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20
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II:
20 New Skills
How to spark up your lighting,
deepen your focus, make crowds vanish,
:::> and learn new techniques for beUer
!<w scenics, landscapos, portraits. action
...
shots. and more .
28 Nature How to gel up close
and personal with a small
c reature in Ihe wild, without losing sight
of the big world bayonel. 8y Omar Anum
32 Tip. From Pro How to
ill
capture an unknown facet of a
very well-known lace. By Laurence Chen
35 traveling Photographer How
to bring home all the glories of
Ihe Grand Canyon, whether (I's your first
trip or your fifteenth. By Lori Fredrickson
10 Editorial How to renew your
creativity with a photo project
that will keep you shooting every day.
By John Owens
14 The Goods How to get high·def
movies and stilis Irom one handy
camera, slOre all your images, and grab
your camera in a hurry.
16 High 5 How to dive in and catch
all the fun below tho surface with
these rugged lillie underwater cameras.
~
w
68
a
DSLR TEST: Olympus E-620
How to obtain full·s~e performance
In pint-sized DSLR that's light around your
~
neck-and on your wallot. 8y Philip Ryan
-~
II:
76 HANDS ON: Canon EOS
Rebel T1 1 and Nlkon D5000
How to enjoy b ig-league features, and
...
w even high-def Video, in a pair of DSLR kits
priced below $900 .
8y Philip Ryan and Dan Richards
80 LENS TEST: Nlkon AF-S DX
35mm fl1 .BG How to find a fast
and compact "normal" lens that's about as
flawless as they come. By Julia Silber
62 My Photos Made a
Difference How to turn your
photography into advocacy-and perhaps
cI1ange the world - the way those three
inspiring photographers h8\le done.
Web
By Lori Fredrickson
40 Ughting How to put your subject
in front of any background you can
imagine with an all-in-one greenscreen kit.
By Peter Koionia Exclusives
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46 You Can Do It How to
photograph classic subjects with
all the richness of tones and details of an
WWW.pOPPHOJQ.COM
GRADUATION
Old Master's painting. By Amund Ned/and GIFT GUIDE
1 04 Three Ways How to shoot the
moon-no rocket ship (or oyen
Whether your grad
is going for a BFA in
telescope) required. By KlHhleen Davis Photography or simply
wants a way to capture
collego antics. we lay
18 How I Shot this How to
make a beautiful scenic picture,
as photographer Daniel Lam;n did, in a
out the photo gear that
won't get traded for
pizza mooey.
hot and stinky situation.
NEWS, REVIEWS,
36 Digital Toolbox How to get
started in RAW by making better
black-and-white and split-tone images.
AND HOW-TDS
Looking for cameras,
lenses, or software-or
By Debbie Grossman
ad vic e on how to use
them to make better
116 Backstory How to catch a
gagglo of modorn princesses
before they appear at the ball.
pictures? You'lI find the
latest and hottest here.
PHOTO Of THE
81 LENS TEST: Canon EF
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HOW DOES

LONG
'NTO
 MENTOR sERIEs®
Worldwide Photo Treks
LONG
ISLAND
SEPT. 11 - 13, 2009
ad up your camera gellr for 11 weekend on the eastern shores of Long
P Island with the Mentor Series' .loin NikQ(l professional photographers
Reed Hoffmann Rob Van Petten to expenence the abundance of photo
&
opportunities within the qUillnt villages of thE' Nollh Fork and along the
miles of beautilul pristine beaches on Ihe South FOfK. Gel ready 101 11 truly
authentiC view of th;.; 3gE'-o1d \lacatlOnlng destination while dl5Cootering the
locations in a new light with world cl~s instructors by your side.
A visit 10 a private full servicl" horse farm prO\lides an exclusive tour and
the occasiof11o photograph the beauty of these gentle animals. Practice
your panning as the hoIWs gracefully gilliop across the polo field, or take a
slower approach and set up environmental portraits of the equestrians ,md
~Iail shots of the stables
Head on out to Montauk, the eastern tip of Long Island, where the light
and the sea are consta ntly changi ng. Surrounded by water on three sides,
Montauk's distinct natural beauty is unmatched. You won't want to miss
the historic: Montauk Point Ughthouse, perched on a rocky bluff above
the eastern coastline. From this iconic landmark, you can also t urn your
lens on miles of beautiful unspo,led beaches or take action shots of surfers
attempting the wild walers down below.
Experience charming Sag Harbor, a village nestled on the north bay of
the South Fork. The historic enchanting town boasts its )\rong maritime
fldvor and holds tight to its history. The centuries-old Iree lined streeb
complenwnt the 18" and 19"' century architecture that is still intact. The
streets slope down to the bay and boats that fill the harbor 1'1'111 fill your lens
with colorful oppor1ul"llti!?s to captufC' Ih!? main poft 01 this captivating area.
Go from Ihe South Fork to the North Fork on board a private v('$;el
- .--
and e~rience the magnificent Peconic Estuary System by boat The
combination of tidal creeks, woodlands, vast fields and eastern coastlin!?
make it an ideal habitat for wildlife and a fanlastK opportunity for you
to capture hirds in their natural e n~irons. Thc itll"lcrary intludcs Barcelona
Point. Cedar Point Ughthou$e and the Mashoma(k Natura Preserve on
Sheller ~and.
Enjoy the best of the North Fork by experiencing the qUiet b@autyof a
stunning vll"leyard. Your camera wil l be treatl'd to the maj€slic scenery of
the iandsalpe and daS5ic images of the wine making process, ali the way
Irom the vine to the bottle. let the Mentors help you capture t~ lush
grapes and rolling hills that serve as a backdrop to this amazing unique
vineyard. Afterwards, relax with sp~ia! wine tasting and sample a few of
the wlnerys award wlnnlllg vintages.
long Island is all about its beautiful beaches and this trek w ill not
disappoint. An afternoon of ~acn a<tivities awaits your lens witn t he
chance to capture recreallOn and lifestyle shots as the light changes. Focus
your lens on Ihe pristine dllnes, Ihe ~as t lands<:ape at sul"ldo.......n or learn
to light a wrfer as she takes to the open water. Experience an oceanfront
cookout and set up a stiO life 01 approach the fest as a full-on ewnt.
WhercV('r you pOint your camera, you'll enjoy it from the unspoiled long
Island bt>ach while your photography instructors encourage your creati~e
approach and provide tethnical advice.
The diversity of photo ops and richness of color and light make eastern
longlslafld the ideal place to hone your photography skills. Get ready to be
enchanted by this part of America afld wrap up your summer by Joining the
Mentor Selles when they take to long Island in September!
 ULED TO A PPEAR
limited to 20 Students per Instructor

