I

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SIGMA

Lua w edtsJn" 80m In Mtami in 1967 and 'lIO'oc! 10 New York <."ity in 1990. Her passion for
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w ORLD ~. 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

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CONTENTS AUGUST 2009 VOLUME 73, NO.8
:3 148
a::
~
Farther Figure Photographer
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
126
oI- Nature Make art out of dirt
a long telephoto and an
with
:;i: ~. fo' the .bst,act. By Bob HWs
~ 32 Lighting Take a shine
to jewelry with glittering
inspiration-and a surprising tool-
from the d isco. 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
Lens Test: Sony DT t a-
73 ~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
Web
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
Exclusives
ONLY ON
WWW.POPPHOTO,CQM
100 Three Ways Transform
ordinary scenes into magical
landscapes by making a very long
NEWS, REVIEWS.
exposure. By Kathleen Davis
MORE HOW-TOS
Just·launched products,
straight talk, helpful
38a Software Problem-Solver
Fake your way te selective focus
with simple and elegant plug-in from
advice, c reative ideas.
Everyth ing you need fo r
beller photography is
OnOne Software. By Debbie Grossman
right here.
62 Compact Cameras Two
point-and-shOoters thaI Ie! you
get high-dynamic-range images straight
CAMERAS THAT
MATTERED MOST
Irom the camera. By Dan Richards The history of
photography is as
84 Picture Doctor For criminally
good photos. pull off a frame
much about technology
as it is about art. Our
job and pocket a projector. timeline tells the story
112 Backstory A portrait by
Heimo Schmidt, inspired by
of the medium.
E-NEWSlETTER
Icelandic mythology and American Gothic.
Get more Pop Photo
delivered weekly to
74 Hands On: Olympus E-P1
It's so cool and compact, you
won't beheve this gorgeous new camera
your inbox-absolutely
free. Just sign up at
PopPhoto.com.
has swappable lenses. By Dan Richards
PLUS
76 Hands On: Flashpolnt F-
1428 Carbon Fiber Tripod
These light legs are made to support a
8..................................... Letters
20 ...................... Your Best Shot
hefty 26 pounds of gear-more than the 40 .................................. The Ax
biggest dg we've got. By JoM Owens 77 ............................ Whlth One
90 ...................... Tima Exposure
98 .......................... Cheat Sheet
82 Lens Test: Sigma 18-
2S0mm f/3.5-6.3 DC OS
HSM AF Huge zoom range, image
104 ........................ By the Book
108 ...................... Tech Support
stabilization, low distortion. It's got 111 .. Speaking of Photography
something for everyone. By Julia Silber 78...........Classitled Advertising
 Editorial Director Mark Jannot
MenagngEditor Miriam Lou c hta,
Art Director J aMn B" klllte ad
Senior Editor Peter Kolonla
SenIor Editor Dan Ri c h a rds
Senior Editor D ebbie Oro•• man
T9Cnnical Editor Philip Rya"
Technology _ Jllil a Silber
Ass[stant Editor Lori Fredric ks on
ASSIstant Ecfrtor Kathl_n Dav is
Art./Prodocbon Assistant Unaee Kara. lk
Contributing EeI l...... Tim FItZharris, AlJ6Se/I Hart, Peter Kr8l1SE1, NaaI MatthHws,
Arthur Morris, Tony Nagatomo. Bryan F Peterson
In MornofUn H e rbert K e ppler
www.P opPhoto.c:om Ed~or Sta n Horac • • k

Vice President/Publisher Jeffrey Roberts

Ass<:doto PubliSher Anthon,. M. Ruoto lO
BUl:iinl;)SS Ot!veIopment ~ Phil Mistry
Senior Aocount Exaa..itMl Sara Sc hiano Plynn
West Coast M Oi"ector Bob M eth
Accoo.xIt Executive Tara We.dr.Jd
CIassffiad Ad Sales Chip Parham
Group SIlh"Sl.1J!ector Ire ne Rey •• Col••
Dreclor ot Events & MarketIng Micheli. C • • t
Mari!.eting Manager Rachel Weitma n
Senior Promotions Designar I!rin Frie dmann
Senior PromotIOnS DesIgner Llnds.y Kri st
Special Events PrOO)C€f Erica .Johnson
Spec~1 Events Cooo:!lnator Yaness. Vazqu ez
Digital Days Coordinator Athos Kyrla k l d es
Asslstelf1\ to the Publisher Kar e n Ralph
Sales Assistant Lauren Brewer
ProdtiCtiOll Mat"Ia9~ Ylckl Fe lnme l
VP; Corp. Sales and Mar'K.eting P. t ., Michals ky

Popular Science Media Group

Group Publisher Gregg R. Hano
....... rtl.ln 9 S"I •• Offic:"
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Chairman Jonas Bonnier
e tHel Executive OffICe( Terry Snow
ChIef Opermlng Of!1C6f Dan Altman
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VICe President. Cons'Jmef Marketng Bruce Miller
VIce President Proo:Jctioo Ll 8lII I!a rlywlne
VIce President. E·Media Bill Allm an
Vice President. Enterprise Systems Shawn Larson
Vice Presdent. Human Resources Cathy Hertz
VP. Corplr81C Corooll.Jnicat,ons Dean Turc ol
Brand Director John Miller
PubI~hing Consuhanl Millrtin S. Walk. r
Corporate Counsel Jare my 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
, WW'N.POPPHOTO.COM
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 full-
fledged 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
($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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METALLIC PRINTS GALLERY WRAPS

'" have n-e.e c..1 over "The depth. texture and
my o'~ce. The c~ perfect caners: of Galefy
scream. especioty t11e 'Nrops are Si~ beautiful
Ijuesand yelows. " on anywal."
EDITORIAL
L-----~----------:~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
~ PHO TO 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 AF-
S Nikkors. These are the latest shake-
beating "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 EXERCISE

