style of shooting.

Sorry, that doesn't give you the tabletop triporJ (a bcndy wire-legged 'pod that I douht could support a 090), no-name memory card (if it's just standard speed, you might not get the most out of the D90's hunt rate and video ability), or hot-shoe flash (hcUo. is there a hrand name on that ume).

Rut if you're buying a serious camera. you should buy higher-grade acce.~sories , It's not snobbery, it's photography. The memory cards, filters, flashes, tripocl.~, and especially lenses you use should complt:ment your camera, helping bring out all of its picture-taking potential. You dun't get that buying by the bushel.

I don't want to uin on any bargain. hunter's parade-but the smart money is putting up an umbreUa. 0

THE GOODS GEAR

. Point of View $230-$300, estimated street _ www.samSUDQ,COOO Clunky camcorders can wreak havoc on your wrists, so it's a gcxxi thing Samsung's new SMX-Cl0 and SMX-Cl 4 are designed to be held more naturally and comfortably. The alien-eye looking "Active Angle Lens" design debuted on the HMX line--it includes an angled LCD screen that dooSl1't obstruct your view of your subject. HOT: Hyper Digital Image Stabilization, 10X optical loom, time-lapse recording. The C 14 model comes with 16GB of internal memory. NOT: Unlike the HMX line, these don't shoot HD.

<III Urban Exploration $180. street _ www.bogenjmagiog.com Finding a Camera bag that you'd want to carry even when you

aren't toting your gear is like having your cake and eating it too. So yOU'll feel pretty smart carrying one of the bags in the Nmion81 Geographic Walkabout collection. The NG W5070 backpack comes in black canvas with leather closures,

and it has enough room for a day's worth of gear, as well as loIs of personal items. HOT: Coated with a waler·resistant layer, space for a lripod and 15-inch laptop (with a zippered removable sleeve). The lower padded compartment can fit a

D5LR and three or four accessories; it can also be removed to convert 10 a regular daypack, NOT: Though it's great for the city, you'll wBnt something more

durable for nature treks.

Rattle and Roll ~ $30, "ceet • Qaryfongjnc com You probably don'1lug a tripod when heading out with your point-and-shoot, but you'll often need one--which makes the smartly designed Gary Fong Flip Cage (part rugged camera-protect ing roll-cogo, and part sturdy tabletop support) an ideal accessory. It fits most compact cameras and comes in 10 colors. HOl: Folded, the metal frame protects your camera if you drop tt, while still letting you take pictures. Flip the legs down and you can pivot it to shoot at different angles, Including verticals and macros, NOT: While you still get away with carrying less, it might make your pocket camera not so pocket-sized.

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EXERCISE YOUR RIGHT to bear cameras with the RS DR·1 Double Strap. The harness­style chest strap puts a DSLR on each hip for quick-draw shooting. ($130, direct; W_W:'f:lcbJ<KM.ap~

MAKE SIMPLE FIXES SUCH AS resizing and color and exposure corrections, restore old photos, or transform your images completely with layering, masking, and creative effects-all for less than 100 bucks. Serif's PhotoPlus X3 offers a lot of options at a reasonable price. ($96, direct; www.serif. C~JnLJlllJlliu:ilim)

CLEAN UP WITH YOUR PHOTOS when you get them printed on a shower curtain, perfect for photographers who never want to be away from their images. ($150-$200, direct; www.pbQto showercurtain,coml 0

POP PHOTO AUGUST 2009

THE GOODS HIGH 5

1. ABUS Eae PC 1 OOSHA $439, street • www.asus.com Asus pretty much started the netbook phenomenon wilh its Eee serl6s. The latest, the 2.4-pound tOO8HA. has a slim ~SeashelI~ design Just 1 inch thick. Specs are typical netbook: Intel Atom processor rmt\Ing WlI'ldows XP Home (or GNU UnUX). 1GB RAM (enough for lower-horsepower image editors such as Adobe Photoshop Elements 7), IO,'-Inch screen, and buIlt-in vJebcam. Besides a 160GB hard drive, it comes with 10GB online storage­not a heck 01 a lot, but a nod to the future of c loud storage. Neat feature: a VGA Dongle to coooect the Eoo 10 a larger scroon.

2. Den Insplron Mini 10 $384, direct (as configured) • www.dell.com We chose th is 2.S-pound model over the newer Mini lev ($299, direct) because, tor just $35 on top of the base price. you can conligure ils lO.I·inch screen with higher resolution (l366x768, not the usual 1 024x576}-a,lIlhe better for nwlewing your images on the road. Slog obsessively, or just take a lot of notes? The keyboard Is 92 percent of the size of a standard laptop's. Specs ir1cJude the usual suspects: Intel Atom processor, Windows XP Home, 1GB RAM, webcam. And it's available in a riot of colors.

3. HP Mini 11 0 Mobile Internet $454, direct (as configured) _ www.hp.com You can get an HP Mtnlll0 for as little as $275, street, but we'd opt for the 2.6-pound Mobile Internet model because that's exactty what you get: irTtemet connectivity via the 3G cellular network. So you can go on6ne anywhere you can get a cellphone s.gnal-no hotspots or route( needed. Great for uploading PIctures whIle sluing under a tree. and a VGA port lets you hook up to a big screen when you get home. You have a choice of AT&T or Veru:on networks, and a 2-year signup Is required. Included In our build: Intel Atom processor. Windows XP Horne, 1GB RAM. 10, I-Inch screen, 160GB hard drive, webcam.

4. Lenovo IdeaPad 510-2 $439, direct (as configumd) _ www.lenovo.Com In a hurry? Check out this 2.2-pound Lenovo. "s QuickStart feature lets you vieW photos, listen to mUSIC, send instant messages. or make Skype calls without waiting for the operating system to boot up. The One Key Aescve System can also scan for viruses before the aS loads. which could be a lifesaver. For password protection withoul a password, you can log on via face recognitoo USing the wtIbcam. In our standard buHd' Intel Atom processor. Windows XP Home, 1GB RAM. 1600B hard dnve, 10.1-ln screen, and 6-cell U-iOn battery to go longer between charges.

5. Samsung N110 $410, street _ www.samsung.com This 2.8-pound Samsung offers a little more. The 6-cell U-ion

battery is rated for 8.5 hours of use between charges, one 01 tho best In thIS category. The larger-then-normaJ touchpad, keyboard that's 93 percem the size of a standard laptop's, and tapered keys make digital Input {Ihat IS, With your digits} easier. While some photographers might prefer a matte screen. the glossy 10.l-inch screen can proVIde better color saturallon and higher brightness Other specs match the norm: Intel Atom processor, Windows XP Home, 1GB RAM, 160GB hard drive. webcam. 0

" WWW.POPPHOTO.COM POP PHOTO AUGUST 2009

PICNICSpread FUN IN THE SUNJ_SHOT FROM UP ABOVE

An alumnus of Harvard's architecture school, Alex S. MacLean ne ... --er officially studied photography, nor did he ever actually practice architecture. Still, the use of space and land has been a consistent fascination for him in his photographic work. He's published seven books of his aerial photography, the most recent of which is Over. The American Lands.cafK a' tbe lipping Point (Abrams. 2008). You can see more ofbts images at www.aleltmadean.com.

Q. Have you always shot from the air? A. I didn't learn how to fly until graduate school. so up until then it was all ground photography, as I call it.

Ninety...eight percent of my shooting, I'm flying solo. I just recently switched from a Cessna Skylane 182 to a Flight Design CT. which is a light plane with an enclosed cabin. It goes as fast as myoid plane but can also fly a bit slower. and it doesn't have a strut under the wing. 1b.at Illt'ans I can shoot with a wider-angle lens. I typically work from 17mm to 300mm, and before I could only shoot 24mm without capturing part or the plane.

Q. What are we looking at here? A. These are picnickers listening to the symphony at Tan~lewood in Massachusetts. It's incredible to see a

" PHOTOS BY ALEX S. MActEAN; INTERVIEW BY DEBBIE GROSSMAN

.scene like that against the green, as opposed to the usual ~nd on a beach. It was very strilcing and very colonul. Coming across all the picnickers on the lawn was a total surprise. I took a circle around and knocked off some shots. I didn't want to linger very long because I realized I was probahly making some noise.

Q . Is it hard to fly and photograph at the same time? A. The plane will fly itself straight and level. and the power is fi.'ted so you don't have to worry about keeping your foot 00 the accelerator. Your (eet are on the rudder so you can !.Lie them to control the yaw, and you take )'Our haods off the control yoke for just a second to u ke the pieture.

Q. How do you secure your camera? A. It's funny. everyone pictures me hanging out the

window, But you're in your seat there holding the u.mera up, Everything I do is handheld-I shoot through an open window.

Q. From inSide, how do you look down? A. If you want to shoot straight down, you have to put yourself into a sort o( roU position. Of course, that puts you in an immediate tum, and you'll keep turning as )'Ou shoot, So if you want to set something up parallel to a road you have to anticipate your position.

Q. What camera? What lens? A. It's interesting, because today you have all the metadata that would tell you all that information. But this was shot with myoid Canon EOS 1 and Fujichrorne Velvia 50 film. I would think: most likely it was shot with a Canon 70-200mm f!2.SL lens. I try to shoot at 111000 sec or faster, I don't really like shooting wide open, so this was probably around £/4.

Q. What makes this the best of the set? A.. Some of it had to do with the sharpness of the photo. And abo just because: of the amount of picnickers-this one is shot from a little further back. so there are even more picnickers. It's just bigger. This was picked for a book in collaboration with my French editor. who is very good. Though I have to say. Vt'Orking on this story, I was revisiting that question; Wh)' did 1 pick this one? A lot of my photography seems to ripen in the files, You come back from a shoot with preconccived ideas about what you were trying to accomplish and it reaUy prejudices you. When they sit in the files for six months, you gain a little bit morc perspective. 0

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CDst Place ~ ~~~dgJ.!~~t~ the journey, not the destination ~ held true for software company owner STEPHEN OACHS, 38. He captured this moody image on the Sacramento River during a

POP PHOTO .a.uGUST 200G

trip to Orc:gon from his home in San Jose. CA. "The river level was low enough at that time of year to expose the 'tiles.' and the early­morning light illuminated the fog, giving the entire .K.ene a surreal feeling,6 Oaehs says. His photos have previously taken prizes in Your Best Shot in both 2007 and 2008. See more of his work at

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nd Place ...... V for Victory """"IIIIIIII BEK BERGH, 38, runs a media agency in Johannesburg, South Mrica. and frequently photographs skateboarders. Sam. the athlete in this graphic image, found an abandoned, unfinished office huilding to skate in, and Bergh positioned himself one story below Sam. They agreed Dot to use the shot unless Sam landed the trick correctly­after 60 attempts, they finally got this result, which pleased them both. TECH INFO: Nikon D3 with 24-70mm fl2.8 Nikkor lens with four remote­triggered Sunpak flashes. Exposure, 1/250 sec at fl9, ISO 250. Sharpening in Nikon Capture NX.

WWW.5 tcphcnoacbs.com. TECH INFO: Tripod-mounted Canon EOS-' D Mark III with 24-105mm f/4L Canon lens and 3-stop SIngh-Ray graduated neutral­denSIty litter. Exposure. 8 sec at 1122, ISO 100. Converted from RAW, with minor adjustment to white balance. exposure, Bnd sharpness in Adobe Photoshop GS4.

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... Light at the End? .... Twenty.[wo-year-old ALEX WISE. a $Oeial studies student at the U niversity of Tasmania, travded his city's seedy underbelly to get this shOL This rivulet under Hobart, Tasmania, i~ c.ramped. wet, completely dark and known as a gathering place (or "people doing t hings they shouldn't be doing,~ Wise says. He traveled with a (riend to help him paint the tunnel with a flash light for this otherworldly image. Check out more of his work at www.alcX\ .... iscpbotogragby.com. TECH INFO: Tripod· mounted Canon EOS Digital Rebel XT with 1Q-22mm f/3.5-4.5 Canon EF-S leos, wrth remote trigger. Exposure, 58 sec at t/3.5, ISO 100. Minor sharpening aoo Levels adjustment in Adobe Photoshop CS2. 0

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Photography

2009/ 16th Annual • Readers'

PHOTO CONTEST About

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Categories

• ACTION/SPORTS • ARCHITECTURE

• CANDID/HUMOR • PEOPLE

• NATURE • TRAVEL/PLACES

Submissions

The competition IS open to work produced from

September 2008 - September 2009. All submitted

artwork should be of reproduction quality.

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NATURE Text and photos by Bob Hills

RAW Earth Making art out of dirt In the southwestern corner of the Salt Lake Valley lic!> the world's largest Opc!n-pil copper mine, the Kennecott Utah Copper Mine. At 2:v. mile~ across and % of a mile deep. it truly is an amazing ~ight. And the area around it is nearly as fasdnating.

J live about 20 mites from the mine, and in November 2005 I went to the area to see if I could find .wme old bAms or sheds to photograph. In all of my shots L was careful to not indude mine dumps- the piles of earth \ffitt came out of t his gigantic hole. I'd always considered the mine an engineering wonder, but hardly an ae_~thetic one.

But that changed on a visit 14 months later, when I began to see the dump sites in a new way and did :.ome visual exploring (rom a 400mm pcrspccth·c. I was struck by the patterns of the eroded surfaces and by the enormous piles of earth that dwarfed the gigantic. trucks carrying 320-ton loads.

I soon began to make a project out of interpreting the mining operatiom in an artistic way, u~ing the clements uf dcsign that are a byproduct of creating the p!.anet's richest hole. I wanted to show that this isn't an eyesore, but a magnificent work of art. So, for the lIext two yean I made 40 trips to the site to photograph it under vaded conditions. Here's how J did it.

Reach out Though I usuaU)" enjoy shooting '\\.;th my Unbof Tcchnlkardan 45s, I used a Canon EOS 50 for this project because of the wide choice oflenses, as well as the speed and flexihility of such a compact (relative to large.fomlat film) system.

I uancd with a 70-200mm fn .BL Canon IS lens and a Canon 2X extender. Unlike tdeconverters of the pa~t , this setup did not compromise clarity and sharpness. And the 400mm reach on my full -frame DSLR provided the

" pop PHOTO AUGUST 20«1

A DYNAMIC COMPOmTtoN: '-J. A Kennecott escort anowed Hills to enter this restricted site to photograph the colorful waste debns. He hadn'l yet set up a tripod when he saw the lanker passing by, but he knew it would add int8fllS1: to the Image and immediately st\oll'landheld. He used a Canon EOS 50 and 24_105mm tl4L IS Canoo laos set to 105mm. EJi:posure, 1/320 sec at flS, ISO 100.

2B

compressed perspecth"C 1 wanted. For variety, though to a lesser extent, 1 a1so used my 24-105mm fl4L IS and my 17-35mm fI2 .8lCanon iensell.

My tripod is a Manfrotto Model 3221. topped with a Manfrotto hydrostatic ballhead. The tripod is sturdy enough for my 4,0, but small enough to easily transport and hike "'-lth, wing a sling strap. I love the

W'NW.POPPHOTO.COM

A COPPER PAYOUT ON HIGH: ~ Again, a 2X extender and a Inpod for his Canon EOS 5D and 70-200mrn fl2.8l Canon lens rig allOwed Hills to capture a truck releaSing its 320--ton payload on the waste dump all the way from the edge 01 the IOwfl of Coppertoo. Exposure, 1/100 sec and 1136, ISO 200.

hydrostatic nailhead since it is rated for 22 pounds, but is still smaller and lighter then other pro-grade ballheads. All up, the tripod/baUhcad combo weighs less than 8 pounds.