REED HOFfMANN ROB VAN ,eTTEN

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PHOTOSHELTER
LETTERS
Oil and water don't mix,
but that's a good thing, since
it make, photographing
bubbles easy to do using
only basic gear.
Get a glass cake pan and
devate each end about 6
inches above your working
surface with books or
wooden blocks. uave the
center under the pan open.
Then fill it about two-thirds
of the way with water and
add a splash of cooking oil.
[0 the center, under
the pan, place a piece of
brightly colored paper (I
use newspaper ads or candy
"'Tappers). The distan~
between the water and paper
~~!so~hf:!,;:.kground material
For this shot, IlL~d a
B U b b Ie S
Canon EOS 5D Mark II and
lOOmm fI2.S Canon EF macro lens-
extension tubes or a dose-up filter
work also, A tripod head that lets
you tilt your camera forward so it's
Distorted view
1be scorecard in "'lhe Full-Frame
Decision ~ (April 2009) goes too
much by the numbers and overlooks
photographers like me, Most of my
photography is of my children and
family, and I'm waiting for a full-frame
DSLR in my price range,
My Nikon 040 is leagucs ahead
of my compact and so much more
convenient than my film SLRs that I'd
never go back. But every time I take
a group shot of my family, its crop
factor makes wide-angle lenses not so
wide, and fitting eycryone in is harder
than it should be, Also, if I forget I'm
using a digital-only lens and shoot at
its widest setting (18mm), anyone
ncar the edge of the frame is distorted
in very unflattering ways, Sure, the
crop factor is helpful when shooting
kids' sports, but I don't do that nearly
as often as I shoot people at moderate
to dose range, Michael KoJcxJncr
Erdenheim, PA
News on noise
My Canon EOS 50 Mark II has
three settings for high-ISO noise
8 WWW.POPPHOTO.COM
parallel to the water will maximize
focus edge-to-edge. Autofocus may
not work-use manual.
I typicaUy shoot at ISO 200. fiB
reduction: off, standard, and high, I
also have Noise Ninja plugged into my
copy of Adobe Photoshop, WillI get
better photos using Canon's internal
noise reduction, a Noise Ninja-type
postproduction alternative (with
Canon's internal program turned off
to preserve maximwn detail), or a
combination of the two-say, standard
internal noise reduction combined
with Noise Ninja's custom profile for
my camera? Ryan Kelly
Washington , DC
While the 50 Mark I!'s In-camera noise
reduction works well, we recommend
leaving it off and shooting RAW. This way,
you can appty whatever level of noise
reduction looks best When converting in
Canon Digital Photo Professional, and
compare it to the results using Noise Ninja
in Photoshop, We obtained our noise
test resutts on the 50 Mark II by applying
Digital Photo Professional's default level
of noise reduction, 'Ntlich varies ~,e"
increases) as the ISO increases,
Hi, dynamic rangers
I noticed in the test of the Olympus
or £Ill 1/125 sec An
~::to:.S~~~~~:~~~elit
light Will work.
Now fire away.
changing the background often.
and periodically mixing things up
with a fork. Allen Thornton
Ca.!ttJe R.ock. CO
E-30 (March 2009) that the camera
lets you comhine Multiple Exposure
mode and Auto Gain, TIutt sounds
like the perfect formula for high-
dynamic-range (HDR) images,
I've used HDR software that
combines images that are 1
stop underexposed and 1 stop
overexposed, but doing it inside the
camera would proYide some real
advantages, How dose is this to
becoming reality? Jim McKeever
Onnond lkach, FL
In-camera HDR is coming, but you may
not want it in your DSLA just yet. So far,
really good HDR Images still require a lot
of manual adjuslmCflts in software_ Most
of the defaults in these programs looK
okay, but often aren't very true to life,
We'd oxpect the same from automated
in-camera HDR at this point. Plus, any
in-camera HDR adjustments would have
10 be done on a 3-inch LCD screen on
the back of the camera instead of Of] a ~
big computer manitOf. 0 Z
~
GET IN TOUCHl •
E-mail usatPoREditor@hfmus.com. ~
pop PH OTO JUNE 2009
 FRAMED
PRINTS
~MpOc framed J:ri1ts ere;m ~ dan eosy
DrIne pm~ make tho framing process
fixtand offOfdoblc."
PHOTO
BOOKS
"The fht tme I saw my images in on
NIpix phOto boot: I was like. 'WOw-
lhallooks ornoMgl'"
EDITORIAL
CREATIVE
One man, one year,
one helluva project
How do you get to be a
better photographer? Shoot. Shoot
a lot. But a~ Edward erim will tell
you, volume is only half the story.
Having spent decades in
photography and the past six years
as a full-time pro, Crim has fired the
shutter millions of times. ~But any
creative person can get stuck in a
fut," says the 54-year-old.
So Crim decided to do something
about it: He gave himself a 365-day
assignment. His subject: St. Louis,
MO's Forest Park, the city's 1,293-
acre epicenter of nature, culture,
and the arts, which isn't far from
Crim's home. His project: Shoot
in the park every day of the year,
starting January 1, 2009.
"I'd taken engagement and
wedding photos in the park many
times over the years, ~ he says.
~But I'd never really seen the owls ,
muskrats, and other wildlife, and
this project has helped me see the
familiar in a new way. ~
" WWW.POPPHQTO.COM
~ I mnk evQtYOOe should
give himself creative
assignments,~ says St.
louis pro Ed ward Crim,
Think it's just another
whi~ical ~photo-a-day"
project? Hardly. For one
thing, Crim set up a wehsite to
showcase his photos and chronicle
his efforts (wwY",forcstpark365,com). degn.'e days,~ he says, ~and there arc
For another, Forest Park is huge-
dwarfing New York City's Central
Park by nearly a square mile.
I talked with Crim 75 days into
the shooting, and ~effort" is the
operative word. MIt has spun into a
whole lot mote time than I thought
it would,w he confesses. ~There have
been times I've heen out in the park
an hour before midnight. ~
Typically, Crim spend.~ two
to three hours a day in the park
shooting anywhere from 170 to 300
images, pulling from his arsenal of
Canon EOS gear (lOs, 10 Mark
II. 50. and 30D). Each evening,
he devotes another couple hours to
editing and po'"'ting about 30 images.
~Dust is the only thing I edit out
of a photo, ~ he says, MI prefer to
present things the way I see them.
I'm trying to show people what's
really there. ~
What's there?
Classical architecture. The
building shown in the photo
at left is the St. Louis Art
Museum. kit was the only
pennanent building built for the
1904 World's Fair: 'Meet me in
St. louis, Louis, meet me at the
fair:~ Crim points out. ~It was
designed by New York architect
Cass Gilbert, who designed the
Minnesota and West Virginia
State Capitols, and the U.S.
Supreme Court building. ~
Animals. In addition to the
700 species in the St. Louis
Zoo, Crim's encountered di.;ng
kingfishers, giant snapping
ART FOA turtles, and mating
AAT'S SAKE: ducks. kf have new
respect for wildlife
photographers," he
laughs. "Try getting
a small nervous bird
who's deep into a to sit still for you. I'd
yeartong shoot. rather phot()graph a
bad kid:
And, of course, people.
'Tve been out on a couple o( 10-
always people in the park. "
Joggers, anglers, rugby players, a
man who's fascinated by great horned
owls ... kJ just walk up and
.<lay 'Hey, that looks interesting.
Can I take your picture?' And nobody
has said no."
But still. how can someone who
feeds his family working with a
camera devote at least five hours
every single day to an income-free
creative project?
~It is very demanding," admits
Crim, who on the evening we spoke
had an assignment at a corporate
event. ~But I'm one of those guys
who works well under a deadline.
"For me, the creation of these
images and meeting all of these
people is enough."
Is it making you a better ~.
photographer? 0
"Definitely. And it has put me in ~
an awfully good mood." 0 '"
POP PHOTO JUNE 2009
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 MENTO R SERIES'"
Worldwide Photo Treks

IS PROUD TO ANNOUNCE

Nikon .
At the heart of the Image ,.
AS THE PREMIER SPONSOR OF THE
2009-2010 MENTOR SERIES P ROGRAM

Mentor' Series Worldwide Treks, sponsored by Nikon. is an incredible hands-on learning experience designed
to cater to all skill leve ls. Participants experience an array of pre-arranged spedal photo opportunities, often
with private access or from a highly considered vantage point, while traveling alongside Nikon professional
photographers. These instructors provide invaluable photo tips and continuous instruction regarding an array of
photographic topics: from travel to technical. Personal feedback provided in a one-cn-one digital review session
allows trekkers to see their work in a new light, and encourages them to expand their creative eye and experiment
with all they learn. Nikon equipment is available for the trekkers to try. and the list of photographic opportunities
continues to grow, with new locations announced regularly. Follow your passion for photography, experience fun
and feflo~hip, and take your photo skills to new heights. Sign up for Mentor Series Worldwide Treks today!