Clunky camcorders can wreak havoc on your wrists, so it's a gcxxi thing Samsung's new YOUR RIGHT
SMX-Cl0 and SMX-Cl 4 are designed to be held more naturally and comfortably. The to bear cameras with
alien-eye looking "Active Angle Lens" design debuted on the HMX line--it includes an the RS DR·1 Double
angled LCD screen that dooSl1't obstruct your view of your subject. HOT: Hyper Digital Strap. The harness-
Image Stabilization, 10X optical loom, time-lapse recording. The C 14 model comes with style chest strap
16GB of internal memory. NOT: Unlike the HMX line, these don't shoot HD. puts a DSLR on each
hip for quick-draw
shooting. ($130, direct;
<III Urban Exploration W_W:'f:lcbJ<KM.ap~
$180. street _www.bogenjmagiog.com
Finding a Camera bag that you'd want to carry even when you MAKE SIMPLE
aren't toting your gear is like having your cake and eating it FIXES SUCH AS
too. So yOU'll feel pretty smart carrying one of the bags in the resizing and color and
Nmion81 Geographic Walkabout collection. The NG W5070 exposure corrections,
backpack comes in black canvas with leather closures, restore old photos,
and it has enough room for a day's worth of gear, as well as or transform your
loIs of personal items. HOT: Coated with a waler·resistant images completely
layer, space for a lripod and 15-inch laptop (with a zippered with layering,
removable sleeve). The lower padded compartment can fit a masking, and creative
D5LR and three or four accessories; it can also be removed effects-all for less
to convert 10 a regular daypack, NOT: Though it's great than 100 bucks. Serif's
for the city, you'll wBnt something more PhotoPlus X3 offers
durable for nature treks. a lot of options at a
reasonab le price.
($96, direct; www.serif.
Rattle and Roll ~ $30, "ceet C~JnLJlllJlliu:ilim)
• Qaryfongjnc com You probably don'1lug a tripod when
heading out with your point-and-shoot, but you'll often CLEAN UP WITH
need one--which makes the smartly designed Gary Fong YOUR PHOTOS
Flip Cage (part rugged camera-protecting roll-cogo, and when you get them
part sturdy tabletop support) an ideal accessory. It fits printed on a shower
most compact cameras and comes in 10 colors. HOl: curtain, perfect for
Folded, the metal frame protects your camera if you photographers who
drop tt, while still letting you take pictures. Flip the never want to be
legs down and you can pivot it to shoot at different away from their
angles, Including verticals and macros, NOT: While images. ($150-$200,
you still get away with carrying less, it might make direct; www.pbQto
your pocket camera not so pocket-sized. showercurtain,coml 0

WWW.POPPHOTO.COM 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 storage-
not 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 1024x576}-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
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.
PHOTOS BY ALEX S. MActEAN; INTERVIEW BY DEBB IE GROSSMAN
"
FUN IN THE
SUNJ_SHOT
FROM UP
ABOVE
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

.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
pop PttOTO AUGUST ~ WINW.POPPHOTO.COM
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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Presented by !he experl$ at PopUSOt PhoIogFaphy.
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YOUR BEST SHOT By Kathleen Davis

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 early-
morning 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
WWW.POPPHOTO.COM
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 correctly-
after 60 attempts, they
finally got this result, which
pleased them both.
TECH INFO: Nikon
D3 with 24-70mm fl2.8
Nikkor lens with four remote-
triggered 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 neutral-
denSIty litter. Exposure. 8 sec at
1122, ISO 100. Converted from RAW,
with minor adjustment to white
balance. exposure, Bnd sharpness
in Adobe Photoshop GS4.
"
You.ll find the Produd Services
Directory in this issue on pages
78 - 8 1
For odvellising information about
the Product Services Directory, ca l
CHIP PARHAM at (212) 161-5111
or smai! him: cparham@hfmus,com

• SCHOOLS & WORKSHOPS •

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Palm Beach Photographic Center
CT Media/Photography Institute

• PHOTO SUPPUES •
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Frederick's Photo lob

... 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
should n't be doing,~ Wise says. He traveled with a (riend to help him
paint the tunnel with a flash light fo r 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

WWW.POPPHOTO.COM POP PHOTO AUGUST 2009

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 Photography
2009/ 16th Annual • Readers'

PHOTO CONTEST
About
Th e 16'" A nnual Popular Pho tography
Photo Contest g ives p hot ographers
th e opportunity to win prizes and have
their work recognized In the January
2010 Issue of Popular Photography, the
largest photo magazine in the world, as
well as on our website, PopPhoto.com.

Categories

• ACTION/SPORTS • ARCHITECTURE
• CAND ID/HUMOR • PEOPLE
• NATUR E • TRAVEL/PLACES
 Submissions
The competition IS open to work produced from
September 2008 - September 2009. All submitted
artwork should be of reproduction quality.

ENTRY FEE: $10

DEADLINE: September 12. 2009

For a complete set of contest ru les. prizes or to enter.

please v isit www.popphotocontest.com
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 Lwas 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).

The hardest part of lighting his

so Gong mounted nvo of the 1.)45
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.
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
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, spot-
on color temperature, and exposure
consistency," he says.
As. is common with pros, most
of the equipment Gong used was
in 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 anglcs-
sometimes 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."
'NWW.POPPHOTO.COM
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 and, in some specific areas, THERE WAS A DUST
how to usc Adobe Photoshop too little contrast.
Elements to improve an
image by cropping, fixing
fI spot on this sensor, and
unfortunately it landed
right on top of the litde girl's lip.
FIXING THIS IMAGE To get rid of thi.s blip, zoom in.
contrast, and improving
color. Once you've taken
1 requires working with layers. Type the J key to get the Spot
The fin'! is always called Healing Brush. Tap the left bracket
those first steps, it's time to the Background Layer. Duplicate it key ([) on your keyboard to shrink
try some more sophisticated so you can always go back to where your brush circle, and the right
you began. Go to Layer> Duplicate bracket key (]) if YOLI need to make it
tools. This time, we'll fix an Layer, and click OK. If your image bigger. \¥hen your brush is the right
image that has sensor-dust is 16--bit, convert it down to 8-bit to size, dick on the spot you want to
spots, washed-out highlights, work with Layers in Elements. remove and watch it disappear.

WWW.POPPHOTO.COM P OP PHOTO AUGUST 2009

• .."I.R By Debbie Grossman

--.--

POP PHOTO AuGUST 2009 WWW. PO~OTO. COM

DIGITAL TOOLBOX

NOW TYPE CTRL + 0 to sec your ",lIole

3 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.