An ordinary conap.~iblc umbrella abo was part of my shooting gear. In snow and rain, it not only protected the tripod. mounted camera, but also prevented snowflakes from getting too dose to the lens and blurring out large areas of the images. I always handheld the umbrella to keep vibration and wind movement from being transferud to the camera.

Abslracllhoughls Crealing abstraction!> becamc my favorite part of the project, as I came to see almost everything in tenn.s of colors, contrast, shapes, lines, textures, and spatial relationships. The subject matter was secondary. udges, high

pop PHOTO AUGUST 2O<KI

A MOUNTAIN· TOP VIEW: L...J. Scouting around Q site helps you to find new shooting venues-such 89 this neighboring mountain View down on the pit. Shooting handheld allowed Hills to include the dynamic clouds from various POSItions. He used a Canon EOS 50 and 17-35mm fl2.8l Canon lens and exposed at 1/320 sec:: and f/l0, at ISO 400.

walls, and the overlapping lines of the mine dumps. along with t~ ever-changing light, provided infinite opportunities. Eliminating the superfluous and concentrating on strong abstractions became my focus.

I did much of the shooting on overcao;t days. The RAW images were often flat and with little color, but in postproduction. on my Mac with Adobe Photoshop. '( expanded the contrast to a normal range. By doing this. the color ~turation wouJd automatically reyeal the colors inherent in the rock and soil. Sometimes I ddded a little saturation beyond what was released by the contrast bump. Mter all, my objective was not to be a documentary or scientific photographer, but to give a plea.'1ing artistic interpretation.

WMV.POPPHOTO.COM

Public access While the imagc~ suggest long treks deep into the mine. that was hardly the case. In fact, my car generally was nearby. since for the first few months of the project I worked strictly from public roadsides. Eventually. I shot from the mine's visit(){"$' center, which overlooks the bole. Ne\Oer did I c.r~s the fence-line surrounding the proper1).'. And when I showed my images to mining company executives, they found it hard to believe that I'd never violated the numerous ~No Tre5pa5Sing~ signs. That ju!>"t show~ the power of a long tele to not onlv compress perspective, but, of cou~se, to draw the subject much closer than the una.ssisted eye would see.

"'hen I asked to shoot on Kennecott's land, permission took months to secure, and it clearly was onc.of·a·kind access. Mtcr watching a safety film and buying my own hard hat and steel·toed shoes, I was escorted to the sites. Though the process was extremely involved, it was well worth it, as 1 ended up providing the images for the company's 2009 calendar.

Since my access really.",.as a om.:­shot deal . you won't have any luck tt}ing to replicate it. The good news is that. with Kennecott as ", ... th many other large.scale engineering projects, you can get great images from public roads, no permission required.

Looking closely And just as I found inspiration in and around the mine, I also found iii. great deal of wildlife in the area. In fact. I'm impressed with how conscientiom the owners and operators of the mine are about environmental issues and how much they've done to reclaim the land and protect wildlife.

One day alone. I saw se .... en large buU elk grazing in a meadow that had been reclaimed. and there are also large herds of mule deer, ali ",·e1l as mountain lions. roxes, and upland game birds.

In all, it has been a rewarding project that proves by keeping your eyes and mind open, you can find beauty where you'd never expected it. 0

Bob Hills is a {lrn.:-art and commercial pbotogtapber based in Sandy, lJT. He bas an Ma.st~ofFint Arts degree and 40 ytaJ3 txperitncc. Su more of his work at ~,kQ./zbills,cpm.

pop PHOTO AUGUST 2009

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LIGHTING

SHINING ...............

Glittering jewelry needs a bright. hard light to spark its brilliance, but when it's modeled on a person, hling also requires a subtle interplay of highlight and shadow to create shape, depth, and drama, The smaller the piece, the more precisely controlled this interplay must be.

Photographer Mark Gong was faced with just such a challenge when he illustrated a New York TImes article about stackablc rings. The lighting tool he selected probably wasn't one you've used-off the dance floor,

"Playing around and trying new things is always the most interesting and fun part of a shoot for me,"

says Gong. "For this one, I was inspired by the mirror halls you typically see in clubs. I was curious to discover what sort of lighting pattern I could create using their unique refiectiYe properties, H

Turns out, the mirror ball's intricate dappling of shadow and highlight proved perfect for this subject,

Gong wanted a controUed envirorunent and precise lighting, so he shot in a ~mall, dark ~tudio, where it was relatively easy to reach out and adjust the position of the mirror ball or the model's hands.

The lighting he used here represented the third of four setups.

WWW.POPPHOTO.COM

~The scheme grew in an organic way as the shoot progressed," Gong says. "We started with a simple one-light setup, and just added and moved lights around until it looked right. ~

'Inc shoot took more than five hours---cspccially grueling for the hand model, who spent extended periods seated on the floor with her hands held overhead.

For the setup here, Gong used three Profoto Acute D4 flash heads ($800 each, street), all placed behind his hand model.

For light modifiers, he needed the precision of strip lights rather than the broad throw of square softboxes.

POP PHOTO AUGUST 2009

LORD OF THE RINGS: MarK Gong backlit his model's ringed lingers with a Profata Acute2A 1200 pack (A) that powered twa D4 heads in Proloto slriplighl soflooxes (8). He produced tho halo-like effect on the background with a Profeta AcuteB 600R pack and D4 head Ie). So that he could move freely betwoon lho camera and model without tripping over a PC cord, Gong triggered the strobes with PocketWizard's Plus II wireless transceiver (D).

halo-like glow. The photographer juiced the strips with a single Profoto Acute2R 1200 power pack ($1,780, street) and the background light with a Profoto AcuteB 600R pack (52,600, street). "I like the Profoto Mutes for their countless light modifiers, spot­on color temperature, and exposure consistency," he says.

As. is common with pros, most

so Gong mounted nvo of the 1.)45 in narrow 1x4-foot Profoto Striptight Softooxes ($397, street). He placed them to the side, aiming them forward to rimlight the back of the model's hands and strike the mirror ball.

of the equipment Gong used was borrowed or ri:nted. Even his Nikon 0700 with 105mm £'2 AF DC Nikkor lens was on loan from Nikon.

To lire the lights wireless!y, Gong used a shoe-mount Pockct"Wizard Plus II transceiver ($160), which automatically triggered the power packs' built-in PockctWizard receivers. "1 like moving to fmd new anglcs­sometimes on a tripod, sometimes not- and without PocketVt'izards , the PC cords can trip me up, " he says. "1 also get frustrated when the cord pops out of a camera's PC socket."

For an extra spark, he removed each striplight's front diffusion pand and inner baffle to expose the strips' foil·lined interiors. The result was a harder light with a metallic edginess.

The third 04, \'>'ith grid, \vas set low behind the model and aimed toward the backdrop, where it produced a

POP PHOTO AUGUST 2009 'NWW.POPPHOTO.COM

The hardest part of lighting his rings? "It was positioning the mirror ball and hands to correctly catch the light," he responds. ';1 took a ~crics of images while moving the mirror ball back and forth to see which position illuminated the rings best . If 1 had to do it over again, I would use a larger mirror ball , or maybe a second one, with a fourth 04 dedicated just to it. It would save time and create more specks of light. I'd also use egg-crate baffles over the strip lights to cut down on spill and glare from the rimlights. lbe edges of the fingers ~how a little too much flare."

And, no, vou won't find a mirror hall at your toea'! camera store. "J found mine at a plastics store in downtown New York City," said Gong. "But you can also find them on Amazon and eBay. They range from $20 to 5200, depending on si;r;e and material, and I paid about $30 for my 12-incher," 0 ri'

To sce mort of Mark Gongs work, ~,maTkmi'On~,f()m.

i

DIGITAL TOOLBOX "ORIGINAL

BACK BASICS ELEMENTS EXPLAINED

Last month we showed you how to usc Adobe Photoshop Elements to improve an image by cropping, fixing contrast, and improving color. Once you've taken those first steps, it's time to try some more sophisticated tools. This time, we'll fix an image that has sensor-dust spots, washed-out highlights,

and, in some specific areas, too little contrast.

1 FIXING THIS IMAGE requires working with layers. The fin'! is always called

the Background Layer. Duplicate it so you can always go back to where you began. Go to Layer> Duplicate Layer, and click OK. If your image is 16--bit, convert it down to 8-bit to work with Layers in Elements.

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fI THERE WAS A DUST spot on this sensor, and unfortunately it landed

right on top of the litde girl's lip. To get rid of thi.s blip, zoom in. Type the J key to get the Spot Healing Brush. Tap the left bracket key ([) on your keyboard to shrink your brush circle, and the right bracket key (]) if YOLI need to make it bigger. \¥hen your brush is the right size, dick on the spot you want to remove and watch it disappear.

POP PHOTO AUGUST 2009

• .."I.R By Debbie Grossman

--.--

POP PHOTO AuGUST 2009 WWW.PO~OTO.COM

DIGITAL TOOLBOX

3 NOW TYPE CTRL + 0 to sec your ",lIole image fit on your screen. Since you want to retain the work you did on this layer but don't want to

be wedded to your next fix, duplicate your Background Copy layer using the same method as in Step 1. Then go to Enhance.,. Adjw;t Lighting> ShadowsIHighlights.

4 SHADOW/HIGHLIGHT DEFAULTS to. 25% lightening of the shadows. Override this by dialing the Shadow slider down to 0%, and move

the Darken Highlights slider to the right unlilthe blue of the sky deepens. Then adjust the shadows by moving the Shadows slider rightward until you get a hint of brightness. Be\\''ate: Moving both sliders too far creates ugly haloes around subjects. Click OK when you like what you see.

5 MORE BRIGHTNESS .nJ contrast on the child's face will help draw attention. Start by

making a Levels Adjustment Layer: Go to Layer ,. Ne-n.' Adjustment Layer ,. Levels, and dick OK, Adjustment Layers affect all the layers below, and you can return to tweak them later. They are also the only way in Elements to use Masks, which allow you to fix just part of your image.

El IN THE LEVELS DIALOGUE. m=e the • black and white triangles until the girl's face

looks brighter and a little more contrasty. Don't worry if the rest of the photo doc.sn't look so good-we'll get to that soon. Then click OK.

7 THE WHITE RECTANGLE in your Adjustment Layer is your Mask (circled). Elements selects it for you. Type D, then Ctrl + Backspace, fiIHng it

with black. Now type B to get the Brush tool, and paint with white on the girl's face. That will reveal the brightness and contrast changes you made in your Adjustment Layer, If you reveal too much, paint 'with black to cover it up. 0

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-THE PROBLEM Everything's too sharp

Shallow depth of field and selective focus are great lools to direct

the eye. but you can't always get those effects while you're shooting, Maybe there's too much light for a wide-open aperture, your lens is slow, Or' you don'l have a specially lens such as a tilt/shift or a leflsbaby. Or perhaps you only brought a pOint-and-shoot. Whatever the cause, you end up with a middling picture where everything Is in focus, and the viewer has no clue whal your real subject is.

To get the image you want, you could fuss with alpha channels and Gaussian blur in Adobe Photoshop. Or you could do it more easily with a plug­in. OnOne's FocalPoint ($135, street; wwwonooesoftwsro com) works with Ptlotoshop and Elements, and makes getting selective blur simple. You can add blur that mimics the results 01 a selective-focus lens like the Lensbaby, or you can add a narrow band of focus to achieve a tilt/shift look.

Since FocatPoint is a p lug-in, s lart by operllng Ptlotoshop. When you install FocalPoint , OnOne creates its own menu, and Foc:alPoint operates as a program-wlthln-a-program.

Matlipulate your image in FocalPoint, click Apply, and your changes Will automatically be applied as a new layer, complete with mask, enabling you to

38 WWW.POPPHOTO.COM

_THE SOLUTION OnOne FocalPoint

easily tweak Ihe work you've done. To determine how much and what

exactly will rernrun sharp, FocalPoint utilizes somelhing the company calls a · focus bug," Place the bug on your image, then manipulate its legs to select

the Qre3 to keep crisp. Chocsa a round bug for ellipses of

sharpness or a square bug fOf planar hnes of focus that intersect with the edges 01 the frame. You can also tilt Ihe plane 01 focus 10 line it up with the camera's perspective.

Fine·tune your Image with conlrols for lhe amounl of smooth blur or motion blur, and add a vignette 10 more strongly direct the viewer's eye. Before you (eave the plug-in's interface to return to Photoshop, add a bit of "film grain~ to make sure the noise in the blur malches the noise in the Sharp area. Doing so will

heighten your picture's sense of realism. ~ -Debbie Grossman 0 !:!

NEW & NOTEWORTHY '\ ~ _ Truty SImple to use. _ Realistic eHects can satvage oth_1se bortng Imagafl.

CONSIDER THIS IF .•• _ Vou lik. the took of &elective focus, but would prefer to add it aft8f'" the fact instead of sacrificing sharpness in your original. )

POP PHOTO AUGUST 2009

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I ZIG-ZAG STREAKS I Mat Hayward South Everett, WA

The problem: Just when we thought there was no new take on the squiggly portion of San Francisco's (othenvise vel)' straight) l.ombard Street, Mat Hayward sent U~ this clever time exposure, in which the streak of the lit sign on top of a taxi outlines the sinuous switchbacks. A small aperture produced the diffraction stars. We felt , however, that with some more detail in the buildings and the street. we'd gain a better sense of the place. We also thought that the areas of black sky at the top and .It right of the frame were dead space. Nor did the composition need quite that muc.h of the g.lrage doors.

What now: There was plenty of shadow information, even in the JPEG, so we pulled up detail there using Curves in Adobe Photoshop CS4, but did our best to keep the

"

.Before AfterT

highlights the same. We cropped evel)"",iu:re except the bottom.

Next time: There's more in the picture than the streaking light, !i0

dig out the buried treasure.

Tech info: Tripud-stcadir...-d Canon EOS-ID Mark III with 16-35mm

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f/2.8L II Canon EF lens. Shutter held open for the duration of taxi descent (87 sec) at fl12, ISO 100. Camer.:a fired hy PockefWiurd remote trigger to avoid camera shake. Various adjustments made in Adobe Lightroom and Photos hop CS2. Check out Mat's website at www.mathaywardphoto.com.

POP PHOTO AUGUST 2009

I STRAIGHT STREAK I Jacob Tebbe Toledo,OH The problem: A very different take on streaming lights, this photo of car headlights on an otherwise empty road has an ominous quality-we think that it looks like a poster (or iii creepy movie. As with OUf other pick. though, there is considerable wasted space, particularly at the right of the frame. where nothing is happening. And the fix Team had iii bone to pick with the telephone poles and buildings, which bow inward due to perspective distortion. (Not that we're compulsive or anything.)