OREGON COAST: June 4-7 ARCHES NATIONAL PARK: June 10-15 ALASKA: July 11-18
 T REK MENT O RS

BETH WALD JOHN REDD V

F OR MORE INFORMATION CAll TOll FREE 1-888-676-6468

WWW . M ENT ORSERI ES.COM

MONTREAL: Aug 7·9 COLORADO: Aug 1 4-

1
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NOT: Though the bag can be worn three ways (with a belt system, topload chest battery and SD carel. ~
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cal use it at the same time from different computers. as Adobe Photoshop or your "o~
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W¥IW.POPPHOTO.COM POP PHOTO JUNE 2009

THE GOODS HIGH 5
1. Canan PowerShat D10
S3J0, street • www,oowershot,CQID
• '2.1MP; 3X optical zoom; waterproof to 33 feet
Canon's first fora~ into waterproof digital compacts looks
like a cross between a Digital ELPH and a diving bell.
With a waterproof rating down to 33 feel , it's among
the deepest divers in this category, but its 2.5-inch LCD
and optically stabilized 35-1 05mm (equivalent) 1/2.8-4.9
zoom lens aren't at the lront of this pack. Like the Olher
cameras here, the 010 is freeze- and shockproof, in
this case surviving temperatures down to 14 degrees
Fahrenheit and falls 01 up to 4 feel.

2. Fujifilm Finepix Z33WP

$200, street • www·fulifilmusacom
• 1 OMP; 3X opl)caJ zoom; waterproof to 10 feet
Borrowing design cues from FUJi's teen-targeted 230,
this underwater shooter is one of the tiniest and most
stylish. as well as the most affordable. Its 2,7-ioctl LCD
IS as large as they come on this type of C<lmpact. But it's
waterproof only to 10 feet. and its tOMP and 35-,05mm
(equivalent) ffJ. 7-4.2 optical zoom aren't groundb!"eaking.

3. Olympus Stylus Tough 8000

S4OO, street • www.sMystouah.com
• 12MP; 3.6X optiCal 200m; waterproof to 33 feef
Olympus offers some of the most rugged compact
cameras you can get, and its latest fits the mold. You
can shoot down to 33 feet underwater, drop the camera GUCD
from up to 6.6 feel, and use it in temperatures down
to 14 degrees Fahrenheit. Plus, its metal construction
can withstand up to 220 pounds of pressure. Sensor-
shift image stabilization combats hand Shake, and the
zoom, while not league-leading, spans an equivalent
28-102mm 113.5-5.1.

4. Panasonic Lumix DMC·TS1

$400, street • www.oaoason~
• 12..1 MP; 4,6X optical zoom; waterproof to 10 feet
Panasooic has stepped up to the pool in a stIoog way
with its first waterproof digital camera. Its optically
stabilized 28-128mm (equivalent) 1/3,3-5.9 zoom offers a
nice balance of wide angle for underwater and midrange
tele for land-based adventures. AI 12.1 MP, it affords
plenty of resolution, and it has an ample 2.7-inch LCD.
While we wish it cou ld go deeper thar110 feet , its 720p
video recording should make playing in the backyard
pool more fun than ev9l'.

5. Pentax Optio W60

$250, street _ www.Deotaximagjog.com
_ , OMP; 5X optical zoom; watEK'proof to 13 feet
Peotax was one of lhe first to offer dunkable digilal
cameras with its WP series years ago, and now it's a major
force. This mode) has plenty of roon'I to the left of the lens
to hold onto, and we like the 720p video recording, though
we'd rather have a faster rate than its 15 frames per
second. liS Super Macro mode should be ~ below
the surface, letting you focus as close as 0.4 in'lmes from
the front 01100 2B-140mm (equivalent) fI3.5-S.5 lens. 0

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STINKY SPRINGS

" PHOTOS B'Y DANIEL LEMIN ; INTERVIEW BY DEBBIE GROSSMAN

 Daniel Lemin, 33, had a brief stint
as a professional photographer, but he went back
to a career in marketing when he realized that
trying to make money with his pictures was
sapping him of the pas~ion to photograph.
Check out more of the Los Angeles-based
photographer's work at www.danicllemin.com.

Q. What are we looking at here?

A. This is a section of the rim of a sulfur pool in
a geothermal area in New Zealand's North Island.
You're looking at the edge of the pool-fluid
bubtKes up from the earth·, core and causes these
~othennal activities, similar to Old Faithful. The
different colors arc mineral deposits that have
collected over the yea". The section in this photo
is probably no more than 2 feet ",,-ide.

Q. Where are you standing?

A. I had my camera on a tripod looking straight
down, I'm standing about a foot back from the
edge of what they Gall a champagne pool. It's very
hot. Sulfuric steam rises from it constantly and
blows in all directions.

Q. Any problems while shooting?

A. The whole series had a lot of challenges,
but the biggest one WAS getting over the smell.
It was a windy, doudy day, and the light was
very inconsistent from frame to frame. The
steam .....as blowing in different directions, and
because the steam is yellow it kept m~ing
with my white balance settings.

Q. What equipment did you use?

A . This was shot with a Hasselblad H3 and an
80mm lens. The H3 is a 39-megapixel beast; the
camera itself weighs 8 or 9 pounds. I had to bring
a lot of batteries. I like shooting with it because it
allows me to capture the finest details. Sometimes I
blow these picture~ up to "..all size. The largest I've
made is 5 feet by 7 feet-they just (;ome alive at that
scale. I was shooting on manual focus to make sure
I could focus not on the water and bubbles but on
the mineral deposits that formed the pool. They're
fairly deep-you can see it's like a steep cliff down
about 5 or 6 feet from the edge. Mostly I shot pretty
fast , about 1/350 sec at ISO 200. I normally take
long exposures, but in this case I had to shoot fast.
If I'd used a slow shutter spet:d, the steam would
have blurred and looked like fog.

Q. Did you do much editing afterward?

A. I had to. Because the steam was causing so much
condensation on my lens, I spent hours retouching
out the water spots. If you look closely at the
outtakes, }'Ou can see them. The outtakes are straight
RAW conversions from the camera-you can see
what it would look like without color enhancement.
The final actually look.~ like it did in life, though.
There reaDy were these fluorescent colors. It doesn't
look like it's real, hut it is. And if,!; beautiful. 0

POP PHOTO JUNE 2009 WWN.POPPHOTO.COM

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" WWW.POPPHOTO.COM pop PHOTO JUNE 2009
 By Kathleen Davis

CD st Place
Petal Pusher
This isn't the first
time a winner
found a subject to
photograph while at
work. Postal carrier
DEB BARICH, 50,
noticed this peony in
the garden of one of
her customers in
Eugene, OR, and
returned the next
day with her
hushand RICK
BARICH (also an
avid flower
photographer) to
capture it. The
couple used a
wireless flash with
a softbox to get
diffuse light-
perfect for soft,
white pctals. Wtth
such a carefully
planned setup, it
didn't take them
long to get this
graceful photo.
"After a few dozen
shots, we found the
jewel that showed
the shadows and
layers just right,"
Deb Barich says.
Check out more of
the duo's floral
imagesat~
oregonmacro.com.
niCH INFO: Canon
EOS Rebel XTi with
50mm 112.8 Sigma
macro lens and
Sunpak 622 Super
Pro flash with mini
softbox. Exposure:
1/125 sec at f/22,
ISO 100. Color cast,
curves and sharpness
adjustments made in
Adobe Photoshop CS.