SHADOW/HIGHLIGHT DEFAULTS to.

4 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.

MORE BRIGHTNESS .nJ

5 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.

THE WHITE RECTANGLE in your Adjustment

7 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

WWN.POPPHOTO.COM pop PHOTO AUGUST 2009

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-THE PROBLEM
Everything's too sharp
Shallow d epth 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 plug-
in. 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
i
~
~
sharpness in your original. )
POP PH O TO AUGUST 2009
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 .Before AfterT
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. highlights the same. We cropped f/2.8L II Canon EF lens. Shutter
Nor did the composition need quite evel)"",iu:re except the bottom. held open for the duration of taxi
that muc.h of the g.lrage doors. descent (87 sec) at fl12, ISO 100.
Next time: There's more in the Camer.:a fired hy PockefWiurd
What now: There was plenty of picture than the streaking light, !i0 remote trigger to avoid camera
shadow information, even in the dig out the buried treasure. shake. Various adjustments made in
JPEG, so we pulled up detail there Adobe Lightroom and Photos hop
using Curves in Adobe Photoshop Tech info: Tripud-stcadir...-d Canon CS2. Check out Mat's website at
CS4, but did our best to keep the EOS-ID Mark III with 16-35mm www.mathaywardphoto.com.

WWW.POPPHOTO.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 ljhis is ~OU r.
empty road has an ominous
quality-we think that it looks
like a poster (or iii creepy movie. ttcd'itri III tI
As with OUf other pick. though,
there is considerable wasted space,
software
particularly at the right of the
frame. where nothing is happening.
This is DFX.
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 2000 high
top to maintain about the same performance
aspect ratio, rather than creating a
squarish shape. We were careful not
filters and
to crop out any of the bottom. as we special effects.
think the ilIwninated tar strips add
to the visual interest. We darkened
the sky a bit to add to the unsettling Download a free
atmosphere. Finally. we used the
Len.~ Correction filter in photos hop
15 day trial
,
Sfandalone Editing Suite
CS4 to straighten out the telephone (Macintosh- and Wlndows- )
@TiffenDfx.com
poles. which al~ corrected the
and Plug-In Filters for:
shape o( the buildings.

Next time: Beware dark space "

that adds no interest to the photo.

Tech info: Tripod-steadied 'Apple Aperture™

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 .
POP PHOTO AUOUST 2009
,
'-800-645-2522 '
'Apple Final Cut Pro.
'Adobe After Effects.
'Avld" Editing Systems
0 The Difference;s "FEN
o 200' Tht Tlfftn (omFI"~. All rl.hb rutrvcd.
All rrglstr'N tr, dtml,kllrr owntd by their respullu (olllPlnlu
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:
Listen. People like to talk about
1 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.
Plan, but not too much.
2
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 off-
camera-and that was the shot.~
Focu s manually. Ellis'
3
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.·
Push through. At the
4 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 ftickr'"
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

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),
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 nca r his home. It
was fluorescently-Iit with low ceilings
that didn't allow h igh kicks or a
backdrop, Not good!

4
Bring t he ri ght lights.
To freeze an object in midair
you need instantaneously
AERO firing strobes, with little
or no amhient background light,
SPEEDPACK Powerful shoe-mount flashes , such
as Canon ',). 5BOEX II Speedlites,

BS will work because they offer short

fIa.~h durations and, with the right
acce~.\oorics, wjrclc~s triggering,
Longer flas h durat ions (i,e" 1/800 sec
or longer) can reco rd 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 7A 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
Wat ch yo ur timing , It's
everything, so practice with
Duo/Access a stand-in to get it down. In
this shoot , I took 24 frames,
Photo Backpacks producing four or fi,,~ keepers, wi.th this
Tamrac'!o eJ((ltlng new Aero Speed Packs O~ clearly the hest-not a had ratio.
provide the ( omfort of a bdcl::pack
withOtJI saa r/icing quid<.access to Finesse it in
CC1~ta (}Nt l TanuiI{\ innovatIVe
Dual AcCl'5S System' " allows fast
~ to a camera with lens; at~hed
throug t tt-.e side door when the
pacXs <JI'e ¥.-Urn CM'f ooe shoulder.
EQuipment can also be ac:as'\ed
6 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
Ltvough the front par>el wIle-)
the packs are remcwed the background, but enhanced subject
modeling, too. A win-win situation. 0
"'" "" ,,"Og.,,11101'·"" 1-800-662-0717 For more of Art Br(Wt'T'5 sporn photography,
~ee th~ VIDEO of the N~W ~ visit WI"",' artbrewt't rom.
Al'ruSpeedPd(h'''at wtan1rac:'" 46 pop PHOTO AUGUST 2009
www.tamrac.com PHOTO. LUGGAGE lit COMPUTER CASES
 Text by
John Owens;
photos by
Paul Kline

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.
~Acco rding 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,

pop PHOTO AUGUST 2009 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 orphanage s , ~ 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 M ozam ~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 acquisition 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. M if people knew
I had $7,000 worth of gear in my
n
backpack, I'd be robbed.
"