What now: We cropped in considerably from the right side. making the headlight streaks more dominant in the frame. We also cropped down from the top to maintain about the same aspect ratio, rather than creating a squarish shape. We were careful not to crop out any of the bottom. as we think the ilIwninated tar strips add to the visual interest. We darkened the sky a bit to add to the unsettling atmosphere. Finally. we used the Len.~ Correction filter in photos hop CS4 to straighten out the telephone poles. which al~ corrected the shape o( the buildings.

Next time: Beware dark space that adds no interest to the photo.

Tech info: Tripod-steadied Nikun D60 with 18-55mm £/3.5-5.6 OX Nikkor len~. Ex.:po.)ure, 30 sec at (/13. ISO 800. Color corrections in Adobe Photoshop Elements 6 . 0

POP PHOTO AUOUST 2009

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TIPS FROM A PRO

• No matter the circumstances, Los Angeles-based lifestyle portrait shooter DSliid Ellis (www.davidellisphoto,coml always begins with a question: "'Nhat's thB mood we're trying to create?" It's all aboot authenticity and genuine expression. But how do yoo find that when you're photographing tOlal strangers?

"These t'NO guys are hard-COfe salesmen, earning their living on Venice Beach pulling people Into their store," Ellis

says. "I figured, they're bok:I in getling me to buy an 6)1;p9nsive hat so I'm gonna be bold with them.~ He lold them that he wanted to get a shot of them with their hats. The guys were intrigued enough to SlOp selling and start posing. at least lor a lew minutes. That was all Ellis needed.

Here's how he made the coonection:

1 Listen. People like to talk about themselves if you show that you're sincere about listening and not pushirog your agenda. This way.

you're more apt to get a unique expressioo of personality. "There's a very fine line between taking control and lening them be Ihemselves--tl'!1 asking questions to get a sense 01 .....00 they are, and it's knowing when to speak up and when to shut up, ~ Ellis says. "II you give off a good vibe and

Text by Laurence Chen; photo by David Ellis

can verbaliw what you're interested in, people will lend a Ilarid." And he always sends a print in (txchange for thBir efforts.

2 Plan, but not too much. Before he even asked the hat salesmen to pose, Ellis chose the exocl spot Where he wanted them

to stand, then lad them there after they'd agreed. ~Someooe off-camef"8 asked the younger guy a question, and he looked oft 10 Ihe side." Ellis says. "!Iikad the way il looked, so I told him 10 keep looKing off­camera-and that was the shot.~

3 Focus manually. Ellis' style is all about shallow deplh of field. He always uses fast prime lenses such as a SOmm 1I1.2L

Canon on his Canon EOS-1Os Mark III. ·When you get a s/lafp picture alll1 .2, it's something to behold," he says. "It looks real, not liKe someone went In and retouched the hell out of it. "

But the shallow OOF makes focusing tough, so Ellis manually adjusts his AF. His secret weapon: a Canon Angle Rnder C ($180, street. with adapters). Designed for scientific purposes. angle finders magnify the focus point 2.5 times, enabling highly precise focusing With minimal DOF. But you

WW'W.POPPHOTO.COM

must look down rather than directly at your subject. "It takes a lot of practice," he says. "but by using an angle finder I can 1001<. right at an eyeball and see that it's sharp. If you're shooting a photo with people in motion, you'UIose a lot [01 frames), but less than if you just use autofiXus.·

4 Push through. At the start. these guys were having fun,

and Ellis kept shooting, A lot. "I probably made 150 images in 5

minutes," he says. This gets people used to the camara and lets you get optimum focus. People often smile too much at first-but Ellis is irrterested in What they ck> after the novelty wears off.

"When they stop posing. yoo see what they're about. I work through this stage. I don't direct them-I see what they do," he says. "That tells me something abol.l1 the perSOfl, and once you get past the initial aw\l:wardness, then you can really concentrate on the mood of the picture and what is going on."

He feels the good stuff happens when everyone is a little uncomfortable. "j show them on the back of the camera what we're doing. and pretty soon everyone is WQI1o.ing loge1hef to make the shot," he explains. "It says. 'We're in this together.'~ 0

pop PftOTO AUGUST 2009

American Photo is now on FI ickr®, and we're looking for some new work! Six times a year, in each issue of American Photo. we will feature the work

of one photographer (or up to three photographers) from our Flickr~

community. This showcase will be a celebration of creativity and skill, not

a critical analysis of the work. We will be photographic enthusiasts talking

about photography we admire. and we will invite our readers and ft ickr'"

members to join the conversation. For these reasons, we decided not to call

the feature the "Best of Flickr·" or ~Superstars of Flickr4'." but to focus on our common passion for creativity. SHOW US WHAT YOU'VE GOT.

www.flickr.com/groups/americanphoto

flickr

AERO SPEEDPACK

BS

TRANSFORMER: Art Brewer's onginal slide (here), taken With a Hasselblad H2 and 5O-11Omm tI3.5-4.5 He lens on FujiclYome Provia 100 film, showed motion blur, due to the bnght ambient fighting. After scanning, he sharpened the feet and eliminated the dvtteAKI

background (previOUS page),

Duo/Access Photo Backpacks T amrac'!o eJ((ltlng new Aero Speed Packs provide the ( omfort of a bdcl::pack withOtJI saar/ic ing quid<. access to CC1~ta (}Nt l TanuiI{\ innovatIVe Dual AcCl'5S System' " allows fast ~ to a camera with lens; at~hed

througt tt-.e side door when the pacXs <JI'e ¥.-Urn CM'f ooe shoulder. EQuipment can also be ac:as'\ed Ltvough the front par>el wIle-) the packs are remcwed

"'" "" ,,"Og. ,,11101'·"" 1-800-662-0717 ~ee th~ VIDEO of the N~W ~

Al'ruSpeedPd(h'''at wtan1rac:'" www.tamrac.com PHOTO. LUGGAGE lit COMPUTER CASES

3 Find a suitab le location. Look for plenty o f space, controllable background light . and body­

rriendly mats or crash pads to absorb Lhe athlete's landings. For White, I had to use a gym ncar his home. It was fluorescently-Iit with low ceilings that didn't allow h igh kicks or a backdrop, Not good!

4 Bring the right lights. To freeze an object in midair you need instantaneously firing strobes, with little

or no amhient background light, Powerful shoe-mount flashes , such as Canon ',). 5BOEX II Speedlites, will work because they offer short fIa.~h durations and, with the right acce~.\oorics, wjrclc~s triggering, Longer flash durat ions (i,e" 1/800 sec or longer) can record motion blur.

My basic lighting was two studio strobes, one coming from the left and ~lightly behind, with a reflector and grid. I powered it with a Profoto 2400 Pro 7 A pack, and set its output about a stop brighter than the front light. which was to the right of White, The front light wa. .. a Profoto Acuw2 Twin hi-tube head in a Profota 72-inch Octobox, with the diffusion silk remm"ed for a ~harper, harder light, A bi-tube head lets you fire one light from two power pacb (in this case two Profoto 2400's) for twice the light without lengthening flash duration. (Pretty cool.) Finally, on the right wI'! .~et a 4x6-foot white California Sunhounce reflector for fIll.

5 Watch your timing, It's everything, so practice with a stand-in to get it down. In this shoot , I took 24 frames,

producing four or fi,,~ keepers, wi.th this O~ clearly the hest-not a had ratio.

6 Finesse it in postproduction_ There \\-'as no way to a\'oid the gym behind v,'hite,

so I remol-'Cd it later in Adobe Photos hop. Th.i.s not only cleaned up the background, but enhanced subject modeling, too. A win-win situation. 0

For more of Art Br(Wt'T'5 sporn photography, visit WI"",' artbrewt't rom.

46 pop PHOTO AUGUST 2009

Text by John Owens;

photos by Paul Kline

@

pop PHOTO AUGUST 2009

GOING TO THE ENDS OF THE EARTH TO HELP ORPHANS

Paul Kl ine doesn't want you to cry. He doesn't even want you to fed guilty and reach for your checkbook. He: simply wants you to understand how many orphans there are.

~According to UNICEF, there are 150 million orphans in the world. ~ he says. "That's equivalent to half the population of the U.S.~

To get that message out, Kline and his wife, Mef(:edes, are in the midst of a project that has him photographing children in orphanages around the globe. It's caUcd The Silent Children Project. lhey arc silent because orphans don't have parents to speak for them and represent their needs ,~ he says.

Long.time Pop Photo readers may recognize his name. Kline, 45, of Gaithersburg, MD. was one of three finalists in our 2006 Photographer of the Year Shoot-Out. This reality-show-style event had three talented photographcn battling for a $5,000 prize and the title "The Best Shooter on the Planet.~ During a week in New York City, we gave them assignments ranging from .~hooting a goldfish to bagging a celebrity.

~One of my assignments was to photograph tourists ," Kline recalls. "I've been a commercial and advertising photographer for a long time. To photograph str.l.flgeTS on the streets of New York .. ,well, it took me out of my comfort 1.one,~

But the photo!! were wonderful. "I really enjoyed it, and said, 'Hey. if I can do this in New York, I can do it anywhere!'~

<l AROUHO THE WORlD: A South Afneen orphan (1), her face marKed with traditional medicne,

peeps out of the 1000-room house she shares WIth 39 other Children. At a wel-run Ot"pha~ in Mozambique (2), the kids help with WOtIt, Dancer!; wait to perlorm

(3) for the mayor oll1zNlorod, lJI<;ralne. in a e«emony showcasing at·rISk kids. A little giI1lrom a Vietna-nese orphanage (4) relaxes at home after school,

WWIN.POPPHOTO.COM "

FARTHER FIGURE

Around that time, Kline and his wife, parents of three teenagers, were looking f()r ways to give back. On a trip to see his mother in Israel (he was raised there), the couple visited orphanages in Israel and Palestine. By late 2006, the project was well underway. The goal: Photograph orphans in every part of the globe by September 2010.

\Vhen Kline spoke with us in early May, he and Mercedes had already traveled to Egypt, India, Mozambique, South Mrica, Ukraine, and Vietnam-spending S50,ooO of their own money doing it. They were leaving the next day for Brazil to meet up with fellow 2006 Photographer of the Year finalists and now close friends, Brazilian Roberto Soares-Gomes (winner of the event) and Canadian Henry Fernando. The month-long journey abo woold take them to orphanages in Brazil, Colombia. and Panama. "We're not trying to do a sob story, ~ says Kline. "We're just trying to show what exists-both the good and the bad.~

It's a range as wide as you can imagine. wrbere are some great orphanages and there are some terrible orphanages , ~ says Kline. ''\Vhat really defines them is not the amount of money they have. It's the adults taking care ofthem.~

He cites two in Ukraine, mere miles apart. "In one, the director was extraordinary, The children were happy, clean, and goofing around," he says, a smile in his voice. "They have pets, TY, and they go on excursions. lbe other was dark, children had impetigo [a contagious skin infectionj, and it looked like an old

IN THE BAG "I need to travel light, ~ says Paul Kline. For a photographai' Who makes his living in commercial and advertising wO!"\(, "light" is relative. But there's no question that his camera bag is heavy in imaging power. Here's what he totes: 'CANON EOS 50 MARK II. He recenlly upgraded from the 50 and is impressed by the low-light performance of this new full-frame OSlR. When shooting indoors, being able to make the most of existing light is essential.

pop PHOTO AUGUST 2009

<J DAILY LIFE: At this orphanage in Rajasthan, India (1), where the

children go to a well to fi ll their water pots IMIY day, "they are very poor and have basic food and shetter,· says Paul Kline, · but the girls am happy and loVed." A group of homeless orphans in Cairo (2) spend a week Ylith a geoerous woman. her room lit by a single bare bulb; they move again each week. Palestinian girls (3) sit on the pray9f rug in their doon room in Egypt before their 'lfternoon rest. In Mozam~que, children gri nd grain for supper (4): -I was looking f<x a good angle. when th(llinte cl..lious felloW looked at me: Kline says.

Soviet iru1itution. Everything is equal. except the management. ~

That's why Kline devotes much of his imagery to the caregivers: ~These are the people who make it happen. ~

And wherever he goes, Kline has found that it's not just appearances that distinguish good from bad. "In the bad ones, the kids are dingy. They don't get a lot of affection. So when we arrive, they just won't let go."

When they first arrive, Kline often snaps away, with the kids posing and mugging for the camera. Mercedes, a nurse, offers whatever help she can. Both the children and adults have to get used to the Americans' presence.

Before long-they spend up to three days at each orphanage-~l'm almost like a fly on the wall," says Kline, "and I roam around watching for situations.·

Though the mission is to shoot powerful, documentary images, he also takes score.~ of snapshots. "I learned to do that early on when the director of an orphanage in Palestine told me that orphans don't have

'CANON 28-300MM F/3,5-5.6L IS. "I use a canon 24-70mm fl2.8l lens for my commercial work,· he says, "but for this project I need more reach." .CANON 50MM F/1.4. "It's an awesome lens," raves Kline, for both its low-light eapabilfty and the Shallow depth of field afforded by that large aperture. 'CANON 17-40MM F/4L. With the full-frame camera, he gets true wide-angle coverage. 'LEICA D·LUX 4 . ~ tt 's realty good in low light for a compact. ~

WWW.POPPHOTO.COM

childhood photos," he says. "So now I always send them prints, sometimes tholl'iands of prints. Some directors tell me how the kids hang them over their beds or on their lockers. ~

The hardest part? Securing permission. In Kline's experience, good orphanages are very protective of the children's privacy, and bad ones of the adults running them. Either way, getting in is tough. UI'm rejected 10 times for every one 1 get into, ~ he says. ·'You have to keep at it.~

He starts long before ica ... ·ing the U.S., contacting anyone remotely related to orphan projects in the place he'll be going. Traveling every six months, Kline spends nearly four months between each trip writing, calling. and e-mailing contacts.

Though he didn't intend to show the photos until the project was done, he found that permission was easier when authorities could see his work. With that in mind, he set up a website, www.silentcbild[cn.or&. It motivated people to contribute, and though Kline wasn't looking to raise money, just awareness, the contributions kept coming. So he set up a 501(c){3) nonprofit to accept funds. uAlI of that money-IOO percent of the donations-gocs to orphanages and organizations that help .itreet children,n he says.

Late 2009 will take him to Scandinavia, and six months later, Au~traHa, Late next year, with the shooting done, he hope~ to publicize the C<luse with The Silent Children Project exhibits and a photo hook.

Says Kline , wrbili truly was due to that assignment in the Photographer of the Year Shoot-Out.~ 0

Flash? ~ ! use it rarely, ~ he says, ~mostly outdoors as fi ll flash. ~

But w ith the recent acquisit ion of PocketWizard's MiniTT1 on-camera

controller and FlexTI5 remote transceivers. Kline expects to do much more w ith his Canon hot-shoe f lashes.

He packS it all in a Tammc backpack, which he Ilappily reports looks very little like a camera bag.

~A lot of the places I go are fairly dangerous," he says. Mif people knew I had $7,000 worth of gear in my backpack, I'd be robbed. n

"

IMAGING TOMORROW WILL LOOK NOTHING LIKE IT DOES TODAY BY NEAL MATTHEWS

TOG SUNDAY, JULY 18, 2060. Old-Timers' Day, Yankee Stadium.