POP PHOT O JUNE 2OO1l WWW.POPPI-tOTO.COM

"
 YOU R BEST SHOT

®nd Place
Water Logged
PAUL MARCELLlNI, 24,
is a naturalist for the Miami-
Dade Park and Recreation
department, but that doesn't
give him his fill of nature.
He escapes the city for the
seclusion of the Everglades
every other weekend. "I
noticed the sunken log and
knew it would make an
ucellent leading line, ~ he says
of this photo. But taking it
wasn't easy. Waist-deep in the
water, he had to "hop between
boulders, and splay the tripod
legs in awkward directions
to get the pedect angle.~ See
more at www,paulmarcellini.
TECH INFO: Trlpod-
!i;SUU.
mounted Canon E05 200 and
10-22mm f/3.5-4.5 Canon EF-
5 lens with polarizer. Exposure,
4 sec at f/l 8, ISO 100. Curves
and levels adjusted, and
dodging and burning done in
Adobe Photosnop CS3.

@rd Place
Full of Egret
We always advise shooting
early in the morning, but as
the day gets later. flash is your
friend. That's what helped
Queens College Nenvork
Sen-ice Director MORRIS
ALTMAN , 53, of Flushing,
NY, avoid harsh late-morning
shadO\vs when he captured this
well-cropped photo of a great
egret at the Oceanside Marine
Nature Study Area. MI stopped
down one dkk from my guess
and had the expo.~ure correct. n

... Without Filter TECH INFO: Nikon 070S with

8O-400mm fl4.5-5.60 Zoom-
HO'IA is the world's largest optical NikkOf EO VR lens, and Nikon
glass manufacturer with traditions of 58-800 Spcedlight with a Better
quality that date back nearly a century. Beamer. Exposure, 1/500 sec at
We are proud of our heritage and f/l 1, ISO 200. Minor levels and
where our glass is made. sharpening adjustments made
in Adobe Photoshop CS2. 0
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Make the small
loom large
It's the smaller species-insects.
amphibians, reptiles-that often slip
through the conservation cracks,
their decline or disappearance
unnoticed. These creatures depend
on the preservation of their habitats
for survival. That's why [ focus
my photography on an animal's
connection to the landscapc-I think
of it as telling habitat stories.
For photographers, this approach
has the added bonus of a dynamic.
almost three-dimensional. look to
the images. Here are my tips for
making them happen.
Use the right tools
For this type of photography, camera
~)'stem or sensor size is less important
than lens selectKIn. Habitat stories
are best told with wide.... ngle lenses,
between 16mm and 35mm (full-frame
equivalent) that have close-focusing
distances of 10 inches or less. My
favorites for DSLRs with APS-C-

sized sensors are Sigma's 10-2Omm
fl4.5-5.6 (dose.focusing distance. 9.4
inches) and 17-70mm £/2.8-4.5 (AF to
7.9 inches, manlUl to 6 inches).
Full·field fisheye lenses are also
good tools, despite their severe
distortion, as they often focus to less
than 6 inches. Subjects and straight
lines in the center of the frame often
appear nonna1. while outer areas of the
frame progressively mor<: distorted-
suggesting the roundness of the earth.
To depict the relationship between
really small wildlife (such as tiny
invertebrates) and their habitabl, 1
prefer compact cameras. Why? Many
have optical image stabilization. which
allows for sharp handheld photographs
SAYlGHY'S AGAMA
(SINAI , EGYPT): This
type of agama is relatively
easy to approach. as it roIies
on cryptic behavior-5Uch as
remaining rnoti~ot its
defense. Handheld Panasonic
Lumix lX3 with lens set at
24mm (equiv.J. l r.l:1O ...
at tlS.S, ISO 80.
at marginal shutter speeds. More
important. they often focus to just an
inch or SO from the front of the lens.
Two mooch that I favor; Canon's
PowerShot G9 and Panasonic's Lumix
OMC-LX3. both of which record
images in RAW formal. The LX:) also
has the ability to focus off-center
suhjects by using a joystick to select

the focus point anywhere on the
screen, so you don't need to prefocus
and recompose. It also lets you s,.... itch
the image's aspect ratio among 16:9,
3:2, and 4:3, while maintaining the
same angle of view. 1 chiefly use 4:3
for verticals (I find 3:2 too narrow),
and the wider 16:9 to emphasize the
sweep of terrain for horizonta1s.
Get down and dirty
Photographs looking down on sma!!
ground-dwellingwildlife are usually
just plain boring: They lack intimacy
and show no connection with the
animal. So be prepared to gd your
SCORPION
(WESTERN DESERT,
EGYPT): Discovered
accidentally while moiling a
large stone to set up my teot.
Handheld Panasonic lumix
LX2 with lens at 26mm (equiv,).
1/1 25 sec atf/8, ISO 100,
Inset: Setup I use with
a tripod.
L-bracket (starting at S80, direct;
www.kirkphoto.com) in the horizontal
position to get even closer to the
ground (see inset photo below).
Move in close
Don't waste your time exploring for
rare species-they're precisely the
ones you're not likely to find, look
instead for common ones, Think local:
You can find them in your backyard.
city park, or even a parking lot.
The best times to shoot are
(SINAI, EGYPT): I used a just after sunrise or before
circular-image fiSheye lens, sunset. The lighting is
which on an APS-C seIlSOf wanner, but the air is cool.er.
makes a full-field image, to so cold-blooded animals are
accentuate the curvature In more sluggish and less alert,
the scene. Ganon EOS 200 The best season? The
stomach, with amm fl3.5 Sigma EX OG transition of late winter into
knees, and lens, 1/500 sec at fl3.5, early spring, when animals
elbows dirty, 150400. emerge from hibernation ready
because the to breed. You can usually get
most important rule really dose to males, who have one
here is to be eye-level with the animal. thing on their mind (breeding) and
For small species, this usually are less concerned with predators or
involves lying on the ground, often photographers-in summer. they're
handholding the camera. I use a more alert to danger. Females often
tripod when possible, but only if arc hard to approach any time of year,
it can lie flush with or dose to the You can get quite dose to small
ground. 1 use the very short and light animals if you approach slo",iy. We are
Really Right Stuff BH-25 ballhead on an entirely different spatial scale
($90, direct: [caQyriKh,utuff.com), than these creatures and don't share
1 place my ballhead platform on its a predator/prey evolutionary history.
side and attach a Kirk Enterprises For instance, you may get within a few
WWW.POPPHOTO.COM pop PHOTO JUNE 2009