SUNDAY, JULY 18, 2060.
TOG
Old-Timers' Day, Yankee Stadium.
You're here with you r 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
m icrolen~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 you r
GETTING PERSONAL: Ramesh
Ru kar, associate professor at
the MIT Media lab and co-
director of the Center for Future
Storytelling, predicts that you'll
be a~ to modify a photo's
dis~ay according to your mood.
pop PHOTO AUGUST 2009
IMAGING TOMORROW
WILL LOOK NOTHING
LIKE IT DOES TODAY
BY NEAL MATTHEWS
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 PS-
enabled 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
WNW POPPHOTO COI.4
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 light-
gathering 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:-'
53
F RE
OTOGRAPHY
people holding cameras, il .,.,:ill
gradually hecome more accurate to
say pictures were computed rather
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-
o
RISE OF THE ORGANIC CAMERA
The trend toward using
one iPhone-like device for
multiple wireless task. has
N
almost peaked as the use of
cameras declines, even though
compacts are now the size of
pocket change. (Pro cameras
o
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
N
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
54
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
white images?" says Nils Lassiter,
an application engineer with
Photron, a maker of ultra-high-
speed 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
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
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
WWWPOPf'HOTOCOM
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:
~
~
~
0
~
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.
POP PHOTO AUGUST 2009
o
IN THE EYE OF THE BEHOLDER
The frag mentation
of wireless capabilities
begins to take the camera
M
and the phone out of
people's hands, attaching
or implanting the rice-grain-
sized machines to their
o
eyes and earlobes.
Competing for market
share arc: light, wraparound
sunglasses with 4D light-
capture capabilities. lbis
C\I
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~ function-
can be done -with a verbal command,
such as MClick. ~
o
It)
IMAGES WITH A WAVE OF A WAND
The camera as a device
you carry has completely
disappeared. Image sensors have
become part of the literal fabric
o of everyday life, woven into
gloves and photo cloth, which
produce 3D images after you rub
them over an object such as a
C\I human face,
We now have
"camera wallpaper"
I and live Coogle
Earth, which records
o continuously and
allows the viewer to
remotely select and
experience virtually
~
any publk scene in
the world, Displays
o have become tiny
laser projectors
beaming images
directly onto
C\I
your retina.
Matt Hirsch, a
graduate student
pop PHOTO AUGUST 2009
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 filling whole rooms in which the
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
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
WWWPOPPl-tOTO COM
have now merged. requiring
something more than flat screen
displays. FogScreen, an early-21st-
centUJ)' 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
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
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.
e February 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
THE NEXT BIG THINGS-
E THAT 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.
WWW.POPPHOTO.COM
. 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
 Now in 4 sizes:

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"W...
www.joby.com/pop
Gorillapod
FOCUS
supports up to 11.1 lbs
Now available I
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, and-
most 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 even get home. And if you leave
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
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 server-
like 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 LS-
XHlls 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.
WWWPQPPHOTOCOM
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 hot-
shoe, 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-tech-
photographer 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,
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.
PO"f!RO'1'CI ALlGUST2009
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 easiest-
to-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 with the images isn't going to be a
experiment? We are just about pain? By the time I returned home
past the headache phase. On their from my shoot, all my pictures
own. ea!;h of the items I tried will were already shared, stored, and
smooth out some of the kinks in backed up. It turns out that, by
your workflow, but it was putting removing a good chunk of the
them all together that began to process that didn't involve taking
!;hange the way I photograph. pictures, I removed an unconscious
Augmenting my kit with gear block I didn't know I had.
that streamlined all the stuff Nothing improves a photographer
besides photography-uploading. like practice. So maybe in the future
labeling, sharing-had me picking we'll all be better photographers,
up my camera more frequently. simply because we'll have so much
And why not shoot more if dealing more time to shoot. 0
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.
ceo
The Fuji exploit.~ it.'1 Super
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 blocked-
up 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
 THKESSEN
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KFM-110a

Accuracy and simplicity with powerful light reading capability

The minimal, dearly marked buttons will make using the meter second
nature in very little time. Tho side of t he meter only has 3 buttons. the largest
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,
easy-to-use ergonomic design fee ls comfortable in your hand and its logical
control layout and t'asy to-read la rge LCD will please photographers who
wa nt to concentrate on the subject, not their equipment.

KENKD TELEPLUS EXTENSION TUBES

Extension tubes enable a lel1s to focus closer than its normal

set minimum fOCUSing dstance Getting closer has the effect of
magnifying your subject (making it appear larger in t he viewfinder
ard in your pictures). They arc exceptionally useful for macro
photography, enabhng yov to convert allT1O$t any lens into a macro
lens at a fraction of the cost while maintaining ori9in<ll optical quality.
Kenko Teleplus extension tubes have cirCUitry that pass all exposure
and focus information between the lens and camera body.

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TEST CANON EOS REBEL T1i By Philip Ryan

REBE 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.

.. WWW.POPPHOTO.COM 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
resolu l 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

Study Photography at Home w ith NYI.

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turned to photography, movtKi to the Florida Keys and became a
member of NY!. From there it's been quite a ride. Aher working as
an underwater photographer, he took up storm chaSing. His video
clips run regularly on the Weather Channel. Jim takes both still
photographs and video under the most demanding conditions. At
NYI, we have multi·media home study courses in photography for
beginners, for emerging professionals, and for people who need to
Jeam Adobe Photomop. VISit www,nyip.com for all the details.

Free Course Catalog!

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Or aM ul kill."". 1.800.350.8320 (U.S." Canada)

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Business Sleills Series now included!
Six Lessons and four audio CDs devoted to
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TEST CANON EOS REBEL T1i
9-polnl AF system locked on OUf targ et
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. Th at's a half-stop
d immer than t he light level Canon says
the AF system c an 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 con trols are
designed to maKe the camera quick
and easy to o perate. We appreciated
finding the ISO b utt on just behind the
shutter, letting you change sensitivity
on the fly. To avoid confusion, Canon
put the exposure compensation button
on th e camera back, which also makes
it easier to use in combination with the
..
lone command w heel. ewe Wish th ere
were two command w heels to make
manual shooting more convenien t , b ut
you almost never find th at setup on an
entry- level DSLR.)
And, as o n the Ol ympu s E-620,
Canon let s the menu c ontro l b uttons
double as access to freq uentl y used
functions, such as white balanc e, AF,
drive mode, and Picture Styles (Canon
lingo for JPEG profiles).
More features
The Rebel T1i 's body cons truction
is as solid as you c an hope for in an
entry-level DSLR. You won 't find the
weathersealing that you'll get with a pro
body, but the g rip and an area on the
back for your t humb have a teJl.\ured
rubbery materia] that makes the camera
comfo rt able to hold .
The LCD pacKs 920,000 dots into
a gorgeous 3-inch screen,
for lots of edra d etail th at
comes in handy d uring
live "iew and video
shooting . If only it could
be flipped, tilted, and
WWW.POPPHOTO.COM
VITAL
STATISTICS
IMAGING: , 5.1 MP effective, APS-
C-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 flie s.
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 cros s-type). Single-shot,
continuous with tracking, and auto-
switching 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.
Q8QElEl
EI V El
o
YIEWFIND!R ACCURACY:
95% (EJc.cellentl. YIEWFIND!R
MAGNIFICAnON: O.87X (High).
pop P HOTO AUGUST 2009
 swiveled, like the smaller and lower-res you'lt be amazed at the results--even

CERTIFIED monitors on the Nikon and Olympus.