You're here with your old photoglove, getting some action shots from your ~t in the upper deck without C\'ell putting dov.n the S40 beer in your left hand. What would look to us like normal sunglasses are in fact camcra-equipped goggles with a heads-up display on the inside of the right lens.

Pointing the index fi.nger of the photoglovc, which is impregnated with tiny pyramid-shaped crystal microlen~s surrounding nano-sized image sensors, you draw a frame around each bit of al:tion so that a window appears to float in front of your goggles.

Blink: Vou bat your right eye to capture pictures of 86-year-old Derek Jeter throwing out the first pitch (rom deep center field. demonstrating his newly regenerated shoulder muscle.

Blink: A suicide squeeze. Blink; A diving catch. Applause is muted because the

whole stadium is full of people pointing and winking at the field .

Back home, you begin to edit your

GETTING PERSONAL: Ramesh Ru kar, associate professor at the MIT Media lab and co­director of the Center for Future Storytelling, predicts that you'll be a~ to modify a photo's dis~ay according to your mood.

pictufC:j using a surround-vision display. The merging of the computer and the camera has brought computational pllotography to fruition, so it doesn't much matter that batters were distant and sometimes had their backs to you, because, using your glove, you captured a complete

Though photos will still be composed by people with cameras, it will gradually become more accurate to say pictures were computed rather than 'taken' or 'captured.' thru-dimensicmal image of the players via thousands of tiny, wireles.~, C PS­enabled microcams that have been spread like glitter all over the field.

Choose an image from a 20 desktop dispby and it appears before you in 3D, iifcsizc, projected into an invisible fog from at least six laser projectors mounted in the walls, A joYll1.ick with a trigger and thumb buttons lets you change fucal plane and depth of field, "1..oom in for dose-ups. even alter the angle of vicw. Each picture is actually a few seconds of30 video, since when you blinked the recording of

that scene began Ii~'e seconds before the blink and continued five seconds after. At 1,000 frames per second. each ~capture" gives }'Ou the choice of M!parately viewing-and wallcing completely around- La,OOO stills or replaying the action as if you were positioned on the field . .,

Based on current research directions, this is one possihle photo future.

Where photography goes from here depends not just on what dedicated shooters want, but maybe more so on the whims of a billion app-happy cellphone junkies, each one of whom is already getting a much better camera C'.'ery time tbey upgrade, The increasing miniaturiz.alion and simultaneous expansion of camera capabilities is now driving the outer edges of the photo frontie r.

'W'here will it go? A number of possible tracks are discernible , but the widest vector leads toward increasing the camera's light­gathering function by several orders of magnitude.

~ It's all about getting more information from the image sensor, H

explains Abhas EI Gamal, an electrical engineering professor at Stanford Cniversity, wholie research group has beeo developing ways lo make CMOS sen!;O~ ~h ~aner and more sensitive, capable of providing depth maps for super-3D image capture.

Though photographs in the near future will still be composed b:-'

pop PHOTO AUGUST 2009 WNW POPPHOTO COI.4 53

F RE OTOGRAPHY

people holding cameras, il .,.,:ill gradually hecome more accurate to say pictures were computed rather

than "taken" or "captured." But this requires broadening the

dynamic range of light and motion detectable by the sensor chip. "Without information," says £1 Carnal, "there is no hopc.~

Within this c.ontext, clues from

INTO THE NEXT DIMENSION There are 300 million cellphones in America, all of them containing increasingly sophisticated cameras, Pixels have gotten so small that 50MP point-and-shoots are common, and there are pro cameras in the gigapixel range.

High-dcf video is quickly evolving into 3D, jump-started in 2004 by the establishment of the global Network of Excellence in 3DT¥', an eddy of manufacturers and researchers, including Holografika, Mitsuhishi,

Philips, Texas Instruments, and some two doun others.

"You know how when you think of the past, you see it in black-and-

white images?" says Nils Lassiter, an application engineer with Photron, a maker of ultra-high­speed video cameras. "In the future, thinking of the past will ~ hring up 20 images, as if people '-' were flat back then. ~ ~

European Union-funded R&D ~ on "autostereo" 30N-which ~ doesn't require colored glasses to 0

comhine the two images required ~ for traditional stereoscopy-has 0

been focused on head-tracking, ~ an extension of face-detection technology. La~cr-bascd holographic projection, sending separate images from the display to each eye of the viewer (or multiple viewers), is just entering the market.

Still photos are following that lead

o N o N

RISE OF THE ORGANIC CAMERA The trend toward using one iPhone-like device for multiple wireless task. has almost peaked as the use of cameras declines, even though compacts are now the size of pocket change. (Pro cameras are about the size they \vere in 2009, but the multiplicity of lenses has been replaced by a single omni-lens.)

"At first, there will be one device for everything," explains Ramesh Raskar, associate professor at the MIT Media Lab who is co-director of the Center for Future Storytelling.

"Later it will fragment all over the bod)', the carrn.'ta to the eye, the phone and audio to the ear. Some people will have them implanted, some not."

Lenses have shrunk and moved closer to merging completely with

image sensors, which are now mostly bascd on organic (carbon-ba.sed) compounds and nano-sized organic photo diodes. The sensor's flexibility allows it to be fonned into spherical shapes, more closely resembling and functioning like the human retina.

"The spherical sensor gives you a

current research in the realm of computational photography, combined with the predictions made by electrical engineers and technology visionaries, can he projected along a future timeline of what we can reach for-and maybe even grasp:

toward autosiereo 3D representation based on head.tracking that's built into the picture frame. Photographic prints on paper are competing with progressively thinner wireless 3D interactive display screens.

vcry wide field of view, with everything in focus, similar to what the human eye sees,~ says Daniel Palanker. associate professor of ophthalmology at Stanford University. ~Lenses will always be important because you cannot capture a picture without good focus, Today, we require expensive and bulky lens elementi to correct for the curvature of the focal plane. But if you instead U'>e a spherical sensor, you

can capture sharp images with much less expensive optics. ~

Breakthrough.~ in the power and miniaturization of solar cells have produced microhatteries that last for years without recharging. Deuterium, derived from .~eawater, has become the go-to isotope for power, hut hio-hatteries (which amplifY the electrical charge emitted by bioengineered bacteria) and air batteries (based on the interaction of a lithium, zinc, or aluminum compound \vith oxygen molecules in the atmosphere) are on the horizon.

54 WWWPOPf'HOTOCOM POP PHOTO AUGUST 2009

o M o C\I

IN THE EYE OF THE BEHOLDER The fragmentation of wireless capabilities begins to take the camera and the phone out of people's hands, attaching or implanting the rice-grain­sized machines to their eyes and earlobes.

Competing for market share arc: light, wraparound sunglasses with 4D light­capture capabilities. lbis means a thin layer of image sensors can now record not just the: color and intensity of the visible spectrum, but also the

direction and angle of reflected light in the ",ider spectrum, including ultraviolet and infrared.

You frame a photograph by holding your extended forefingers and thumbs in front of you, like an artist composing the outlines of a painting. Tripping the ~shutter~­now really just a ~save~ function­can be done -with a verbal command, such as MClick. ~

Algorithms are computing a visual version of surround sound, allowing images to be viewed from perspectives other than where the camera was actually located. Photos arc now almost identical to what the eye sees, but are also "relightable, H

which means making compromises to achieve high dynamic range is no longer an issue.

Depth of field is controllahle, letting viewers, rather than photographers, see their own versions of the photo. "Photos can be displayed in a way that reflects your mood," says Ramesh Raskar of the MIT Media Lab.

murring of an image due to motion is both correctable and replayahle as the "film-rooted distinction benveen 'still' cameras and 'video' cameras,~ disappears, as in a prediction in the STAR (State of the Art) research report on computational photography publi.<.hed in 2006 in the journal EU1lJgrapbi,s.

Photography and holography

o It)

IMAGES WITH A WAVE OF A WAND

o C\I

I o ~ o C\I

The camera as a device you carry has completely disappeared. Image sensors have become part of the literal fabric of everyday life, woven into gloves and photo cloth, which produce 3D images after you rub them over an object such as a human face,

We now have "camera wallpaper" and live Coogle Earth, which records continuously and allows the viewer to remotely select and experience virtually any publk scene in the world, Displays have become tiny laser projectors beaming images directly onto your retina.

Matt Hirsch, a graduate student

in th~ field of information ecology at MIT. fore5ees ~painting" a photograph by waving ~a tiny wand containing an infrar~d laser and terabytes of data storage,~ he says. ~Cameras in the environment will

work collectiv~ly to image the scene from your perspective, and from

have now merged. requiring something more than flat screen displays. FogScreen, an early-21st­centUJ)' company whose patented ~immaterial~ display is a frec-floating screen of dry fog you can walk through. has seen its technology evolve into 6D panoramic displays filling whole rooms in which the viewer can walk around frecly among projected images. These ~immersive" displays hav~ further blurred the line behveen real and virtual existence.

other perspectives of intcrc~t, and then transfer the resulting data to

your wand. You could then dial hack from this point to se~ the scene at other times in the past, M

Image sensors encased in microlenses and connected to CPS receivers are now sprinkled like confetti almost everywhere, The concept of privacy is in flux and

widely disputed. Researchers are

getting dOse to being able to tap directly into the neural pathways of vision in your eyes and brain. accessed by an external probe held gently against the temple, like those used today for ultrasound imaging. Everything you see is no\" downloadable.

lbe concept of the camera as an actual object is so 2009, 0

pop PHOTO AUGUST 2009 WWWPOPPl-tOTO COM S~

OVER THE YEARS pop PHOTO has been pretty good at predicting future photo technology. "Pretty good,' though, docs not mean "f1a ..... iess." And the photo industry has launched some, urn. breakthrough products that should have stayed on the drawing board. JU~1 take a look ...

FUTURE INTERROGATIVE DEPT. eFebruary 1958: "Will [Video] Tape Replace Film?" e April 1958: "Arc Suhminiatures a Threat to 35mm Supremacy?" _ October 1958: "Will the Russians Beat Us to a Fully Automated Camera?" eSept. 1972: "Is 35mm Dead?" e June 1975: "Can Photography Help Your Child Develop a Superbrainr' eDecember 1978: "Serious 110 photography-bowing in or bO\",ing out?"

PAST IMPERFECT DEPT. In 1966, the Fot~hrome camera was touted as "bypassing t he expense of color film and its processing" by imaging directly onto photo paper. That is, a roll of paper in the bottom of the camera, big enough to make 10 2x3-inch prints. The pictures didn't come out finished-you still had to haye the prints developed. And loHa luck: It used a proprietary paper that pretty much only the Fotochrome company could process. And you had no

E THE NEXT BIG THINGS­THAT WEREN'T BY DAN RICHARDS

negative to make enlargements from. In other words, all the disadvantages of Polaroid with none of the advantages. But the Fotochrome made up for thi.~ by being hopelessly unreliable.

REALLY BIG BUST DEPT. . POLAVISION Born: 1977. Died: 1979. We said: "It may well tum out to be the beginning of an entirely new medium," Why it fizzled: It was the heyday of Polaroid, so when the company launched a self-dcvdoping home movie system, there was no reason it wouldn't be the Next Big lning. Except that it was massively, irredeemably lousy.

. DISC FILM AND CAMERAS Born: 1982. Oied : 1999, after being moribund fur years. We said: "Aids ... [takingj good pictures in almo~"t any kind of lighting situation." Why it fizzled: Kodak had been highly successful v.i.th a string of amateur film fonnat.~: 127, 126 lnstamatic, 110 Pocket Instamatic. So why not Disc film? One fatal flaw: Th~ negatives, at 8xllmm. were just too small. Prints were grainy. Blowups? Forget itl But the cameras were cool little things, and they helped give consumers a taste for ultraslim design.

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. ADVANCED PHOTO SYSTEM Bom: 1996. Died: APS film is ~1:iIl alive (Fujifilm makes it, but Kodak stopped in 2004). We said: "The pint-sized APS frame ... dramatically surpassed 35nun in sharpness and granularity," Why i t fiuled: If you spend five years pa.instakingly developing something, you end up with a cutting-edge product-for five years ago. O ne rationale for APS was market research showing that consumers wanted easier-to-load cameras. But by 1996, virtually every 35mm c.ompact (above the most basic) had auto mm loading and rewind. It didn't help that APS loading was less reliable than 35mm, nor that consumers never really took to its three print formats. And then that digital fad came along.

. 3D PHOTOGRAPHY Born: Seemingly every year since the invention of photography. We've had stereoscopes, lcnticulars, anaglyphic glasses, polarizing glasses, wiggle stereo, digital 3D mode, the Stereo Realist, the Nimslo, the Wreo ... Died: Never. Photography's version ofIbe Undead. We said: See for yourself on page 54. Then check back \\-1th liS in 30 years. 0

pop PHOTO AUGUST 2009

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IMAGINE A DAY WHEN everything we shoot will be automatically backed up and offloaded without our help, when all our images will automatically contain all the metadata we need to identify them, and we will have access to all our photos, all the time, from anywhere. Think it's far off? You're wrong. That day is here, and it's cheaper and easier to set up than you ever would have imagined.

I wanted to know what it was like to live as much in the future as possible. So I rounded up some gear, all of it readily available and not one item costing more than $300. Then I tried it Qut.

The biggest surprise? How different it felt. Without the need to label, keyword, and­most important-offload and upload, I found myself freer than ever simply to shoot. My Eye-Fi card and my Buffalo LinkStation Pro, especially, quickly became indispensable. Now I can't imagine my life as a photographer without them.

Here's what I used, how I used it, and some extra ideas for living in the future---nght now.

IMMEDIATE SHARING 'Vhen the original Eye-Fi card came out a few years back, there was plenty to get excited about: I loyed the concept of automatically uploading my images to a photo-sharing site such as Rickr, but I didn't see what the big deal was about haying them autodumped to my computer. I shoot primarily in RAW, and those original cards could only upload JPEGs. And I also didn't like that the card couldn't discriminate-everything you shot would he uploaded. \\-nen I goof up, I don't want the world viewing and critiquing my outtakes.

The recent introduction of the Eye-Fi Pro ($1.')0, list) changed my mind. The number-one reason: It can now record and transfer RAW images. And. almost as important, I can control exactly which photos are uploaded.

Before you use the card, you plug it into your computer using the proprietary USB card reader

wish---choose your \Vi-F] network and enter your password, and pick which online ser\·ice and foldcr on your home computer you'll upload to. Ine whole setup is ridiculously simple, and would be eyen for someone who's not a ~oftwarc expert.

Then start shooting. If your computer and your camera are on, uploading happens simultaneously. There are many ways to configure the card, and it will upload to most of the major sharing sites.

I have a Flickr Pro account, and since the Eye-Fi Pro will upload hoth photos and video, I picked that as my upload de~-tination. The Eye-fi sent the JPEGs there (Flickr doesn't accept RAW), and I chose a folder on my Buffalo LinkStation

Pro desktop hard driye (more

MEMORY CONNECTION: Eye-Fi's pro card lets you

automatically upload, share, and geotag your photos right from your camera. It wol1<s with

RAW files, and you can control which

pies to share.

E

on that later) to accept the RAW files and JPEGs. I'd love it if I could send all my RAWs to my home drive and upload only selected ]PEGs to Flickr, but the current version of the Eyc-Fi can't follow different rules for RAW and JPEG. SO, I ended up sending aU the JPEGs to Flickr. but keeping my account settings on private-I did a batch edit tater to make the best ones public.