inches of some desert lizards, but if
there is a faint black dot in the sky
that represents a bird of prey, the
li7..ard may well disappear as fast as if
the bi,d were within a foot of it.
When I'm walking, the heel of my
advancing foot goes no farther than
the toes of the other foot. Many small
animals will not skitter away if you
crawl rather than walk. so I may start
crawling from 20 feet away, scooting
my tripod (when I rue one) ahead of
me on the ground.
This type of photography is not
safe with venomous snakes-you
will be within striking distance-but
most nonvenomoru ones will simply
30
COPPERBELLY
WATER SNAKE (PIONEER,
OK): This is the closest I've
ever been able to approach
this very wary species-it may
be a once-in-a-IHetime shot.
Handheld Canon EOS 200 with
17-70mm f/2_8-4.5 Sigma
DC Macro 1005, 1/100
at f/5, ISO 200.
flee. And keep in mind that when
you are very dose to small animals,
especially in a desert, they may
move toward or even underneath
you, viewing thl" large object near
them as cover. A scorpion once
ran underneath me, and for a few
seconds, I had no idea where it
was---unnerving, to say the least.
Compose for depth
The point of shooting up close
with a \\-ide-angle lens is to achieve
a strong forcgroundlbackground
composition that shows a species'
place in the greater landscape. You
create an exaggerated, larger-than-
WW'N.POPf>HOTO.COM
life, 3D-like perspective at minimum
focusing distance, since obje<:t~ in the
foreground appear larger than life in
relation to the background.
Compose with the animal off-
center. ideaJly in a comer, and taking
up at least a third of the frame . The
background should be the habitat
of importance, such as a forested
wetland, mountain peak, or stream.
I often set the aperture to ti'S.6,
which provides a balancc between
a sharply rendered subject and
defocused background that doesn't
steaJ attention, yet reads as habitat.
I tty tn maintain a shutter speed
fast enough to minimize vibration
while handholdingj 1/30 sec is about
as slow as I go before using a tripod.
Considering how little digital noise
today's DSLRs produce, I don't
hesitate to use ISO BOO or even 1600.
If the composition is striking, grain or
noise concerns are secondary.
Keep al il
Don't get di.~couraged, This type
of photography consists mostly of
unsuccessful attempts-about 90
percent. Wildlife often flees before you
can get dose. And a compact camera
may be unable to focus on an insect
against a low<ontrast baCkground.
Your success, paradoxically, may
depend on how you spend your time
Q'Wtl}' from the camera, Learn about
wildlife and thei r habitats, Join a local
conservation group or read up on the
species struggling to survive in an
area near you. rake hikes. Imagine
yourself as a child, looking for small
creatures hiding in the leaf litter,
under rocks, or on a wetland's edge,
A whole new ....'Orld has opened up to
me since I started looking for insects
and flowers to photograph during
neighborhood walks with my child.
I find myself previsualizing
compositions that tell a larger story
and show the interaction betv.·cen
wildlife and their habitats. lhis can
help you create images when you
chance upon a creature in the field. 0
Omar Allum is a proftsSOr of consm>alio1l
biolC>g)' at J1\diana Unil'tnity Southeast, aJ
wtU as a {rrekmct photographer woo trQV1!ls
betIWrn Louisville, ICY. and the Middle
East. A Blue Earth Alliance Photography
[e/law, he has bUll publishtd in National
Geographic and ·Wildlife CO!lSClVation.
pop PHOTO JUNE 2009
 CALL FOR ENTRIES

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 APRO
Capturing an unknown
facet of a well-known face
Schwarzenegger and chess?
You might not put them together. bot
that's just what mak8s this portrait work.
Revealing the unexpected is one of the
greatest tools In a portrajt shooter's kit
When such an opportooity arises,
Los Angeles-based Joe Pugliese I&:HJL
ioeova com) pounces. Formerly With the
Los Angeles Times, he shot !!"Iis photo
of ArnOld Schwarzenegger fO( Time
magSZUl9's ~nme 1 OO~ in the California
governor's Santa Monica office.
~ I want something to be revealed,
something true, quiet, and honest-the
everyday emotions we all feel," Pugliese
says. "Big cameras and light are how I get
there, but I'm always paying attenbon to
what's in there," His adVice:
1 8Uild a rapport. It took lime
before Pugliese realized that portraits
needed to "!lave something going on·
between the people on both sides Of the
camem. -The re8SOI1l'm there Is to have
an interaction with the subject, and if t
doo't get somethmg reallhat anyone else
can see, '· ...e failed to do my job," he says.
Even If he has only 10 minutes to hoot. he'll
spend half the time COOYersing so that
the resuQ,ng photo WIll be more natural.
"SchwalZEJIle9ger has a grand
persona--Iaughing. smi~ng , shaking
hands," the photographer says. To get past
that, he asked the actOl"-tumed-politJciaC'l
about the posters, art. and other items in
his office. MI wanted it to be between me
al"ld him. If I talk to him for a couple of
minutes withOut the camera in my hands,
he can get to know my personality. The
photo reflects our interaction:
Light for multiple angles.
2
Pugliese planned fOf three locations:
~nst a white wall, at the desk.
and at the chessboard. In each. he kept
the lighting Simple, so he could shoo! from
dflarent angles without a big change in
his set--up. The mart tights: 8inchrom Midi
53-1nch Octa Banks Irt by Profoto Pro-7
flash heads and Pro-7a generators. At
the chessboard, he first aimed the light
head-on for a frontal view across from his
subject. Moving rightward, he had to make
sure the window didn't reflect the Itghts.
vary the p ace. ",..".,.tlon
3
goes only so far. ·Sometimes I try a
pose with an assistant, but then it
doesn't wori<. with the subject," he says.
WWW.POf>PHOTO.COM
Varying the pace of your shoOting
opens up more chance for surpnse.
Since Pugliese uses medium-format film
With a Mamiya RZG7 and 110mm f/2.8
lens, the.-e's a nattxaI ebb and flow as he
changes rolls. ThIs alloWs him to redirect
his subject's anergy, and sWitch between
active and contemplative poses. Wrth
d~ital, you can take a break betweefl sets
or simply use smaller memory cams.
Direct your subject. After
4
conversing, Schwanenegger
snapped back into form wittl big
grins lind strong poses. Pugliese shot
these, then suggested a quieter moment,
saying it was "because the light is great." A
lew tnvnes, and he was ready to move on.
"That tiny direction loosens subjects
up erlOUItl to let them know you're in
ChBrge.~ he says. "They knoW that I Know
what I want and what makes them look
good.~ AAd people appreciate knO'Ning
their role In front of the camera.
At the chessboard, Pugliese instructed;
"Imagine you're plaYIng an opponent you
adml~, and you're watching them think
about the next move." The actor fell right
into character. "The expression, the look
on his lace, the relaxed pose-it all wor1<.ed
oul better than I thought it would.~ 0
POP PHOTO JUNE 2009
Yes. L E N SBABY'~ has a WI 0 e
S et..tlve focUlI.ns" and Ln e
optics deslQnej La h ")
their ur QuO viSion In c n a t w
refer.o thin' of \r Jr .e b , ,

lh In 5 ~f rule 1d
'iFE IN A fIIEW .,.'AY
.www.lensbby.cc.m
 I~ ()

LENSBABY'· VCdtC,
,nstrume'lL de<;IQI1E'd
10 bpnd 'hp rUlE'
bilc k ,1 your f 31. )r
HOW TO PHOTOGRAPH lacks shade, but it follows a ridge for an
THE GRAND CANYON open view in all directions. Bnng plenty of 1[,51' Uf'1pnb Ilk" our
water----¥Qu'n walk for hours.
For great skies, visit COMPOSER'·
1 dunng "monsoon" season. From
late July through early September,
capture dramatic cIoods and, If you're lucky, 6
capture the action on
a river trip down the Colorado.
Texn are available al Y!tJf1J...
I'lEW

,( IcLt vc focu, Ie 1
Mghtnlng storms or r'8IOOows WI the distance. ratmgthegrandcaoyon .com. Bring a
'lclt off :lor<:. artl,t d
waterproof, shockproof carTIefB case such
AVOid crowds by going as those made by Pelican (from $35, street:
lew IE'VC
2
Wi'lL E f
to the North Am. Open ody In WWWcasesbypeljcao,cornJ.
summer, it's harder to reach than the pr cl<,on <.!'1d Co se
South Am . More than 1.000 feet higher and Get an aerial shot.
covered with ~t$. it'! ~ scenic. too.

Stick to classic overlooks

7 W~(ing to drop some cash? Starting
at around $80, depending on length,
of .J<O EVE 1 WitI-

3
10 shoot panoramas at dawn or dusk.
On the North Rim, Point Im perial aM
Gape Royal (better at sunset) revlNll rock
formations ail ihe way down. On lhe South
Aim, busy Hopi POint Juts from a cliff into
the heart of the canyon lor views in ~
direction. Desert VIew and Navaio Point
(less crowded and best for sunrise and
sunset) look ouI on the winding Colorado
River. At Desert View, compose around the
landmam Desert View Watch1ow«.
tdicopter tOUtS offer a stunning view ot
hard-to-reach places such as Havasu Falls.
Ol1e hard
Don't forget your zoom.
8
More .. aluable than a wide-angle
(though t!sheyes can be fun) Is a
long lens to get new- angles on classics and
· Z6fO In on things beneath the rim: advises
local photographer Mike Buchheit. Zoom in
at st.l'ri;& and sunset, when rT'lOYing clouds
paint shadows on canyon walls.