Then there's video. Tho Rebel Tl i
TEST RESULTS can record at a pixel resolutJon of up
to 1920xl080, the limit of lhe U.S. HD
IMAGE QUALITY (ISO 100_3200) standard, thoug h at thai resolution the
frame rate is a choppy 20 frames per
EXTREMELY HIGH
second. But ff you just tum down the
""'0 +4----II EXC ELLENT resolution to 1280x720, you get 30 Ips,
RESOLUTION which matches the frame rale of your
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

--
{ISO 1001
HDTV-and Isn't Ihat where you want down the mirror. focus ing, then
to watch it? At Ihat setting, we got flipping Ihe mirror up and opening the
EXC ELLENT video thai knocked our socks off, shutter-a clunky proceSS. Still, live
As with all of the first generation view can be usolul for landscape. sliU-
COLOR ACCURACY tAw. DELTA IE) of video-shooting DSLRs, you can't Hfe, and macro work.
autofocus continUOUsly during video
'" il3i#!Q:i',:u I capture. However, if you press the Bottom line
HIGH 4 ~ I!XCHlfNT asterisk button on the Cam9f8 back, The Image Quality the Rebel T1 i
the Rebel will locus once-press it offers with its 14· bit RAW capture,
NOISE AT ISO
again to foc us on something else. Dlgic 4 processing, and accurate
0.9 EXTREMELY LB 100 All that button-pushing is likely to 35'2one metering is astonishing
make for shaky video if you're not given Its price. Just a few years
1.1 EXTREMELVIE!ll 'OO careful. But If you plan your shots, use ago, you couldn 't hope to get talent
1.4 YERV LOW 400 a tripod (preferably on a flUid head), like this for under $1 .000 In all, an
and capture short snippets of video, amazing first-or step-up--OSLR. 0
1.7 LOW BOO

1.4 VERY LOW

i.S LOW
1600

3.00
0400
...
W
NIKON 05000
$810, street, with
18-5!mm f/3 _5-5.6
OLYMPUS E-620
$700, street, with 14-42mm
f/3.5-6_6 Zulko lens
2 .8 MODERATE
U)
..
DX VR lens In our tost s, the less expensive
<4 4.0 UNACCEPTABLE 12800 Though the Nikon 05000 Just Olympus E·620 couldn't keep
.. u u ...44---,.
... llJ bested the Rebel T1 lln color up with the Tt I. It kept noise to
UHACCEPTABL£ OTAIEMIELY LOW
> accuracy with its score of
6.73, Canon beat the Nikon in
Moderately low or better up to ISO
BOO. Resolution? It served up 2t 20
I-
HIGHLIGHT/SHADOW DETAIL
VEAYHIOH
-
I-
most of our other tests. The
Reb was faster to focus in
our AF test, an area in which
lines tor a Very High rating. [n color
accuracy, the E·620's average Delta
E of 7.9 barely snagged an Excellent
cow +4-------+. EXT. HI GH
llJ Nikon usually excels. (As rating. low-light AF Is where Ihe
(L with color, t he difference was E-S20 really falls behind: At EV -1,
CONTRAST (AT DE~"'ULT SEmNG)
~ minimaL) Resolut ion? A more t he dimmest level [n which It could

+4-------+1
HIGH
o notIceable d ivergence: The
D5OOO'8 was 2245 lines (Very
foc us, AF look 1.57 seconds to
lock on our target , compared with
cow
AF SPEED
HIOH

EY AT 150100 o High), while the Rebel's was

2380 (Extremely High). But
0.97 seconds for the Canon and
a 1.02 fo r the Nikon. However, in
v8fY bright light. Ihe Olympus beat
§ 0.2 .32 .32
noise control is where Canon really
wins. The Nikon had respectable both its rival • . It's also the only one
•
~ 0.4 --"-oA~2~A~'~~" res ults-Moderately Low or better of the three that can control off-

t8 0.6
0.'
1.0
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
camera hot ·shoe flashes wirelessty.
And while we give a slight edge
to the Nikon's flip-down LCD, we
still appreciate the versatility of the
~ 1.2 1.11

! 1.4
that can make all the difference in a
tough lighting situation. The Nlkon 's
$Creen on the E-620, which flips to
the side and SWivets. Don't forget.
.j. 1.6 fl ip-down, swiveling LCD lets you the Canon's LCD doesn't move
~ 1.1 handle certain tive-view and video at alt. Ar'Id the Olympus, with a kit

• • ,
to 2.0 situations that the Canon, with a lens, costs $200 [ess (street) than
o 12 o -, fixed l CD, can't. Still, we're giving the Rebel. So If you're not already
SRIOHT + - -UOHT LEVEL----t OIM this match to the T1 i. invested In glass, you save a bit.

pop PHOTO A.UGU$T 2009 WWW.POf>PHOTO .COM

TEST SONY ALPHA 330 By Philip Ryan

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.

_F rie ndly interlace for
05L.R beginnel'1l.
_Ti lting 2.7-inch L.CD.

WHAT'S NOT
_N o 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.