The Eye-Fi card can connect to any Wayport Wi-Fi (now AT&T Wi-Fi services) hotspot, so if you're on vacation, your photos can be uploaded automatically before yOll

even get home. And if you leave your computer on, or have YOUf

housesitter tum it on every couple of days while you're on vacation, your pictures will be automatically dropped to your hard drive from Eye-Fi's servers. When you're within reach of most U.S. Wi-Fi netv.·orks, you can turn on gcotagging and the I;afd will figure out your location and add it to your photos' metadab.

1 never would haye thought that removing the need to connect my card to my computer would streamline my process so much. But my friends and family have seen more photos sooner than they ever have in the past, because sharing them is just that much simpler. And I can rest easy in my travels knowing that all my favorites are backed up before I even reach home.

ALL-ACCESS PASS Part of the promise of the future is total acassibility to all of our images

all the time. We always hear talk about "cloud storage," hut until

it becomes practical to store everything on servers far,

far away, it makes a lot of sense to set up a server­like system at home. And doing so is fairly simpie, though it takes a bit more geeky patience than anything else I tried.

Buffalo's LinkStation Pro LS-XHL ($270, street, for ITB) looks like your standard desktop hard drive. The only difference? It has an ethernet port

HOME AND AWAY: The beauty of Buffalo's

UnkStatJon Pro LS­XHlls that It lets you

access everything you've stored on

it-from anywhen!. All you need is a web browser and Internet connection, and)'Ou

can view, share, Of' downlOad all of

your photos.

TAG, YOU'RE THERE: Who doesn't hate keywording image files? And when you're photographing off the beaten path, it's easy to ~se track of whMe ~ shot what. Nikon's GP· ' GPS device, popped into the camera's hot­shoe, changes all that

on the back so you can hook it into your home network's Wi-Fi router. You can configure the drive using your web browser, renaming the server something more charming or reasonable than the string of letters and numbers it defaults to.

Any computer on your home network can connect and gtore flies on the LinkStation, as well as access and stream media stored on it. My favorite feature? Everything you put on the drive can be accessed from anywhere, via the web. I set up my Eye-Fi card to drop all the photos and videos it uploaded straight onto the LinkStation, thus rendering all of my files, RAW and JPEG alike. automatically accessible from anywhere I could get online.

MAPPING YOUR TRAVELS Sure, the Eye-Fi can usually geotag photos taken in the U .S. based on a Wi-Fi signal, but you won't always be near one. And often enough the best photo locations arc those unreached by civilization.

I was trying out my new high-tech­photographer life using the Nikon D90, sathe Nikon's GP-l CPS unit ($210, street) was a natural fit. A device just ahout the size of a box ofTIc-Tacs. the GP-l fit.. .. into YOUT

camera's hot-shoe and connects to your canlera with a short cable. Once it finds a signal, it starts recording CPS data such as latitude and k)f\gitudc, time of day, altitude. and even-when in motion, say in a car-your velocity into the metadata of your images.

Adding the GP-l to my camera was incredibly l>imple. I made sure I had the right cord, plugged it in,

WWWPQPPHOTOCOM pop PHOTO AUGUST "

went for a walk, and started shooting. 1t took a few minutes to get the signal while indoors on a fairly densely populated city block, but I found one.

lbe one issue with such accurate GPS is privacy. In the end, I felt more comfortable using it when I was out on the to\vn; I thought it might be wise to unplug for the pictures I took inside my house, especially since I was uploading everything and leaving many images for public consumption. I can't wait to take it with me when I trawl, and let my software make a map of everywhere I've been.

MY NEW FUTURE LIFE New technology is famously tricky at the outset-the first versions of the stuff that's supposed to make your life easier tend to make it worse until the technology matures.

IF YOU SCORE AN EYE-FI CARD, A llNKSTATION PRO, AND A GPS DEVICE, YOU'LL BE PRETTY WELL SET UP. BUT AUGMENT THAT GEAR A BIT AND YOU CAN REALLY USE IT TO ITS FU LL POTENTIAL.

- iPhone ~ With my iPhone, I feH extra hooked up. Because my Eye-Fi card uploaded all my photos to Rickr, set to Private, I needed to go through and change a few permissions. Using FBckr's mobile browser, I did some editing and made some permission changes on my phone while I was waiting on line at a shop. And with Eye-Fi's iPhone app, you can change your settings and check your upload status while you're still out shooting. The LinkStation is optimized for the iPhone too, so you can log on through the iPhone's web browser to look through your photos and watch your videos.

- iPhoto 11 you use a Mac, iPhoto '09 has some 01 the best and easiest­to-use mapping capabilities, It's simple to add your photos to a map. and from the map create Smart Albums. You can even make a travel book with your photos automatically grouped by location, and a supercool map that shows the steps you took on your joumey.

- MiFi ~ Want to be online all the time? Want to make ( !) ')

sure your Eye-Fi card is always on the upload, even when you're nowhere near a Wi-Fi hotspot? Novatel's MiFi Iwww.novatelwireless. .c.QD1), which starts at $40 a month for service, is about the size of a credit card and acts as a portable, pocket hub connecting over 3G cellular networks. Anywhere you'd get mobile reception, you can upload your pictures. -D.G.

\\-'hat did I learn from my experiment? We are just about past the headache phase. On their own. ea!;h of the items I tried will smooth out some of the kinks in your workflow, but it was putting them all together that began to !;hange the way I photograph.

Augmenting my kit with gear that streamlined all the stuff besides photography-uploading. labeling, sharing-had me picking up my camera more frequently. And why not shoot more if dealing

with the images isn't going to be a pain? By the time I returned home from my shoot, all my pictures were already shared, stored, and backed up. It turns out that, by removing a good chunk of the process that didn't involve taking pictures, I removed an unconscious block I didn't know I had.

Nothing improves a photographer like practice. So maybe in the future we'll all be better photographers, simply because we'll have so much more time to shoot. 0

PO"f!RO'1'CI ALlGUST2009 W'NWPQPPHQTOCOM 61

COMPACT CAMERAS

• namlc

How good is in-camera HDR?

DSLRs rarely lead the charge in camera innovation. Rather, it's often compacb that get first crack at new technologies-autofocus, built-in flash. and image stabiliLation, to name just a few, Herc'Jj another one: automated high-dynamic-range (HDR) imaging.

HDR uses information from t",'O or more images of the same scene to produce a range of tooes from highlight to shadow that would be impossible in a single exposure. Until recently, you had to do this in postproduction. But now there are at least hVo compacts that manage it in the camera ..... ith a press of the shutter: FUjinlm's 12MP Finepix F200EXR ($360, street) and Ritoh's 9.3MP eXl ($369. direct from W'o'.w.adorama. com). The fIrst DSLR with this feature, the Pentax. K-7, is just coming to market now.

• Doesn't Pop Photo have, urn, issues with HDR? Ifs just that we see too many images taken to the Fakey McPhake level. When done subtly, HDR looks like a finely gradated but natural photo.

"

.How do these guys do it? The Ricoh takes two exposures in rapid succession (you hear one click), and combines the shadow and highlight details into a 9.3MP file. Just set DR on the mode dial: in the menu. you can choose ver), weak to very strong dynamic-range expansion.

The Fuji exploit.~ it.'1 Super ceo EXR sensor, with 6MP of bright-light and 6MP oflow-light sensors. The camera takes one picture, then combin& the best of the highlight and shadow detail in a reduced 6MP file. Set EXR un the mode dial. then D-

Range Priority in a menu. You can also select the expansion level­

for the photo here, we used the highest: 800 percent.

Both usurp ISO control.

The Fuji sets ISO 200: the Ricoh adjusts sensitivity ac.cording to scene brightness.

.How are the results? Quite good. The Fuji tends to bring down the highlights; the Ric.oh tend~ to pull up the slmdows. We adjusted exposure compensation on each to roughly eqillllize exposurcs-at their strongest settings. both did nearly equally well. But the Ricoh maintained a full-size flle.

.Any better than the shadowl highlight enhancement many compacts have? Yes. While some ufthose do boost dynamic range, they noise up the shadows a lot. Raise the ISO, and you get even more noise. But in the Fuji and Ricoh HDR shots, noise was very well controlled-it was nearly

indistinguishable from that in their non·HDR images.

.So these two produce genuine HDR photos? Not by a long shot. True HDR images have much more range; both the Fuji am.I Ricoh produced blocked­up shadow~ and blown-out highlights in their HDRmodes . But these modes provide a very useful on-the-spot fix for overly contrasty scenes-they could be bpedally useful for vacation travel photo!, when you don't get to control your lighting. 0

pop PHOTO AUGUST 2009

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The minimal, dearly marked buttons will make using the meter second

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is for taking measurements, and the other two set on a rocker are UP/DOWN input buttons for changing F no., shutter speed or ASNISO. This simple,

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TEST CANON EOS REBEL T1i By Philip Ryan

REBE

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More, more, more of everything

So you know a thing or two about photography, or plan to learn, and want the best entry-level DSLR you can get? Then take a look at Canon's

new EOS Rabel Tl i. We already knew that It's the

lirst Rebel to shoot high-definition lIideo. But now that we've run it through our battery of lests in the Pop Photo 18.b, we can gl1/9 you 8 better reason to check it out: Performance. The Rebel TlI beat its direct competitors In most areas of our las!S, panicular1y in controlling noise 811 the ISO rises. And it does Ihls while giving you more megapixels (15.1 MP) than any other sub-$1 ,000 DSLR.

With a street price of 5800, body only, or $900 with 18-55mm 113.5-5.6 EF-S IS lens, it's al90 mote expensive than its dosest competitors.

More sensitivity What does the extra dough get you compared with the Nikon 05000 ($810, street, with 18-55mm f13.5-5.6 OX VA lens) and Olympus E-620 ($700. street. with Zuiko 14-42mm f/3.5-5.6Iens)? Not only lower noise at higher 150s, but more ISO options. When set to its

WHAT'S HOT _Low noise at higher 1$Os. _Nice 720p HD video recording. _F.st autofocus.

WHAT'S NOT _ 1080p HD video Is choppy at 20 Ips. _No built-in wireless flath control. _Doesn't come with vIdeo-edlting software.

WHO'S THIS FOR? _Rrst·time DSLR buyers who know somettmg about: photography and warn a mOf'e powerfUl camera than ttl. Reael XS 01' XSi, 01' who want video capture In their DSLR.

pop PHOTO AUGUST 2009

expanded range, the Rebel Tl I tops out at ISO 12,800-1 atop beyond the limit of the Nikon (ISO 6400) and 2 stops beyond that of the otympus (ISO 3200).

Of course, at their highest ISOs, all of these camera8 become overly noisy. But the Rebel T i l maintained a Low or better noise rat ing in our test all the way up to ISO 3200. Since that's the top standard ISO, as long as you don't tum ISO expansion on, you're golden.

Given that the T1 I shares the same sensor as the more costly E0550D, it should come as no surprise that it also topped Its competitors in resolul ion. It rated Extremely High (2380 Jines) compared with their Very High scores under our new, mOfe stringent, resolution cnteris. Colar accuracy was Excellent. with an average Deff:a E of 6.93.

More speed In our version of speed trials-the autofocus t~t--the eos Rebel TIl raced to the front of the pack. Its

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TEST CANON EOS REBEL T1i

9-polnl AF system locked on OUf target in a scant 0.32 seconds at the test's brightest light level of 8/ 12, and it still took less than a second even when the lights dimmed to the near-moonlit darkness of EV - 1. That's a half-stop dimmer than the light level Canon says the AF system can handle. Indeed, in our test, Ihe Rebel managed to zero in on the targel In 1.18 sec al EV -2 (the least light we consider), while neither

Ihe Nikon nor the Olympus could focus at an in light that d im.

Buttons, d ials, and controls are designed to maKe the camera quick and easy to operate. We appreciated finding the ISO button just behind the shutter, letting you change sensitivity on the fly. To avoid confusion, Canon put the exposure compensation button on the camera back, which also makes it easier to use in combination with the

..

lone command wheel. ewe Wish there were two command wheels to make manual shooting more convenient , but you almost never find that setup on an entry- level DSLR.)

And, as on the Olympu s E-620, Canon let s the menu control buttons double as access to frequently used functions, such as white balance, AF, drive mode, and Picture Styles (Canon lingo for JPEG profiles).

More features The Rebel T1i 's body construction is as solid as you can hope for in an entry-level DSLR. You won 't find the weathersealing that you'll get with a pro body, but the grip and an area on the back for your t humb have a teJl.\ured rubbery materia] that makes the camera comfortable to hold .

The LCD pacKs 920,000 dots into a gorgeous 3-inch screen, for lots of edra detail that comes in handy during live "iew and video shooting . If only it could be flipped, tilted, and

WWW.POPPHOTO.COM

VITAL STATISTICS IMAGING: , 5.1 MP effective, APS­C-sized CMOS sensor captures

images at 4752x3168 pixels with 14 blts/ color in RAW mode. STORAGE: SD and SDHC. Stores JPEG, RAW, lind RAW + JPEG flies. BURST RATE: Fu(i-sized JPEGs (Fine modo): Up to 170 shots at 3.4 fps. RAW: Up to 9 shots at 3.4 fps (14-bit). AI! SYSTEM: TTL phase detection with 9 illuminated focus points (1 cross-type). Single-shot, continuous with tracking, and auto­switching AF. Tested sensitivity down to EV -2 (manufacturer rated to EV - O.S) at ISO 100, fi lA UVE VIEW: TIL phase-detection and contrast-detection AF modes. SHUTTER SPEEDS: 1/ 4000 to 30 sec, plus B (1 / 3- or 1/ 2-EV Increments), METERING: TTL metering using 35-zone evaluative, centerweighted, partial (approx. 9%

of viewfinder) and spotmetering (apprOlt 4% of viewfinder). EV 0-20 (at ISO 100). 150 RANGE: Normll l, ISO 100-3200; expanded, ISO 6400 and 12,800 (1n 1-EV increments). FLASH: Built-in pop-up with TIL autoflash with :t2-EV exposure compensation (1/3' or 1/ 2-EV Increments). VIEWFINDER: Fixed eye-level pentamirror. LCD: 3-in. TFT with 920,00·dot resolution, OUTPUT: Hi-Speed USB 2.0, HDMlvideo, composite "ideo. BATTERY: Rechargeable LP-E5 Li-ion, CI PA rating, 400 shots (50% with flash). SIZEIWEIGHT: 5.1x3.8x2.4 In., 1.06 Ib with 8 card and battery. STREET PAtCE: $800, body only; $900 with 18--55mm f/3.5-S.6 Canon EF·S IS lens. FOA INFO: '-Inoneos.com.

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YIEWFIND!R ACCURACY: 95% (EJc.cellentl. YIEWFIND!R MAGNIFICAnON: O.87X (High).

pop P HOTO AUGUST 2009

CERTIFIED TEST RESULTS IMAGE QUALITY (ISO 100_3200)

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pop PHOTO A.UGU$T 2009

swiveled, like the smaller and lower-res monitors on the Nikon and Olympus.