4
consider the foreground.
The YtWW of cliffs from Mather Point.
South AIITl, is close enough to Ie( you
g Load Up your kit.
Bnng a tripod, polarizing finer. and at
least one split neutral-densrty tilter.

crop out the sky and focus on detail. Tm::I Learn while you're
of tourists? Wander of! the beaten path In
se«Ch of interesting details 10 lighl~t 1O there. Get InSider tiPS on where
and hoW to shoot the carr,-on

i
N

~
5 Hike one of the trails.
You can reach Ihe popolat South
Kaibab trail by shuttle bus trom the
~ viSItors' center. The strenuous 6_S-mile trek
For more Info abovt the Grand Canyon, ..lsit WWW0l»goyfgrca.
from one of the local photo 'NOrIc.shopa, such
as those onered by Qand Canyon Field
tnstiMe Iwww9randcanyonassQCiatioo,
arg} and FrIeods of Arizona Hlgnways f::Jf:Ji:tL.
frieodsofazhighways ,com). 0
SEE IN A NEW WAY
wwwJensbaby.com
"
WWWPOPPHQTO.COM
 By Debbie Grossman

Tone
How to go b&w
and split-tone, too
Sure, shooting RAW can help you improve a
goofed-up image. But it really shines when
),ou get the exposure right. Using the Adobe
Camera RAW processor that comes with
Photoshop, you can take a good image in aU
kinds of new directions. And because of the
RAW file's inherent fl exibility when it comes to
white balance , YOll c.an get an incredible fange
of re!>ults when converting to black-and-white.
Then, once you get a monochrome you like,
you can even split-tone y our photo for e1t."tra
depth and beauty, all before you eyen enter
Photoshop itself. Here's how to do hath.
Unfortunately for Elements users, its versio n
of ACR doesn't let you do this to go b&w.
But since Photoshop's ACR and Lightroom
share the same RAW engine, you can try these
techniques in Lighrroom instead . The interface
just looks slightl}, different.

OPEN YOUR FILE IN

1 Photoshop's RAW co nycrtcr.
Now's the time t o crop, if that's
part of your plan. And if YO ll aren't starting
with a good exposure, fix it now.

POP PHOTO JUNE 2009 WWW.POPPHOTO.COM

"
_",-, ..M _ _ .. __• ~ <.-

GO TO THE HSLJGRAYSCALE TAB .. d

check the Convert to Grayscale box:. Your nrst
result will most likely look flat and boring, but
we'll deal .....,th that in a minute. If you like the Auto settings
that the program determines, use those as your base. If not,
dick on the word Default to set the sliders to zero.

START MOVING THE COLOR

3 SLIDERS. Begin with the most predominant
color-in this ca!le, green. Move it to the left,
and all the green tones get darker. Move it to the right.
and they get brighter. Then move the sliders for the
less predominant colors. These leaves have yellow-
green highlights, so moving the yellow slider to the
right brightens them relative to the greener midtones
and adds some depth. The flowers are made up of
red. orange, and magenta tones. Move those sliders to
brighten them so they contrast ",ith the leaves.

SINCE THE B&W STILL LOOKS BLAH,

II ~ go hack to the Basic tab to add definition and

contrast. Start by moving the white balance
sliders. You've already set the rdative weight you want
to assign to each tone, so moving these sliders produces
dramatic shifts in contrast. Then fine-tune the contrast
and brightness until your picture looks the way you
want it to. Since this image was so monochromatic from
the start, take advantage of the Clarity slider to add
more contra.s1: in the midtones.

NOW ADD THE COLOR. Click on the Split

5 Toning tab, and address the highlights first.
To make the highlights. a bit wanner, mo)'e the
hue highlights slider to an orange or red. Then move the
saturation slider slightly rightward to see your color. Keep
it below 10 to avoid making it garish. Since the highlights
are warm, cool down the ~had()w~. Pick. a blue tone and
add some saturation to it. The trick is to keep the split-
toning subtle enough that your b&w looks especially rich,
though a viewer might not quite know why. 0

38 WWW.POPPHOTQ.COM pop PHOTO JUNE 2009

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........ CIO
LIGHTING
GREEN~
How to bring
Hollywood home
GreeoS(:reen, Of ~chroma-key," is
one of the oldest tricks in lV. To
fake a background. they just shoot
a subject in front of a green
backdrop, then digitally swap out
the green for anything from a
weather map to a city skyline.
The technique is popular in still
photography, too, for popping
Hawaiian sunsets or football
.stadiums hehind portrait subjeCL<•.
And now that more of our
camera:;-both DSLRs and
compacts-shoot high-quality video,
therc's more interest than ever in
grccnscrecn. Lighting titan EJ.
Westcott has made unlocking your
inner Spielberg almost push-burton
simple with its Photo Basics utite
Video Lighting Kit (S249 , street),
de~igned to be used with Adobe
Premiere Elements 7 ($89, street).
The process of extracting a
subject from one video clip (or still)
and .~uperimposing it on another
WMY.POPPHOTO.COM
By Peter Kolonia
may sound complicated,
hut this kit makes
it easy enough for
grade-schooleN:.
You get aU the
hardware and
software you
need. including a
DVD of foolproof
instructions that
cover how to ...
_ Shoot your
background footage.
While you can use the dozen
or so still and video clips thaI
Westcott provides. you will
ultimately lind them confining
and want to make your owo-
iI 's actually half the fun.
_ Set up your studio.
I n a basement or 93fage.
hang the kit's elastic
greenscreen, getting it pOOectty
taut, or elsa shadows cast
by any wrinkles or folds will
prevent a c lean composi te.
_ Light the screen. Position
the lights so that your subject
casts no shadow on the
background. This usually means
placing the subject---f10 groon
clothing, p lease!-at least 4 feel
in front of the background, and
cross· lighting from the sides.
_ Capture the foreground
footage. Place your subject
left, fight, or centrally so that he
or she will fall correctly into tna
background clip.
_ Combine your clips In Elements.
Export the greenscreen footage from the
camcorder 10 a computer, and open it
and Ihe background clip in a new Premier
Elements project. Drag the background
file 10 Video Track 1. and the fOfegruund
(greenscrooned) clip to Track 2. Elements
should automatically recognize the
greenSCfoon and ask if you want to merge
the files. Chck Yes, and that's all lhere is 10 it.
For inspiratiOrt, search YouTube for
greenscreeo tutorials, and amaleur
featurettes. For more on Ina ulite Video
kit, visit W'WW,ohotobaslcs,net. o
pop PttOTO JUNE 2009
-. -
THE FIX By Debbie Grossman & Dan Richards

... Before
TAtter

I INTO THE WATERI

I Sharafulla Shihab
Male, Maldives
The problem: There's much to
like in this photo-the boy captured
midleap, the off-center placement,
the action moving into negative
space rather than out of the frame ,
and the dynamic backdrop of the
waterfall. The picture. though, is
dark, and the boy could use a little
more detail. His foot touching the
edge of the frame is distracting, as
is the shadov.' at the left.
the boy's leg fully in the frame. exposure compensation would have
What now: We opened the Finally, as the original image looked hclpl:d. But there was plenty of
original RA.W file in Adobe Camera a little too cool, we sd a slightly room to correct it in the RAW file.
RAW and dialed up the highlight wanner white balance. Moral: Shoot RAW:
and midtonc brightness, which was
sufficient to bring up some detail Next time: The major issue Tech info: Nikon 0700 with
in the boy. We also boosted the was the strong backlight-this is a 24--85mm fI2.B-4D AF Nikkor
contrast so the shadows didn't wash typical situation in which the meter lens. 112500 sec at fl3.8, ISO 400.
Ollt. We changed the crop to get rid gets fooled into setting too Iowan Contrast adjustments, Vibrance
of the shadow on the left and keep exposure. About +0.7 to +1.0 EV added in Adobe Photoshop CS4.
WNW.POPPHOTO.COM pop PHOTO JUNE 2009
 "Before
After~