WWW.POPPHOTO.COM pop PHOTO AUGUST 2OQ9

"
 canon Canon
EOS Rebel T1 1 Black 15.10 MP EF 70-200mm f/4L USM Telephoto EOS Speedlrt8 580EX II Flash
3,0" LCD. ~~H liD Mov... ~Q~al SLR C..."rawl H'S Zoom lens F". .,l.",II, & Mulmym Aperture 8~'I· ln AF " n is! Be.m, t·nt op ..... ,1on II1II11'1 011 fOS
IB·SSmm 113.5·51 IS L,n., S",c/1 N~g 30·12~.~ 10-2OOmm 1:".c, Sur<:~ N.w.~' 30·998·379 d'i'111 SL~ •• S .. roll N..... "IIQ: 30-5I98-<l75

-
I ,·,· ~(t
canon Canon Calion
PowerShot A480 Black 10.0 MP PowerShot 501200 IS 10.0 MP PowerShot SX200 IS Red 12.1 MP
2.~· LCD 3.lX Opl....1Zoom. 'X O'g;"'loom, 2 I" lCD, 3X Optiea! Zoom, 4X DIG".' Zoom, Ultr. Slo.... 3.0 ' lCD llX Op1l<;.o1 2<>am, 28m .... Wid. A"IiI"
Sot.toll N_~ 30-1 20-321 S•• rel> ~9II:)D ·'20..a29 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,
pulledup 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
~ CANON EOS
REBEL T1i
IU saoo, street, body onlyi
en $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
0... focuses only ever-so-slightly
s!OW6f than the sony in bright
~ light and just barely faster
oO in very low light--but, roore
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 14-42 mm
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 eliminated-
you 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
" pop PHOTO AUGUST 2009
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 1S-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
WWW.POPPHOTO.COM
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 honeycomb-
pattern 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).
 LENS TEST ~ Julia Silber
CERTIFIED
TEST RESULTS
IMAGE QUALITY (ISO 100-",00)
VERY HIGH
KIT
Sony DT 18-55mm
RESOLUTION
• (ISO 100)
EXCEU.ENT
f/3.5-0.6 SAM AF

...
HIGH 1970

COLOR ACCURACY lAva. DELTA E)

--
EXCELLENT
This new entry level wide·
Icrmoderate-tele kit zoom ($200,
stroot) was unveiled with the Sony
Alph a 230, 330. and 380 cameras
and is designed for APS-scaled

.
HIGH
EXCELLENT 1.11
'\I '10
..=---'=-_+~
• 8
EXCELLEN T
sensors. A 27-82mm full·frame
equivaleflt, it boasts Sony's relatively
new Smooth p.f Motor (SAM).

I
NOISE AT I SO HANDS ON: Slightly more
compact than comparable kit .Ii
~
0 .9 EXTREMELY LB 100 zooms from Canon, Nikon, and ;;
Pentax. it cast no shadow at any
1.3 VERY LOW 200 foeallength wheo used with the
1.5 VERY LOW 400 A330's built-in flash_It sports Sony's
Zeiss-inspired e:dra-fine ribbing
2.3 M • DERATELY LOW 800 on the zoom ring, which, like the
manual-focuSing ring, has a smooth
• .• LOW. and adequately damped turning action ,
2 .2 MO • ERATElV LOW 3200 Both rings are clad In rubber---tKlUSlJal for and we saw no visible Vignetting at 35mm
a kit lens. Uke most others in this class, or 55mm. This IS signiflC3fltly better than
J.O ... 1.0 ,.1 1.0 G.I however, the lens has no hood or di~ the comparable Canon and Nikon lenses,
UNACCEPTABLE 4 • EXlRENELYLOW
and deptl'Hlf-fieId scales. Nor does it which vignetted at all focal lengths.
HIGHLIGHT/SHADOW DETAIL have a norvotating filter ring. making some Maximum subfeCI. magillficatioo ratios
Iens-mounted lillers and accessories hard at the constant close-focusing distance
EXTREMELY HIGH to use. Dflan A330 body, PoE was fast, 01 approximately 9 inches W8f'e 1:6.7 at
LOW ••- - - - - -•• EXT. HIGH accurate, and vir1uafy Silent. 18mm, 1:3.67 at 35mm, and 12.37 at
IN THE LAB: SOF tests of resolution 55mm. Good news 10f ClOSe-up fans.
CONTRAST !AT DEFAULT SEnlNG} and contrast produoed results in lha CONCLUSIONS: This kit zoom Is
EJlcelioot range at three tested focal among the sharpest and least distorting
lengths-about what we expected. of Sony's DT family of DSLR optics.
LOW • HIG H DxD Analyzer Version 3.2 tests found That it's also the least expensive jusl
Visible barrel distortion at 1emm (0.50%), adds to Its attractlOll. 0
IMAGE STABILIZATION and Imperceptible pincushion
STOPS distortion (0.02%) at 35mm and
Subjective Quality Factor
• • • 55mm. Strong numbers, but, again,
average by leday's standards, and
AF SPEED Eli AT ISO 100 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
..,
8RIG HT ~ LIO HT L£VEL--+ DIM and Minoita Ai. • StrMt ptk:e: $200. •
POP PHOTO "uaUST 2009 WWW.POf>PHOTO.CO M
HANDS ON OLYMPUS E-P1
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 size-
jUSI4.74x2.75xl.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 reference s 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 open shutter
H
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 w ith
Olympus OSlRs, the E-Pl has both
sensor dust removal and sensor-shift
image stabilization systems.
WWW.POPPHOTO.COM
By Dan Richards
---
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 ~
The Ultimate In Photo Shopping: www.adorama.com
WE WANT TO BUY
your used or unused Photo equipment

Enjoy our online quote feature at www.adorama.com/sell

Adorama spent millions Our customers happily Adorama pays top dollar
of dollars in 2008 buying traded or cashed in their 10r individual items, rare "
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" ill
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Fire an SLR
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doesn't require 'line of sight' ,
• Works with auto focus and
continuous shoot ing mode.
• Transmitter Battery life up to 3 years.
• Accessory cords aV8il~ble tor most
Canon, Nikon and Penta,; DSLRs.
mic rosyn cdig ita l.co m
or call: 1·800·662-0717
MicroSync'" is a
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Tamr9c. Inc Chatsworth, Celifomia 91311
0 2007 TamfllC. lroc P~tents Pen(\ir)g
HANDS ON
Flaehpolnt F- 1428 Carbon Fi ber 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/loto-
retailer 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 cri nkle
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( get-
down macro wor1!..
In addition to tripods, Adomma
has an impressive array of Flashpoint
ballheads. gimbal heads, and quick-
release 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 AtaJ-
Swiss-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 m ight have in a Ihree-
section tripod (which
means less rigidity),
and an annoying aJlen-
key 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 PHOT O AUGUST 2009
W HICH ONE

Which Video
Site Should I Use
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?
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
I
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