Then there 's video. Tho Rebel Tl i can record at a pixel resolutJon of up to 1920xl080, the limit of lhe U.S. HD standard, though at thai resolution the frame rate is a choppy 20 frames per second. But ff you just tum down the resolution to 1280x720, you get 30 Ips, which matches the frame rale of your HDTV-and Isn't Ihat where you want to watch it? At Ihat setting, we got video thai knocked our socks off,

As with all of the first generation of video-shooting DSLRs, you can't autofocus continUOUsly during video capture. However, if you press the asterisk button on the Cam9f8 back, the Rebel will locus once-press it again to focus on something else.

All that button-pushing is likely to make for shaky video if you're not careful. But If you plan your shots, use a tripod (preferably on a flUid head), and capture short snippets of video,

... W U)

llJ > I--I­llJ (L

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NIKON 05000 $810, street, with 18-5!mm f/3_5-5.6 DX VR lens Though the Nikon 05000 Just bested the Rebel T1 lln color accuracy with its score of 6.73, Canon beat the Nikon in most of our other tests. The Reb was faster to focus in our AF test, an area in which Nikon usually excels. (As with color, the difference was minimaL) Resolut ion? A more notIceable d ivergence: The D5OOO'8 was 2245 lines (Very High), whi le the Rebel's was 2380 (Extremely High). But

noise control is where Canon really wins. The Nikon had respectable results-Moderately Low or better up to ISO 1 6~but the T1 i kept noise to Low (one notch better on our scale) or better to ISO 3200, for an extra stop of low-light shooting that can make all the difference in a tough lighting situation. The Nlkon 's fl ip-down, swiveling LCD lets you handle certain tive-view and video situations that the Canon, with a fixed l CD, can't. Sti ll, we're giving this match to the T1 i.

WWW.POf>PHOTO.COM

you'lt be amazed at the results--even when Viewed unedited from the camera's bUilt·ln minl-HDMI output.

Uve View shooting remams the same as on eariier models. You can choose from two types of AF: Contrast detection, though sluggiSh. malntams an uninterrupted view of your subject, while phase detection interrupts your view by closing Ihe shutter, flipping down the mirror. focusing, then flipping Ihe mirror up and opening the shutter-a clunky proceSS. Still, live view can be usolul for landscape. sliU­Hfe, and macro work.

Bottom line The Image Quality the Rebel T1 i offers with its 14·bit RAW capture, Dlgic 4 processing, and accurate 35'2one metering is astonishing given Its price. Just a few years ago, you couldn 't hope to get talent like this for under $1 .000 In all, an amazing first-or step-up--OSLR. 0

OLYMPUS E-620 $700, street, with 14-42mm f/3.5-6_6 Zulko lens In our tosts, the less expensive Olympus E·620 couldn't keep up with the Tt I. It kept noise to Moderately low or better up to ISO BOO. Resolution? It served up 2t 20 lines tor a Very High rating. [n color accuracy, the E·620's average Delta E of 7.9 barely snagged an Excellent rating. low-light AF Is where Ihe E-S20 really falls behind: At EV -1, the dimmest level [n which It could focus, AF look 1.57 seconds to lock on our target , compared with 0.97 seconds for the Canon and a 1.02 for the Nikon. However, in v8fY bright light. Ihe Olympus beat both its rival • . It 's also the only one of the three that can control off­camera hot ·shoe flashes wirelessty. And while we give a slight edge to the Nikon's flip-down LCD, we still appreciate the versati lity of the $Creen on the E-620, which flips to the side and SWivets. Don't forget. the Canon's LCD doesn't move at alt. Ar'Id the Olympus, with a kit lens, costs $200 [ess (street) than the Rebel. So If you're not already invested In glass, you save a bit.

TEST SONY ALPHA 330 By Philip Ryan

" WWW.POPPHOTO.COM

Pistol Made to speed beginners out of the gate Smack in the middle of a trio of new entry-level DSlRs

from Sony, the 1Q,2MP Alpha 330 is an appealing option for photographers stepping up

from compacts. A nice price ($650, stroot, with 18--5Smm

113.5-5.6 Sony DT SAM lens: $850. street, with an additional S5-200mm 1/4-5.6 Sony DT SAM lens), fast autolocus, tilting LCD, and easy-Ie-understand controls are a few of its highlights. And it aced nearty all of our tests in the Pop Photo Lab,

Image quality Typical of DSLAs these days. the A330 got an Excellent rating in our color accuracy test. With an average Delta E 017.11 , II hand ily beat our cutoff of 8 or

below for top honors. As have previous entry-level

Sonys. the A330 also scored quite well in noise control. Using the manufacturer's FlAW converter (Image Data ConV9l1er SR), and with the defautt level of noise reduction applied, it never rose above a Moderately Low llOise rating. That's two steps above the bottom rung on our scale .

• 'n-body sensor-shift IS. _Friendly interlace for 05L.R beginnel'1l. _Ti lting 2.7-inch L.CD.

WHAT'S NOT _No video reconfing. _Less res than the competition. _Fewer buttons mean more menu hunting.

WHO'S THIS FOR? _First-time DSLR buyers who want a stylish camera that's simple to learn and easy on the wallet.

pop PHOTO AUGUST 2OQ9

EOS Rebel T11 Black 15.10 MP 3,0" LCD. ~~H liD Mov ... ~Q~al SLR C..."rawl H'S IB·SSmm 113.5·51 IS L,n., S",c/1 N~g 30·12~.~

-

I ,·,··~(t canon PowerShot A480 Black 10.0 MP 2.~· LCD 3.lX Opl .... 1 Zoom. 'X O'g;"'loom, Sot.toll N_~ 30-1 20-321

canon EF 70-200mm f/4L USM Telephoto Zoom lens F" .. ,l.",II, & Mulmym Aperture 10-2OOmm 1:".c, Sur<:~ N.w.~' 30·998·379

Canon PowerShot 501200 IS 10.0 MP 2 I" lCD, 3X Optiea! Zoom, 4X DIG".' Zoom, Ultr. Slo .... S •• rel> ~9II:)D·'20..a29

Canon EOS Speedlrt8 580EX II Flash 8~'I· ln AF " n is! Be.m, t·nt op ..... ,1on II1II11'1 011 fOS d'i'111 SL~ •• S .. roll N ..... "IIQ: 30-5I98-<l75

Calion PowerShot SX200 IS Red 12.1 MP 3.0 ' lCD llX Op1l<;.o1 2<>am, 28m .... Wid. A"IiI" SM rch N __ 30-120-342

TEST SONY ALPHA 330

N. higher ISOs, Sony's noise reduction is quite aggressive and comes al the expense of real-world resolving power.

Indeed, resolution was the one component of image quality in which the A330 fell behind its competitors. No SUrprise, since it starts out with fewer megapixels than most competing DSLRs, which have at least 12MP (the CallOl'"l EOS RebeJ Tli, tested on page 64, leads the pack with a , 5,1 MP sensor),

At ISO 100, Ihe A330's lowest sensitivity, it delivered 1970 lines of resolution (a High score) in our test. Once we r£Jached ISO 3200, the default NR ale up 200 lines-not insignificant-for a result 01 1770 lines. By way of comparison, Ihe 12.3MP Olympus E-620 served up 1820 lines at ISO 3200, even with its default noise reduction applied.

Gi'"Ien the resolU1iOf'l, the A330 scores a Very High rating for overall image quality from ISO 100 through 4{lO,

pulled up a bit by lis Excellent color accuracy and Very Low or better noise in that range. From ISO 800 through ISO 3200, OI/erailimage quality was High.

Autotocus and live view The speed of the autofocus system is one arena in whiCh lhe Alpha 330 shines. It focused laste! than the Rebel Tl i for tile brighter half of our AF test, turning in a ~azing 0,27 seconds at the brightest light level, EV 12. And while the Canon locked onto our target faster at EV 2, it wasn't by much--O.57 versus 0.63 sec for the Sony.

All the way down at murKy EV -1, the A330 focused in a speedy 1,02 sec. That was the limit of the Alpha's AF system-In less light than that, it couldn't focus-while the Rebel was able to focus at EV -2, the dimmest level of our test,

Shooting in Uve View mode? The Sony uses phase-detectlon AF. affording a much faster response, as the mirror

doesn't have to !tip in and out of the light path to allow lhe

camera to focus on your subject The downside? Because the Sony's live

view comes from a separate sensor, you don't get tOO-percent framing accuracy.

Handling and controls Sony made l1\ajor changes in the bufld and design of last year's entry-level offerings. Uke the new A230 and A380,

the A330 is smaller than its predecessor, the A3OO.

The grip has also been redesigned: Although the new grip is more stylish, with a cool, textured rubber finish. we miss the A30(J's ridge that you could tuck your middle finger under, and even more

~ IU en

CANON EOS REBEL T1i saoo, street, body onlyi $900, street, with 18-55mm f/3.5--5.6

llJ> Canon EF-S IS lens In the Pop Photo Lab and

~ by the spc<::s, this Canon beats the Alpha 330. It has

~ sIgnifiCantly more reSOlution, W thankstoits15.1MPsensor.h

focuses only ever-so-slightly s!OW6f than the sony in bright light and just barely faster in very low light--but, roore

0... ~ o O important, it can autofocus

in extremely dim conditions where the Sony fails. The Canon also produces less noise across the ISO range and offers two stops more sensitivity by reaching ISO 12,800. Add to that the T1 i's HD video capability, and biggor spenders have their decision made. Those of us orr a budget, though, will end up thinking 10Ilg and hard abolJl the fact that the A330's dual-lens kit costs $50 less than the Canon's single-lens kit.

OLYMPUS E-620 $600, s treet , body only; S700, street, with 14-42mm f/3.5--5.6 lens; $800, street, with that lens, plus a 4~'50mm fJ4-5,6 zoom This Olympus shares much with the A330, including sensor·shift IS and sensitivity spanning ISO 100 through 3200. Both demonstrated Excellent color accuracy in our tests and scored Very High overall image quality at lower 1505. The Olympus couldn't keep up with the Sony's speedy AF, though, nor could it match its low noise. The E-e20 did maintain more real-worfd resolving power than the A330, and we like its tilting and swiveling screen. Bargain hunting? Sony's single- lens kit costs

$50 less than the equivalent Olympus kit, but its two-lens kit costs $50 more than the Olympus version.

POP PHOTO AUGUST 2009

ThIs backgroooCl support systems has been

develOped to meet the speCial requirements

of photographers.

10'6" 199" 13' 1129"

the pronounced divot for the middle finger found on the A200. Your middle finger wraps over the top of the new grip, with your index finger resting 00 the shutter butloo. The older designs felt more comfortable when we rotated the camera or tilted it upward.

The control interlace on the LCD Is a radical departure. To appeal to novices who may be unfamiliar with camera }argon, Sony uses graphics: A shutter· speed scale shows an icon of a runner at the fast end and a stationary figure at the slow end. 0Ne performed a nonscientific poll among non·SLA uset"s, and they seemed to understand it.) The aperture scale depicts a person in front of a mountai~t the large aperture (smaJi t·stop) end of the scale, the mountain Is blurred to indicate shallow depth of field. If you don't like the scales, tap the display control on the touch pad and it'll revert to numerical versions, with a lillie more info about other settings such as white balance, />E, and metering modes.

A column of buttons on me left of the LCD was eliminated and mose functions redistributed. Some are now on the

control pad, v.rtlile playback and trash get new buttons to the right of the LCD. The off/on switch for SteadyShot (sensor· shift image stabilizatIon) was also eliminated­you now mlJ5t jump into the mam m8f1U system to change its status. But If, liKe us, you leave it on Ulliess you're panning or

"

using a tripod, this is no big loss.

The 2.7·inch. 230,400· dot LCD tills up and down, but it woo't swivel the way those on the Nikon D5000 and most Olympus DSLRs do. Canon's Rebel TI i has a stationary monitor, but

with a higheHes 920,000 dots. Sony used to di5lingut5h its DSLR

kits from competrtors by bundhng tt1em

with an 18-7Omm f/3.5-5.6Ier1s, longer than the 1 S-SSmm range covered by Canon, Nlkon, and Pentax kit zooms. Not anymore. The Alpha 330's kit lens spans exactly that standard range, equivalent to 27-82.5mm on a full·frame sensor (soo OUf test on the neJrt page). A second kit lens extends the reach to 201Jmm (3OOmm equivalent). Both of these sport Sony's Smooth Autofocus Motor (SAM).

Boltom line There are always tradeoffs to consider when choosing an entry-level DSLR. We find a flexible LCD more useful than video capture, but if you're a family $hooter who liKes to switch quickly betweeo stilis and movies, you may disagree and miss the Video. Compose your shots in live view?

You'll love the Alpha 330'5 speedy M, which doesn't slow you down.

Ultimately, one of the best things about the A330 is the price. With a kit lens, !t's the least expensive of all its competitors. That alone might make up your mind. 0

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VITAL STATISTICS IMAGING: 10.2MP effective,APS·C· si.ted CCO seosor capnues images at 3872x2592 pixels willl12 bits/color In RAW mode. STORAGE: Memory Stick PRO Duo, SO, and SDHC. Stores JPEG,

ARW RAW. lind RAW + JPEG files.

BURST RATE: Full'slzed JPEGs (FIrM!!

mode): Up to card capacity III 2.5 trames pet second. RAW: Up 10 S shots

at 2.5 fps (12-bit). AF SYSTEM: TTL

phase detection .... ith 9 illuminated

focus points (t center ctoss·l)pe).

SIngle-shot and continuous .... Ith

trlIcking. Tested Hf'Isltlvlty down to EV -t (manufacturer rated to EV 0) (at

ISO 100, tlt.4). LIVE VIEW: TTL

Phase detection. SHunER SPEEDS: tl4oooto 30 SK

plus B (1/3-EY increments). METERING: TTL metering using 40-segment honeycomb­pattern evaluative,

centerweighled. partial and spotmetering. EV 2-20 (at ISO

100). ISO RANGE: ISO too-3200 (in l'EY increments). FLASH:

Built-in pop·up .... ith TTL autoflash with ±2'EY exposure compensation (1/3 EV lnaemellts), GN 33 (ISO 100, feet),

covers 18mm lens field of vie ..... Flash

sync to 1/t SO sec. Dedicated Sollyl

Minolta hot-shoe and .... ireless control of optional flash. VIEWFINDER: Fixed eye·level pentamlrror. lCD: 2.1·

In. TFT witt! 230,400-dot resolution. OIJTPUT: Hi-Speed USB 2.0, mini HOMI video. BATfERY: Rechargeable NP'FH50 U·kln, CIPA rating, 510 shots. SIZEIWEIGHT: 5.h3.8x2A in., 1.llb with card and battery. STREET PRICE: $650 .... ith 18-!l!lmm f/3.!>-5.6

Sony DT SAM lent; $85O .... ith 18-

55mm f/3.5-5.6 and 55-2OOmm f/4-

!I.S SollY OT SAM tenses. FOR INFO: WWW.sorrystyle.com.