I INTO THE AIRI

I Marv Kaminsky
Flanders, NJ
The problem: Again, a dynamic
composition, with good use of
Holds .J
laptop New
negative space, and captured at a
(hoo boy!) peak moment. While
the photographer made some good
Super-Sized
adjustments to get detail in the
bike and rider, we'd like to see a
Adventure 10
little more. We also think that the
pholographer's crop places the
rider just a little too close to the
center (and you know how the Fix
Team feels about that),

What now: We cropped a little

tighter and went with a more
traditional 4;3 aspect ratio. We
think this makes the rider appear
c\'cn higher in the sky and puts
him closer to a Rule of Thirds
placement. if you worry about
things like that. Using Photoshop
CS4's Shadows/Highlights tool.
we brightened the shadows and
brought up the midtone (;00tra5t
for more detail in the subject T amrac's Adventure Series photo backpacks are lightweight,
overalL We found that this left uniquely designed bacltpaclts with discreet, foam·padded
the tires and rider's boots looking compartments for camera gear and large top sections for
a little over-boosted (that is, other stuff. The Adventure 9 and 10 al<;o have a S€parate
grayish), so we also made local compartment to hOld most 1r screen laptops
Curves adjustments for a better
black in those spots,

Next time: Crop a little more

aggressively, and shoot RAW to
maintain more information in both
highlights and shadows.

Tech info: Nikon 0200,

18-20Omm £13,5-5.6 VR DX AF-
S Nikkor lens, 1/250 sec at f/16,
ISO 400. Brightness and contrast
adjustments in Photoshop CS3, 0

• Fundamental.: Contrast of
colors and t."tures, vantage point,
Rule of Thirds composiUon.
• Contrast: The tree roots are
essentially monochromatic, hard·
edged, and lit by contresty dappled
sunlight. The foliage and sky 8re
airy and pastel . This creates a
visual tension that keeps your eye
moving around the trame.
.Vantage point: Choosing
a low point of view and shooting
vertically with a wide-angle lens,
the photographer accentuated the
foreground roota so that they look
nearly sculptural. This also leads
WWW.POPPHOTO.COM
•
the eye up into the 'rame. The
use of hyperfc:K:ol depth of field
helps her., too.
.Rule of Thirds: The horizon
line is off-center, ilnd the focal
point of the composition-the tree
trunk- lands al just about the one-
third verticall.ve!. 0
pop PHOTO JUNE 2009

featured doudsapes. J don't shoot
foliage either, c~ciaUy on windy days,
because leaves and branches rarely line
up from shot to shot.
Work the scene. When
2
you've found a suitable subject,
use an unusual vantage point
to showca~ it. The super-low camera
angle I used for the shot on the
Fire an SLR
previous spread makes the church
loom large in a way that suits the
Strobes painterly aspects of HDR.
Move on to
6
postprocessing. Cot
your shots? ~ most poputar
tone-mapping software packages are
Adobe Photoshop CS4 ($640, street)
and HDRsoft's Pholomatix (599.
dired: www.bd(soft.MUn). I prefer
Photomatix, and use Photoshop only
for final touchups.
Fine·tune the software.
7
In Photomatix. I avoid the
default settings because, for

3
Gather your gear. Start
with a tripod to keep your
composite images aligned and
sharp. Also, g~t a cable or electronic
remote relea~ for your DSLR, so that
you don't touch it (and nudge it out of
place) between or during exposures.
Set the camera. Shoot
me, each image requires its own look.
In general, I dial in relatively high
values for Strength. Color Saturation,
Luminosity. and Light Smoothing.
This u:mally results in an image that's
too light, which 1 correct by cranking
up the Gamma setting.
Finish in Photoshop.

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4 in aperture-priority mode at
the same f-slop so that each
image has the same depth of field,
and autooradr:et to produce various
exposures with a minimum of fuss.
Record it all. Shoot RAW
5
and check histograms to help
capture a full dynamic range.
Make ~ure your histogram's under-,
nonnal·, and overexposed curves are
to the left, center, and right of the
exposure axis, respectively. Strh·-c for
some o\'cnap of the cUJ"\'es, and if
you're not getting it, add exposures
to the autohracketing sequence at
appropriate intervals.
. WWW.POPPHOTO.COM
S My last move in Photomatix
is to fine-tune the overaU
color temperature. Then I open
the file in Photoshop, where I
tweak contrast in Levels and CUnlCS,
before a final sharpening.
Besides the surprises, there's
something else T like about HDR:
The look on people's faces when they
first see the imagesl 0
Amutld Nfdlat!d. a computeT (TIKlHur, lim
in TrondJxim, NClTYI'aJ• .."jib his Mre attd'
cWughltT. Fm mort Df his HDR imagtS. visit
'MfI". m,hr.rum/ghmqslqmulldn.
!lOP PHOTO JUNE 200SI
 NE
_ .....- SKILLS

-HOWTO ...
Show motion
with flash
Jfyou take a flash photo with a slow
shutter speed, a moving subject
will appear as a sharp image amid
a blur, an effect called ghosting.
It can be used to depict motion
"
---
- - -
dynamically within the frame. But
there's one problem: Because flash
syochroniution usually occurs at the
beginning of an exposure. forward
motion will look like it's going
backwards as the ghostly blur extends
in front of the subject.
To remedy this so t he blur trails
be hind, set the flash to trailing
WWW.POPPHOTO.COr.1
.-r
sync. Also known as second-curtain
~ync. thi:.
mode fires the fllUih ncaf
the end of the exposure. On your
camera, the control can be found
anywhere from an enerna1 switch
to a menu selection. so check your
instruction manual.
Try shutter speeds in the 118-1/30·
sec range for walkers, run ncr..,
pop PHOTO JUNE 2009