The most obvious choice is

YouTube-wittl millions of members,
it's the largest and most widely used
video-sharing sile. But its popularity
Three Seconds
could also be its weakness. Anyone
may post videos of anytning from their
to
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 high-
definitiOJ1 video postirlg have similar
resolution and compression rates. Carry Like a Backpack,
But YouTuba doesn't archive, while
Vimeo offers an archiving service with
Access Like a Shoulder Bag
its P1us account ($60 per year). This with Tamrac's Velocity Series
means that you can use the site as Tamrac's photo sling packs combine the comfort
backup storage, since your Original file of a backpack with the fast access of a shoulder
is stili stored even after your video is bag. Quick-flip TOpSTM open away from the
compressed for streaming. for super fast access to photo gear. The front pockets velocity 9)1
rrocitI 5769
The Plus account leis you upload feature Tamrac's patented Memory & Battery Management
up to 5GB of HD or standard- System·' that identifies available memory
definition video a week (up to 1 G8 per cards and batteries.
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 popularity-
contest feeling removed, you get a VtllXity 7)1 ~ 57i7
network of pro filmmakers arld aspiring
Available in five sizes for every photographer from enthusiast to professional.
amateurs who foster a 101 of warm
and fuzzy encouragement. If you're For 11 fr~ 80 pa;~ color cata log. cali toll-frC<": 1-800-662-0717
learning the ins and outs of video with
I:i'\
pop PHOTO AUGUST 2009
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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 $530 (street) lens adds
optical stabilization (OS). four elements of
super-low-dispersion glass (SLD), an internal
focusing design thai facilitates use of Iens-
barrel accessories, alld an extra 5Omm.
HANDS ON: Somewhat smaller
(zoomed out) than Tamron's comparable
15X 16--27Omm VC optic, this attractive,
matte-bled< lens is compact at lBmm ,
and notably light. The zoom action is very
smooth for a lens thai nearty doubles in
length as it racks out. The AF action (on
the Canon EOS SOD) is rapid and sure,
even in low light, and the HSM motor
delivers near-silent auto/ocus. Manual
focus is well damped, but inoperable in
the AF mode. Well marked with easy-
reading scales, the barrel also offers handy
magnification ratios for its macro range.
IN THE LAB: On the Pop Photo optfcal
bandl, the lens produced SOF numOOf"s
in the Excellent range fo r the 18-. 35-,
and l00mm focal lengths. As is common
for superzooms, sharpness and contrast
dipped at the lOngest focal length, here
down two lev~s to Good. Performance is
just a tad below Tamron's 18-27Omm at
" WWW.POPPHOTO.COM
By Julia Silber
r
the 11x14 magnification, our
benchmark for sharpness
and contrast.
DxO Analyzer Version 3.2
tasts uncovered Slight barrel
distortion at 18mm (0.29%)
and Slight pincushion
distortion at 35mm (0.27%),
1OOmm (O.20%), and 250mm
(0.12%). The latter is very
nearly in the Imperceptible
range, a stellar job. At l8mm,
Sigma bests the Tamron's
0.79% barrel distortion tly a
significant margin.
light falloff was gone
by 1/5.6 at lemm, 1/6.3 at
100mm, and f/8 at 250mm,
and the 35mm focal length
produced no discernable falloff. That's
an average showing and not up to the
Tamron, which produced no vignetting at Specifications 18-~ (18.10-
three of four zoom settings. 2.. a.64mm Tested), U3.5-6.3 (fl3.17--t"1.L Iest«f"),
At the constant close-focusing ! 8 elements in , .. groupe.. FocUSing tl.m$ 70
distance of approximatety 12.75 inches, d9gnMtfI tXlu:llercloGkWlS8. Zoom ring IWT"IB 80
maximum magnification ratios came in at degrees eIodo:wi&e. FocaIIengtha marked at 1IV,
1:11.4 at lemm, 1 :7.1 at 35mm. 1 :3.35 24,,2&,35,,50-,80-, 135·, and 25Omm.
at l00mm. and 1 :2.48 at 25Omm. That .1MIIgontII ..........: 6~5 deg.-eoo.
longest zoom setting showed significantly • WIIght: 1.43 lb. • AItIw ..,: 72mm.
more magnifying power than Sigma's • Mount&: Canon AF, Nikon AF, PanUD; AF,
published spec of 1:3.4. Sigma Af, Sony Af. • 1indI.MIMt: lenshood.
lab tests 01 the optical stabilization • s..... priot: $530. * HOT AVAIL.ABt..E DUE TO
system for three different users discovered JoISflIUWEHT lIloI'TA,lJ:)HS.
between one and three stops 01 extra
handholdable sharpnsss, C<Jmpared to Subjective Quality Factor
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
42 W. 18th St. NY, NY 10011 I www.adorama.comI800.223.2500
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:
1
Creat e a foca l point.
The mirror in this photo acts
to focus attention on the center
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 toward the center of interest, and make it
outlines the mirror with a lighter tone, clear that the scene is in Paris.
and our eyes tend to go to the lightest
3
part of a photograph. Layer graphic elements.
An image of just the building
2
Establish context. and flag in the bacKground of
Tl1is picture would stilt work this photo would have been
without the legs of the Elffel stagnant, as would have been an image
Tower because the streaming solely of the glass pyramid (the top of
lines of the headlight trails would lsad the the louvre). By framing the background
viewer's eye to ttle building (the Ecole elements within the pyramid, the Image
Militaim). The legs, however, add a warm becomes a dynamic graphic design.
glow to the visual impact, focus the eye -Undsay Adler
The Optoma PK-10l Pi;;o ($300, T ROAM THEATER: The Optoma
street; ~2P1QJll.a.u.tiL..'s:!m) weigh.~
just 4 ounce~ (including rechargeable
PK-l01 Pico projector measures
only 2x4)(0.6 inches.
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
 0lIl to...., C!IIop.lJl.to_
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011--11_ ca;.,. • .to~
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 Subscribe to the
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TIME EXPOSURE By Harold Martin
YEARS AGO
25 AUGUST 1984
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
'-.-...:.1 photo was shown in an e:.hibition of
YEARS AGO
50 AUGUST 1959
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
.5
available lighting with a 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 bargain-
priced at $79. Today, as a collectible, it's
wOfln about three limes its oo9.nal price. 0
pop PHOTO AUGUST 2009
 B8.HOnline Used Dept.
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and after sale ~~ Selling your
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CHEAT.HEET
HOT-SHOE FLAS
TTL metering I. overrated.
1 DSLRs, with their exposure
histograms and instant-feedback
LCD screens, have diminished
the importance of TTL (through-
the-lens) flash metering. If you find a
powerful, fully ar1iculated, shoe-mount
flash at a really good price, regardless
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can quickly lead you to perfect flash
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Batteries are a btg deal.
2
The type you select has a major
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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.
"
Manually
3
setting zoom-
head 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 edga-
to-edge, with no fal lOff In the COJ'J'lef&---
perfect for group portraits.
4
Hot-shoe flashes aren't
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Many can be used ofI-camera
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www.POPPtiOTO.COM
often provide TTl
exposure contiU,
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Shoe-mount il..sh ••
5
make experimenting
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 WAYS TO