VIEWFINDER ACCURACY: 95'111 (Excellent). VIEWFINDER MAGNIFICAnON: o.74X(Acceptable).

pop PHOTO AUGUST 2009

CERTIFIED TEST RESULTS IMAGE QUALITY (ISO 100-",00)

VERY HIGH

• EXCEU.ENT

RESOLUTION (ISO 100)

HIGH 1970 ... -­EXCELLENT

COLOR ACCURACY lAva. DELTA E)

EXCELLENT 1.11 .. HIGH

'\I '10 • 8 ..=---'=-_+~ EXCELLENT

NOISE AT ISO

0 .9 EXTREMELY LB 100

1.3 VERY LOW 200

1.5 VERY LOW 400

• DERATELY LOW 2.3 M 800

• .• LOW.

2.2 MO • ERATElV LOW 3200

J.O ... 1.0 ,.1 1.0 G.I

UNACCEPTABLE 4 • EXlRENELY LOW

HIGHLIGHT/SHADOW DETAIL

EXTREMELY HIGH

LOW •• ------•• EXT. HIGH

CONTRAST !AT DEFAULT SEnlNG}

LOW • HIGH

IMAGE STABILIZATION

STOPS • • •

AF SPEED Eli AT ISO 100

8RIGHT~LIOHT L£VEL--+ DIM

POP PHOTO "uaUST 2009

LENS TEST

KIT Sony DT 18-55mm f/3.5-0.6 SAM AF This new entry level wide· Icrmoderate-tele kit zoom ($200, stroot) was unveiled with the Sony Alpha 230, 330. and 380 cameras and is designed for APS-scaled sensors. A 27-82mm full·frame equivaleflt, it boasts Sony's relatively new Smooth p.f Motor (SAM). HANDS ON: Slightly more compact than comparable kit .Ii

~

zooms from Canon, Nikon, and ;;

Pentax. it cast no shadow at any I foeallength wheo used with the A330's built-in flash_It sports Sony's Zeiss-inspired e:dra-fine ribbing on the zoom ring, which, like the manual-focuSing ring, has a smooth and adequately damped turning action , Both rings are clad In rubber---tKlUSlJal for a kit lens. Uke most others in this class, however, the lens has no hood or di~

and deptl'Hlf-fieId scales. Nor does it have a norvotating filter ring. making some Iens-mounted lillers and accessories hard to use. Dflan A330 body, PoE was fast, accurate, and vir1uafy Silent. IN THE LAB: SOF tests of resolution and contrast produoed results in lha EJlcelioot range at three tested focal lengths-about what we expected.

DxD Analyzer Version 3.2 tests found Visible barrel distortion at 1 emm (0.50%), and Imperceptible pincushion distortion (0.02%) at 35mm and 55mm. Strong numbers, but, again, average by leday's standards, and near matches to those of Canon and Nikon's wiele-angle kit zooms. Ught faliofl left the edges by f/5.6 at 18mm,

Specifications I &-55mm (I 8.59--54 18mm ,"led), II3.S-S.6 (i13.3S-5.821ested). 8

elements in 7 groups. Focuq tume: 60 degrees countllfCloc::lr.w,-. Zoom ring

turns 80 degrees counterdoci<.WIIe. foca,l

lengths InIIIkBd ill 18·,24·, 28-. 35-, and .55mm. • Dt.gonaI wtew M'lgw, 76-29 degrees. • w.ight: Q.491b

• Fitter aid; 55m!T1 . • Mountli: Sofly and Minoita Ai . • StrMt ptk:e: $200.

WWW.POf>PHOTO.COM

~ Julia Silber

and we saw no visible Vignetting at 35mm or 55mm. This IS signiflC3fltly better than the comparable Canon and Nikon lenses, which vignetted at all focal lengths.

Maximum subfeCI. magillficatioo ratios at the constant close-focusing distance 01 approximately 9 inches W8f'e 1 :6.7 at 18mm, 1:3.67 at 35mm, and 12.37 at 55mm. Good news 10f ClOSe-up fans. CONCLUSIONS: This kit zoom Is among the sharpest and least distorting of Sony's DT family of DSLR optics. That it's also the least expensive jusl adds to Its attractlOll. 0

Subjective Quality Factor

.., •

HANDS ON OLYMPUS E-P1 By Dan Richards

PRO • OLYMPUS·

This gorgeous little camera Is not Ie<;;hnically a compact model. Compacts, by general agreement, have fixed~. And the new Olympus E-Pl is a 12.3MP Micro Four Thirds camera that accepts interchangeable ~nses. just like the Panasonic lumix OMC-Gl and GH1.

But put the new Olympus next to one of those and you'd never guess thaI they came from the same era, let alone that they share the same system standards. The E-Pl forgoes both an electronic viewfinder and built-in flash to maintain a

raogeflOder look. Still, despite its size­jUSI4.74x2.75xl.37 inches-the E-Pl is loaded. Here's a rundown:

. Still imaging. The new TruePic

V processing engine promises both more sharpness and better noise

Penning the style While it's tempting to call the Olympus E-Pl a rangefinder-style camera, it references an unconventional film-era SlR, the otympus Pen F. Introduced In 1963, It was the wood's first half-frame (18x24mm on 35mm film) single­

lens reflex. Its unIque viewfinder system employed a tiny porroprism rather than a pentaptlsm, creating an SLR with no prism bump. The wP" In E.P1 is 8 nod to the Pen F,

and Olympus Informally calls the new camera the digital Pen.

suppression in images from the Live MOS sensor. Seositivity goes up to ISO 6400, versus ISO 3200 00

cun-em Olympus DSLRs. The six Art Filters from the E-620 (Grainy Film, Pinhole Camera, etc.) afe carried over. as Is multiple exposure (up to three frames). An in-camera fix, e-Portrait, automatically smoothes over skin wrinkles and flaws, reducing file size to 5MP in the process.

. Video. High-definition video of 128Ox720 pixels at 30 frames per second, with digital Image stabilizatKln and continuous autofoeus. can be recorded with CD-quality stereo audio via two built­

in mlcs. You can apply Art Filters, plus any 01 five preset selections of background music, which can also be combined with live sound. And it plays video directly 00 an HDTV ~ia an HDMI cable.

. Controls. The 324-zone evaluative metering has the most zones yat in an Olympus. A "normally openH shutter reduces lag to a stated 70ms, comparable to a DSLR rather than a pokey compact. Olympus says that the contrast-detection autofocus wol1<.s twice as fast as the Jive-view AF in the E-620. An electronic level gauge can be superimposed on the LCD. As with Olympus OSlRs, the E-Pl has both sensor dust removal and sensor-shift image stabilization systems.

WWW.POPPHOTO.COM

A digital single-lens ... compact ---

Early production samples of the E-Pl were very impressive in fit and

finish. Front and back panels are stainless steel;

top and bottom plates are aluminum alloy. The camera's

".8-0UrlC6 heft is startling but also satisfying In this lightweight plastic era.

Olympus showed us two lenses: a , 7mm 112.8 pancake 19f1s (which scales up to a 34mm equivalent with the Four Thirds System's 2X lens lactor), and a 14-42mm 1/3.5-5.6 zoom (28-84mm equivalent) that can be collapsed to protrude about two inches lrom the body. An accessory bright-frame finder for the 17mm lens allows fast eye-level shooting.

A very compact shoo-mount flash will be available, and the E-Pt will work with current Olympl.lS TTL flash units. AdaptllfS IOf both standard Four Thirds and Olympus OM-system lenses will be made.

No pricing had been set as of press time, but Olympus believes that it will retail fer less than $1,000 with an

unspecified lens. Stay tuned.

NEW & NOTEWORTHY .TIniest Micro Four Thirds C8merl1 yet. .'280)(720 HD video recording with stereo sound . • 'n-camera fixes include electronic Botox,

CONSIDER THIS IF ••• .You want to lallln love all over agam-don't say we didn't warn you.

POP PHOTO AUGUST ~

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HANDS ON Flaehpolnt F-1428 Carbon Fiber Tripod

STAND A three-legged proclamation Chances are you don't need the Ftashpoint F-1428 carbon Fiber Tripod (5330, direct; ~adonuna,CQm).

After ali, it supports up to 26 pounds of gear, and you'd be hard-pressed to find anyone short of a hardcore wildlife shooter whose camera and lens approaches that weight. Even a Canon EOS-10s Mark III with a hulking 400mm fl2,8 IS lens doesn't hit 15 pounds. Sure, video shootErf'S can use this Promelheus-caliber support, but p/loto­retailer AdO(ama, Which uses Flashpoint as its nouse brand, is promoting this 'pod 10 photographers like you and me. It's clearly a statement Ihal Adorama wants to be taken seriously in the tripod category. Not mere low-cost gear, but good gear thai runs right up to the 26-pound-supporting pro Ie~el.

And the F-1428 makes the case fO( itself pretty well. With four leg sections and 3 center column. it rises 10 6 fOOl. yel closes down to 24 inches. At 5.56 pounds, its relatiVe light weight comes trom the carbon-fiber construction of the legs. A three-section aluminum model with similar capacity would be a pound or two heavier and se~eral inches longer. Carbon fiber is also strong and not frostbite bait in the cold, as aluminum is,

Ot course. there isn't just carbon fiber on this 'pod. The leg joints and collar are cast aluminl,lm with a Gitzo-Inspired gray crinkle finish. Bolts and the hook extending from the center column (hang ballast here)

"

are stainless steel. The half-twis! leg locks are rubber-co~ered aluminum.

In our field tests. everything worked smoothly and inturti~eIy for both high and low camera positions-the legs splay out and the center tube reverses fO( get­down macro wor1!..

In addition to tripods, Adomma has an impressive array of Flashpoint ballheads. gimbal heads, and quick­release plates to handle virtually any camera and application. While the best ballheads can cost $6OO-ptus, the Adorama line of magnesium-alloy models is under $100. These AtaJ­Swiss-inspired heads are well made

and reasonably smooth, but if you've been spoiled by the creamy actioo of a high-priced head, the

savings probably won't compensate.

At $330, the F-1428 sells fO( less than half of what the platinum-caliber Giuo GT2542l

does, and tt's pnced more like a good aluminum model.

So what are the compromises? This Flashpoint lacks some of the smoothness of a top-end

unit. and has a little extra weight here and there (for instance, the center column is aluminum. not

carbon fiber; and the leg locks are quite large). Those fourth leg sections are thinner than you might have in a Ihree­

section tripod (which means less rigidity), and an annoying aJlen­key bolt is used on the quick-release p~te (give us the old slot that takes a Japanese l00-yen coin or American nickeQ,

Ov8f'al1. howeve(? This Is not just a good tripod for the money, but ,good tripod. 0

POP PHOTO AUGUST 2009

WHICH ONE

Which Video Site Should I Use I

I'm planning to buy a Pentax K-7, and want to shoot a lot of HD video with it. Which site is the best for uploading and sharing my videos?

The most obvious choice is YouTube-wittl millions of members, it's the largest and most widely used video-sharing sile. But its popularity could also be its weakness. Anyone may post videos of anytning from their cats to clips from TV shows, and the comments and ratings can quickly turn your video postings into an open forum for insults. Still, if your goal is to achieve overnight fame or get yoor videos viewed by the largest possible audience, YouTube is your best bet.

If, however. you are lTK)(e concerned with the community, privacy, and video storage, consider Vimeo Iwww.vimeo.com). It limns playback to 25,000 instances, but this should be enough to share your woe1\. with a moderate-sized audience.

Vimeo's and YouTube's high­definitiOJ1 video postirlg have similar resolution and compression rates. But YouTuba doesn't archive, while Vimeo offers an archiving service with its P1us account ($60 per year). This means that you can use the site as backup storage, since your Original file is stili stored even after your video is compressed for streaming.

The Plus account leis you upload up to 5GB of HD or standard­definition video a week (up to 1 G8 per video}-the free account allows only one HD clip per week. You also have the option of password-protecting your postings and otherwise limiting who views your content.

Perhaps the most appealing aspect of Vlmeo is its community of 1.5 million registered users. With the popularity­contest feeling removed, you get a network of pro filmmakers arld aspiring amateurs who foster a 101 of warm and fuzzy encouragement. If you're learning the ins and outs of video with

pop PHOTO AUGUST 2009

a D$LR, you'll find plenty of groups to answer your questions.

Vimeo has most of the usual features that you expect with a video-sharing site, such as the ability

to embed videos in blogs, websltes, and social networking sites. Plus, its learn ing tools and mature interaction might be enough to steer you away from the YouTube hive. 0

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LENS TEST

BIGL--oI' Sigma 18-250mm f/3.5-6.3 DC OS HSM AF At 13.8X. this dig~a1-only 29-400mm equivalent (on DSLRs with 1.6X lens factors) offers tho broadest zoom range of any Sigma lens. Joining Sigma's first digital-only superzoom of 2004, the 18-200mm, this $530 (street) lens adds

optical stabilization (OS). four elements of super-low-dispersion glass (SLD), an internal focusing design thai facilitates use of Iens­barrel accessories, alld an extra 5Omm. HANDS ON: Somewhat smaller (zoomed out) than Tamron's comparable 15X 1 6--27Omm VC optic, this attractive, matte-bled< lens is compact at lBmm, and notably light. The zoom action is very smooth for a lens thai nearty doubles in length as it racks out. The AF action (on the Canon EOS SOD) is rapid and sure, even in low light, and the HSM motor delivers near-silent auto/ocus. Manual focus is well damped, but inoperable in the AF mode. Well marked with easy­reading scales, the barrel also offers handy magnification ratios for its macro range. IN THE LAB: On the Pop Photo optfcal

bandl, the lens produced SOF numOOf"s in the Excellent range for the 18-. 35-, and l00mm focal lengths. As is common for superzooms, sharpness and contrast dipped at the lOngest focal length, here down two lev~s to Good. Performance is just a tad below Tamron's 18-27Omm at

" WWW.POPPHOTO.COM

By Julia Silber

the 11x14 magnification, our benchmark for sharpness and contrast.

DxO Analyzer Version 3.2 tasts uncovered Slight barrel distortion at 18mm (0.29%) and Slight pincushion distortion at 35mm (0.27%), 1 OOmm (O.20%), and 250mm (0.12%). The latter is very nearly in the Imperceptible

range, a stellar job. At l8mm, Sigma bests the Tamron's 0.79% barrel distortion tly a significant margin.

light falloff was gone by 1/5.6 at lemm, 1/6.3 at 100mm, and f/8 at 250mm, and the 35mm focal length

r

produced no discernable falloff. That's an average showing and not up to the Tamron, which produced no vignetting at three of four zoom settings.

At the constant close-focusing distance of approximatety 12.75 inches, maximum magnification ratios came in at 1:11.4 at lemm, 1 :7.1 at 35mm. 1 :3.35 at l00mm. and 1 :2.48 at 25Omm. That longest zoom setting showed significantly more magnifying power than Sigma's published spec of 1 :3.4.

lab tests 01 the optical stabilization system for three different users discovered between one and three stops 01 extra handholdable sharpnsss, C<Jmpared to

non-OS shooting. CONCLUSIONS: With its massive zoom range, optical stabilization, top notch AF, we!l·controiled distortion, and attractive macro performance, It!is handy lens has something for just about everyone. 0

SHARP SHOOTER: At 250mm (equiValent to 400mm on 0tI Canon EOS Rebel Hi), Stgma's 16-25Om'n detivef9d a shaJp mage at 1/40 sec and 1/6.2, thanks 10 its bui/t. ir1 opticm stabiization.

pop P HOTO AUGUST 2009

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PICTURE DOCTOR

FRAMEwithin the frame

If you're simply using branches to frame a landscape, or a doorway to frame a portrait, your compositions aren't realizing their full potential. More complex framing devices can add compositional power to your pictures. Here are three examples:

Create a foca l point. The mirror in this photo acts

to focus attention on the center 1 of interest-the reflection of the model's face. In this case, the frame

Problem Solver Project yourse lf: Projectors and projector screens are bulky, heavy, and often impractical if you want to show your images on the go. Several companies now make tiny ~handhcld" or "pica" projectors. These can project on any surface-they're great on a blank white wall, and in a pinch even a plain white T-shirt!