Take a
-'...-.
., --~ Long

_
_
--
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_ M._
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.. c-... _ _

. ......,_'"_
Exposure
---q,-.,
-- ........-"''''" 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.
Tum down ISO. Higher

features
v.lues Sigma delivers!
1 ISOs mean more noise, and
you don't need the greater
sensmvlty since you'll be
leaving the shutter open for a long

_10_. . ._
$D-14 Diatt.1 ....
time. Turn on your camera's noise-

...-
reduction setting (it it has one).

._---
D9II' .. O:- ..... .........
Long-exposure night shots may still

....---
. a.., ... _ _ give you a lot of noise even with a
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Select a small aperture.

2 If you want to capture light

trails (such as car taillights),
try senJng your f-stop as high
as f122 to allow for very little light to
strike your sensor while still getting a
101 of detail In the motion,

Use neutral-density fitters.

3 A must-have tool for daytime

long exposures, an NO filter
cuts the light coming through
the lens, so you can open your shutter
longer even on bright days. Its light-
blocking power Is described in stops,
usually between 3 and 9, so that an
exposure you'd ordinarily set to 1/60
sec would be 1/4 sec using a 4-stop
NO filter. For really long exposures,
stack them up to 13 stops. High-

---
n.. _ _ - . . . quality NO tilters are the most
_N<;t _ _ _
color-neutral, but some inexpensive
~-­ d9ooIWI.-a
IquppOd_ HW
.... *'"~- models can lend a muddy orange
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SHADOW OF A DOUBT
WIth light comes shadow, and there
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NIKON: lor \he fOllowing
D3001tl700
OBOID'
0200
040/00)
D200
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FREE Shipping
QUESTIONS
CANON:
20013001400
50
Rebr l XSi
Rebel Xli
ANSWERED
New SO Mark II Flipping the bird Elements 7, for ex;unple, it's the
I"m putting together a montage of FHp HorizontaJ option in the
bird pictures, and the final product Rotate menu. In Coogle's free
ADORAMA'

f would be much better if J could Piasa progr:un, it's even easier

DESHADOW reverse one of them, left to right . with the ~ybo.ard shortcut of CUi
+ Shift + H . You don 't .actually

1
Why isn't image reversal a simple
BOX in-camera fIX, and why can't t find have to open the image, just select
it in my editing software? its thumbnail in the Piasa. library.
G~orge Mu"ro
16"X16 11 Brighton , CO
_ 39.95 Lens lag
Camera malers probably don't I'm thinking of getting Canon's
PooUbI. SlIM Ulol StuaIo ~A ·~
with 16' K 16' SoIILlg/lI BoK. Halogen lampI., put it in the camer.a because 70-200mm fi4L IS zoom for
BIu& Badr.groulld s..eep. 'CuMom CIIrr. it s so easy to do in sonware-, In my Canon EOS 5D. I've read,
W~Tae.T092SectkMTl'Ipod : on", "" .15 though, that it focuses less rapidly
Adobe Photoshop and Photashop

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So~ fo, t~e Edvl;.&tedJlhot0i&l".phu
'" 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
Got a lluestlon? E-mail us at PooEdllorOhtmllS,OOID. Also visH tile Tech SUppor1 fonlm at~,
like to use it in my landscape THE lILiIMATE IN PHOTO SHOPPING:
photography. bllt it's difficult
v.':itb my lenses because they're www.adorama.com
either missing or have very- narrow
depth-of-field scales and distance WE'RE GIVING AWAY
markings. Are there any short focal
length lenses for my Canon EOS
50 Mark] [ that have adequate
THOUSAN F L
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
ofyour 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, ifyou 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
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-
hwnanity of the moment. This El Series
kind of photography is realism. <t~1
But realism is not enough-
there has to be vision and the
two together can make a good
photograph. It is difficult to
describe this thin line where
matter ends and mind begins,"
ROBERT FRANK
\MIDUo' ID CallOll
WINCHESTER FUJINON
PENTAX· 0 MEADE·
LIli!UIP'OLI» ~ii
"An artist is conscious of
something besides the mere .. :~ ;:,:£(~~~" MINOX S~!:IT
physical, in every object in ~ t"'IN~
..a , . . . , ......,.,·
~

nature, He feels its expression, SPOTllNG SCOPES

he sympathizes with its
character, he is impressed .a.. ,&:::~ 'ikon.
with its language; his heart,
mind, and soul are stilTed in its
contemplation. It is the life, the
sw~
feeling, the mind , the soul of
the subject itself."
ALBERT SANDS SOUTHWORTHO

pop PHOTO AUGUST 2009

'"
42 West lSttI Street New York, NY 10011
www.adorama.com • 800.223.2500
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"This was In SnEefeilsnes, Iceland. That area IS so full of history: A little chun::h has been there since 900 AD. My wife and I
were '-NOOOng together on an art series called Mytltl--a mythology cycle based on icelandiC sagns-and we shot a video there_
SnEefellsnes is one of the places called the seven paw9f JX>ints on the planet. I've always scoffed al that kild of stuff, but
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 custom-
built 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

112 WWW.POPPHOTO.COM pop PHOTO AUGUST 2009

 "2008 CAMERA OF THE YEAR."
Awarded by Popular Photograph y

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