84 W'h'W.POPPHOTO.COM

~~----~--------~ .

is particularly effective because it outlines the mirror with a lighter tone, and our eyes tend to go to the lightest part of a photograph.

2 Establish context. Tl1is picture would stilt work without the legs of the Elffel Tower because the streaming

lines of the headlight trails would lsad the viewer's eye to ttle building (the Ecole Militaim). The legs, however, add a warm

glow to the visual impact, focus the eye

The Optoma PK-10l Pi;;o ($300, street; ~2P1QJll.a.u.tiL..'s:!m) weigh.~ just 4 ounce~ (including rechargeable battery), can fit in a shirt pocket, and can project images up to 60 inches across. While not able to hook into laptops, it can be connected into digital cameras and camcorders (via AN cable), iPods (with the included dock connector), and Nokia camera phones (with an optional cable). -LA. 0

pop PHOTO AUGUST 2009

toward the center of interest, and make it clear that the scene is in Paris.

3 Layer graphic elements. An image of just the building and flag in the bacKground of this photo would have been

stagnant, as would have been an image solely of the glass pyramid (the top of the louvre). By framing the background elements within the pyramid, the Image becomes a dynamic graphic design.

-Undsay Adler

T ROAM THEATER: The Optoma PK-l01 Pico projector measures

only 2x4)(0.6 inches.

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Subscribe to the PopPhoto.com Newsletter

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TIME EXPOSURE By Harold Martin

25YEARS AGO AUGUST 1984

'-.-...:.1

50YEARS AGO AUGUST 1959

'"

1. Color fann: This graphic abstraction

of a woman in a swimsuit waa made by Japanese photographer HideIQ M.ijil as part of a series 01 images for a calendar. He used a 35mm SLR and a 180mm len9.

The a~re.lit by electronIC fia3h units, was 1/100 sec between '" 1 andf/16 on Kodachrome 64 film. The printing process

rendefed Ihtl image more abstract-an unaltered version ran in our 1985 Photography Armual.

2. Wehn_ Berlin: This striking porIrait 01 actress LOlle Lenya (who was also the wife of Kurt WcilO was taken in Benin by naIad German photographer Lolle Jacobi in 1930, a time when pre-Nazi Germany was seething with e~iling innovatIOns, particularly in the performing arts. This photo was shown in an e:.hibition of

1. Taking the plUnge: The graccM dr..o of Kumlko Watanllb~ was captured by pro photographer Yoshikatsu Saeki al an indoor pool in Tokyo. He used a Topcon-R 35mm SLR with a 58mm f/l.8 Auto-lopcor lens. The

exposure, on Kodak Ektachrome film, was

1/250 sec at flS. He supplemented the available lighting with a .5 flashbulb.

2. Hauelblad wann8be: This new Zenza Bronica :W. SLR was Ifltended to compete with Hasselblad as a top-level m&diurn-fOl'Tl'lat SLR It offered several

desirable features, including an Instant· ret\.Jm milTor and 8J::celtent Nikkof lenses, but it lacked the rugged dependability of ita rival. The 8ronlC& came in at the same prICe as the Has.selblad 500C, $469.50, WIth 75mm 1f2.a Nildlor lens.

WWW.POPF>HOTO.COM

Jacobi's work depicting many of the st8/1l

who had to leave Germany aftor 1933.

3. ManhMlan "ndmaril:: Maybe it lake6 an oot·of·town9!" to make sup6:lb

images of New YorlL In this case, the photographer was Robert Walker, a Canad~n who mO'Jod to the city in 1978. He spent years shOOling streel

scellOS, ,ncluding thiS look at Suerkan's, a

restaurant ncOlr City Hall dallng back to the

Gay Ninellea and now gone fore't'er.

4. NIght over SelitUe: Bryan F. Peterson advised that the oosllight comes at tne end of the day, and this photo of

Sea11le proves nl8 point He used a 35mm

SLR and slow (ISO 64) color film. His

secret was very long exposures, up to

several minutes 10 some cases, with the

camera mounted on a tripod. of coun;;e.

Pete Turner, ahootlng color almoB1 exclusively. made this unusual picture

using the double-exposure capability of his

Rotleif\el. Each e~posurll wW!l 1/50 sec at

1116 on Kodak Ektachrome daylighHype

film. One eIpo6Ure was sharp, the second

was deliberately out·of·focus.

4. End of .... MIte: Th,s beautifully

finished ZeIss Super lkon!a IV was the IaI!t 2',4 folder in a line tnat startoo in 1935 with

tho first Super tkonta B. Boasting a Zeiss Tessar fl3.5 ler18, ClmpLX·Rapid shutter

to 1/500 sec and built·in photoelectric

elPOsure meter, the camec-a was bargain­priced at $79. Today, as a collectible, it's

wOfln about three limes its oo9.nal price. 0

pop PHOTO AUGUST 2009

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Page 2

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Page 4

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CHEAT.HEET

HOT-SHOE FLAS

1 TTL metering I. overrated. DSLRs, with their exposure histograms and instant-feedback LCD screens, have diminished the importance of TTL (through­

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2 Batteries are a btg deal. The type you select has a major impact on pertormance. Lithium AA cells offer light weight and huge capacity, but slow recycling.

NiCds give you super-fast recycling, but far fewer pops per charge than NiMH celts, which have virtually replaced NiCds in the rechargeable category. A1ka1ines am cheap aOO available everywhere, but provide so-so capacity and recycle times.

"

3 Manually setting zoom­head focal length give. you special effects and other cool

benefits. Auto2oom heads are great for assuring adequate flash coverage for your subject. regardless of the focal length of the lens you're using. But have you ever noticed that you can also set you ftash's zoom head manually? By dialing in a 200m sening that's longer than the focal length of your lens, you can create automaticaJly vigrlElned comers for your images---something portrait photographers usually have to add in postproduction. Conversely. if you set a wider focal length on the fLash head than you're shooting with, you help assure your picture is evenly lit edga­to-edge, with no fal lOff In the COJ'J'lef&--­

perfect for group portraits.

4 Hot-shoe flashes aren't confined to hot-shoes.. Many can be used ofI-camera and triggered by radio or infrared systems. (Caoon's

and Nikon's are highly advanced.) These

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5 Shoe-mount il .. sh •• make experimenting easy.. Don't be afraid to set your camera's manual­exposure mode-it's not

hard to use and wil l let you customize exposure precisely. USing a shoe-mount flash in dim lighting lets you confldentty experiment with your camera's manuaJ­exposure mode, because TfL-controliad flash will automaticalty produce the correct light output fOl" (almost) any shutter speed and aperture combjnation you set. This lets you play with depth of field, as welt as relative toreground and background e)(p05ures-all the

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WAYS TO

Take a Long Exposure

BY KATHLEEN DAVIS

Turn ordinary scenes into rnagicallandscapes, Whether capturing silky waterfalls or the motion of the stars, you must use a tripod and remote shutter release-and avoid windy conditions, Here are three ways to get longer exposures by day or night.

1 Tum down ISO. Higher ISOs mean more noise, and you don't need the greater sensmvlty since you'll be

leaving the shutter open for a long time. Turn on your camera's noise­reduction setting (it it has one). Long-exposure night shots may still give you a lot of noise even with a low ISO, so you may still need noise­reduction software on the final image.

2 Select a small aperture. If you want to capture light trails (such as car taillights), try senJng your f-stop as high

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3 Use neutral-density fitters. A must-have tool for daytime long exposures, an NO filter cuts the light coming through

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SHADOW OF A DOUBT WIth light comes shadow, and there are several ways to avoi~r include­it in your photos. Here are a few: • Shooting a landscape late in the day? With your back to the sun, chanceli atc your shadow will end up in the frame. If you c..an't come back at another time of day, try moving and .shooting at a different angle. • "Vhen an ohject casts an unwanted shadow, wait for a cloud to cover the sun. Or zoom in over the shadow-best " .. hen there's a lot of foreground area. • Try mixing shadows and sun. Some scenes benefit from dappled sunlight. (This might confuse your lightmeter, :;0 be sure to bracket your shuts.) • Make a shadow your suhject. It "forks well when you get an interellting shape on an uncluttered background. Look on a dear day just after dawn and before dus.k, when shadows arc long. ADAPTED Fft()J,I 101 ou.cx MID E.4SY SECRETS TO Cll£ArE IIf'WNIItG IWOroGRAPHS BT MATIl£W ~ ICOI.RSE TEO*O.OQY. 2COi, $301

MASTER STORYTELLER Photojournalism-style wedding shots have become increasingly popular. Although most wedding photographers u.'!e flash, it can intrude on candids. Here are a few tips for getting beauliful photos with available light; • Arri .... e early to get scene-setting images and learn your way around. You'll also he able to shoot the wedding party as they arrive with the dress. Set your white balance to Outdoor and use a low ISO for these shots, then switch when you move inside. • If the wedding is in a church with a backlit altar, overexpose so that the couple doesn't end up in silhouette . If the church allows, shoot from the sides of the altar for individual shots with better lighting, as well as photos of the family sitting in the front row. 0 AOI\P1U) ~ 8CTTfR ~,,1\Jt.A8U UGHTOiGITAL PHOTOO_rBY JOE FARACE -'NO BAR!n' STAVER (J'O('.AL PRESS. 2O()Ij; S30)

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QUESTIONS ANSWERED Flipping the bird I"m putting together a montage of bird pictures, and the final product would be much better if J could reverse one of them, left to right . Why isn't image reversal a simple in-camera fIX, and why can't t find it in my editing software?

G~orge Mu"ro Brighton , CO

Camera malers probably don't put it in the camer.a because it s so easy to do in sonware-, In Adobe Photoshop and Photashop

Elements 7, for ex;unple, it's the FHp HorizontaJ option in the Rotate menu. In Coogle's free Piasa progr:un, it's even easier with the ~ybo.ard shortcut of CUi + Shift + H . You don 't .actually have to open the image, just select its thumbnail in the Piasa. library.

Lens lag I'm thinking of getting Canon's 70-200mm fi4L IS zoom for my Canon EOS 5D. I've read, though, that it focuses less rapidly

'" WWW.F.OPPI-+OTO.COM POP PHOTO AUGUST 2009

in low light than the 70-200mm £/2.8 does. If this is true. would increasing the ISO result in faster autofocus? Allron Shepard

Albany, lvY

Sorry, no. AutorocuJ speed decrea~s with light levels as a function or the cameras AF system and the lens apertun!, not ISO. The m.8 Canon lens may (ocus more briskly because the 5D (.II.Ild other E05 DSLIU) hAs an additional central AF sensor that kid::s in with £/2.8 and faster lettM!s. lVith twice the area $<impled, the central AF t.lrget can lock more quickly onto a subject. especially one with vertical lines as this super sensor is deployed horizontally. That said, there are techniques for accelerating AF, such as shooting in the AI Servo AF mode, which will trigger the shutter without waiting for focus confirmation,

Stop loss I recently bought a Nikon 60mm fI'l .8G ED lens, and on my first use. I noticed that the f-stops increase from (/'2 ,8 to £/4.8 whiJe I was going from infmity to 1: 1. I looked in the manual and they call it an exposure factor, Does this exp»ure £actor apply for aU macro lenses? John Dill

Alkt!, rx

Yes, all true macros. As you rack out a dose-up Jells to 1: 1, its elements move significantly further from the imaging plane, and light transmission diminishes duc to what~ usually called the bellows factor. The effective aperture grows dimmer, hence your U4.B readout. Many camera systems, however, don't inform you of the effective aperture, but display the .. ctual apenure, in your case, 112.B. Whyi' Because although light transmiuian dims at 1;1, you stiJJ get the depth of field and other imAging duuacteristics (i.e. curv.ature of field, vignetting, chromatic distortion, etc.) associated with £/2.8, not fl4.B.

Hyper activity I understand the conccpt uf hyperfocal focusing and would

like to use it in my landscape photography. bllt it's difficult v.':itb my lenses because they're either missing or have very- narrow depth-of-field scales and distance markings. Are there any short focal length lenses for my Canon EOS 50 Mark] [ that have adequate DOF and distance markings?

Joe Zumar Vi" (-mail

W1de-angle lenses, with their typically sbort-tuming focusing collars and ample depths of field, rarely have or need depth-o[.fie/d scales. (On~ you're to fJS.6, practically the entire focusing range is sharp, or nearly so.) It's only with tele foc.al1engths lind their long-turning focusing rings that depth-of-field scales and hyperfocal dil,tanccs come into play for placing zones of sharp focus.

Tele tally I haye two Nikon lenses (a 70-300mm f/4 .5-S.6 VR and 1B-200mm f/3 .5-5.6 VR) but would like something: longer for an upcoming trip to Alaska. Can I get by with Nikon's TC-20E II or TC-17E teieconverter, or should [ spend more and get the 8O-400mm or 200-400mm VR Nikkor? I shoot with Nikon's 0200 and 070,

L)'"lI Smich Via (-mail

A telec:onverler's dimmer light transmission can stymie autofocus (e)pecially at the longer focal lengths), and Nikon doesn't recommend converters (or either of your VR lenses. Inc B0-400mm fJ4,5-S.6 that you're considering ($1,550, street) was Nikan's first VR lens, and put up only avcr"ge numbers in our test in the Pop Photo ub (May 1001). Also, its VR will not work with your DZOO body. So, if you can afford it, the 200-400mm fJ4 ($5,900, street) is the bedL:r choice, although it's hard to rmd (usu.Jly backordered), heJlVY (7.2 pounds), and it, too, won 't provide VR on your D200.

Our advice ? Rent the 200-400mm {J4 and the TC-I4E 11 teleconverter, which will get you out to 56Omm, with (u11 AF and VR-on the D70. 0

Got a lluestlon? E-mail us at PooEdllorOhtmllS,OOID. Also visH tile Tech SUppor1 fonlm at~,

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"An artist is conscious of something besides the mere physical, in every object in nature, He feels its expression, he sympathizes with its character, he is impressed with its language; his heart, mind, and soul are stilTed in its contemplation. It is the life, the feeling, the mind , the soul of the subject itself." ALBERT SANDS SOUTHWORTHO

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there's a really amazing IKHiIrgy. The girl was fantastic, juslluminescent on film. This was pl.lre daylight-n;'s 66 degrees north, so at the efld of summer the SLK1lust hits the water and bounces around. I shot thiS with an 8x10 camera that a friend custom­built for me out of parts from different view cameras. It's a lightweight version that I could piJt in my backpack with some film holders. A VIew camera forces you to compose: I had 10 film hOkiers, and for this one I shot eight shoetsof Kodak 16ONC." 0

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