cyclists, or skateboarders, "The faster
the motion, the longer the blur trail
will be, Slower shutter speeds also
elongate the ghost, If you want the
effect of frantic motion, pan with your
subject at a slightly slower rate than its
speed-this will add a streaky, smeared
background. As with many special
effecu in photography, practice is key.
I"OP PHOTO JUNE 2009
objects behind the glass. Shooting
architecture? Cutting reflectivity can
enhance a building's appearance,
You can also reduce or eliminate
reflections and glare on water-
deepening the blue in sunlight and
allowing you to capture what's
under the surface, With a h\i.st of
the polarizer. enhance the greens or
yellows or reds of foliage and flowers .
[t can even cut atmospheric haze in
broad mountaintop scenics.
With any SLR, or any digital camera
that ~ live view, adjusting the polarizer
is simple: Just roUte the filter until you
get the look you like in the prism finder
or LCD, Keep in mind that a polarizer
can't completely eliminate lopcctral
reflections-highlights with no tone at
at1~special1y those coming off metal,
- HOWTO ...
Separate autofocus
and meterina
By default, DSLRs IIU~OCUS and
meter the exposure ~imull.aneously
when you press the shutter button
halfv.'ay (or all the way) down, But
sometimes you don't want to meter
and focus on the same thing. And
sometimes you want the button to
activate only the shutter.
Say you're shooting tenni.!> on
a variably cloudy day. Since most
players dress almost entirely in white,
metering off them .....ould result in
serious underexposure, and the moving
clouds wou1d likely require frequent
rcmetering. You'd also want to pick
a pointoffocus that doesn't change
when you press the shutter button,
In a situation like this, first set your
exposure manually: Press the shutter
button halfway to meter, then dial in
the aperture and a shutter speed fast
enough to captUre the action, Pressing
the shutter button now will not change
your exposure, so you mu.tt meter and
adjust again when the lighting chang\!~,
Next, hunt for a button mo.~t DSLRs
b.n·c on the back-u.!>ually within easy
reach of your right thumb----that can be
- HOWTO ... customized to activate AF. On Canon
Get the most DSLRs, it's marked with an asterisk;
from your polarizer Olympus models label it Fn. Using
Most people use a polarizing filter to the custom function menu, assign AF
enhance blue skies, but you shouldn't to it (Nikons have a dedicated AF-on
overlook the purpose for whkh it was button already), and you can u.~e this
invented: controlling reflections. When to set your point of focus independent
you photograph a window, it'll renal of metering. auto or manual.
WWW.POPPHOTO.COM 53
-HOWTO .. .
Straighten out
a skyscraper
Sand at the base of a tAli building
and look up. You see the building
narrowing as it gets higher. hut your
eyeJbrain computer aUov.'S you to
perceive it as pcn«:tJy rec.tangular.
But take a picture of it. especially
with a wide-angle lens, and it will
look too wide at the bottom and too
narrow at the top. This perspective
distortion is called keystoning, after
the trapezoidal building block.
Serious architectural photographcn
use tilt-shift lenses or view cameras to
deal with k.eynoning, but you can often
fix the picture without pricey gear.
The trick is going to an even wider
focililength. \1ove back as far as you

Sol WHW.POPPHOTO.COM POP PHOTO JUNE 2009

 - HOWTO ...
Set the riqht
white balance
Think of your canlera's whi~­
balance (\VB) seUings as a ~et
of electronic color filters. 1bey
counteract color caltts in the existing chilly blue light. The Tungsten
light to render iI neutral or ncar-
neutral color balance in your photo. to compensate for the yellow of
Automatic WB usually works
weU, but there are times when it
pays to set it manually: In a scenc
with a single predominant color,
automatic WB can be fooled into
overcompensating-throwing an
..... HOWTO ...
Dive in using
a compact
O ne of the hotlest current trends
is also wet: Compact waterproof
cameras that can capture photos
and video while submerged .
(See High 5, page 16, for some
of the top new models.) But
shooting underwater requires
some special tccl1niques to get
the best pictures!
_MOVE IN, Light falls off much
more quickly underwater than in
air. so get cloSe!' to your subJec~
than you normally would. Having a
wide-angle lens with good close-
focU$lng capablli!le$ Is a particular
boon below the surface.
_FOR GET THE FLASH. Don't
count on your buill -in fiash to add
light. Since it's so cIo!l& to the lens,
it will illuminate any small particles
between you and your subject (an
effect called backscatter).
_CHECK YOUR WHITE
BALANCE. Some waterproof
can while .~t ill keeping an unobstructed
view of the entire building, and shoot with
the camera perfecdy level. (A hot-shoe-
mounted bubble level helps with this.)
Sure, you'll have a whole expanse of
unwanted foreground at the bottom of the
frame, but that's what cropping is for.
pop PHOTO JUNE 2009
amber filter over a field of dense
blue flowers, for example. And in
some scenes rou may "''ant a wanner
or cooler, rather than neutral, tone.
The simplest manual WB setting
is a preset. Cloudy WB acts as an
amber warming filter to counteract
preset acts as a strong blue filter
household incandescent bulbs. The
Fluorescent preset uses a magenta
tone to cut down the green color
c.ast. of standard fluorescent lights.
Most DSLRs also let you set WB
in Kelvin color temper.ature. The
camel'as haVil more than one
underwater we setting because
what's appropriate for a swimming
pool drffers from What you'd want
while snorkeling in the CaribbeM.
_ GET CREATIVE. When
composlllQ underwater. make the
most of what you've got. In a pool?
Try capturing the bubbles that form
when someone dives in. Also try
shootll19 up lrom just below the
surface, as partially submerged
subjects provide a perspectiVil
you'd never get on dry land.
_USE THE STRAP. Most
waterproof compacts can be
submerged only to 10-33 feet
while malllt81nlng their watertight
seals. II you drop the camera. It
might Sink down too far. so attach
8 strap or flotatIOn device. Want
both? Olympo$ makes a floating
wrist strap for its underWater
compact models.
_KEEP IT CLEAN. Always rinse
your waterproof camera in plain
waler when you're done, to clear
out any chlorine or salt water.

~HOWTO ...
Take high-key
portraits
High-key portraits pose Iight-
hued subjects against white
backgrounds, with important
subject contours defined by
shadows---exactly the opposite of
low-key, in which a dark subject is
defined by highlights. The high-
key effect is one of vi~ual and
emotional lightness and simplicity.
This technique suits young
children, romantic rendering.~,
and anyone with problem skin,
Your subject's expression should
be happy or at least neutraL It's
56
, setting up portrait shoots to
countcrproour.:tivc to use high-
key to convey depression, anger,
or uncertainty, and inherently dark
suhjects (your Goth cousin, say)
re ..ist the treatment.
Because you will be reproducing
the facc as light as po~sible, it often
makes sense, especially for women,
to use a light application of eyeliner
andlor eye shadow so the eyes don't
wash out. (This works for children,
too.) And use a light red lipstick,
even for men and children,
Err on the side of overexposure,
Push the histogram to the right, and
if it falls off the chart, no worries-
with high-key, losing a little highlight
detail is often a good thing.
WWW.POP PHOTO.COM
higher the number, t he warmer
(yellower) the filter: the lower the
number, the cooler (bluer) the filter.
Many cameras let you usc a Kelvin
l>ctting to fine-tune the \VB presets.
Finally, you can create a cu~tom
WE. Place a photo gray card (not a
white card) in the light fall i ng on the
scene, and make a WB reading with
your camera. (The procedure differs
from c.unera to camera, so you'll
have to consult t he manual.) You
usually can nne-tune this setting
with the Kelvin controls.
Of coune, if you shoot in RAW
fonnat, you can fiddle Yo,th WB
when you convert your files.
-HOWTO ...
Shoot.flattering
portraits
Save hours of image editing by
minimi7.e your suhjects' flaws. Here
are common issue~ and their fixes.
_ PROBLEM SKIN; Zap wrinkles Of
blemiShes by positioning your main and
fill lights just above the camera position
(one ri9ht. the other left), overexpose,
and reproduce the image as high-key
as possible. Avoid side liU and keep
your SUbject from smiling. Try a subtle-
but-effactive soft-focus fi lter, such as
Tiffen's Soft FX 3 (from $40. street).
_ BAGS UNOER THE EYES; Use front
light only, with lights at eye level. Lift the
camera slightly. and have your subject
look up Into the lens wh ile keeping thE!
chin down. Apply a little foundation
makeup under the eyes, even on men.
_ OOUBL.E CHIN: Shoot clown onto
your subject from slightly above.
Ask your subject 10 lift the chin whHe
looking up toward the lens, and
position your lights as high as possible
to throw the chin into shadow.
_ WEIGHT ISSUES: Gil the camera
to eye level. and try to light the face
exclusively. lelling the body go into
shadow. Crop out as much of the body
as possible, and dress the subject in
clolhes that blend with the background.
For tight head·and-shoulder portraits,
have the subject turn slightly away from
the leos, and ligt1t the far side of Ihe
face, so that the broader, near side of
the face is in shadow.
_ LARGE NOSE: Shoot straight 011 as
your subject looks directly Into the lens.
Light so the nose casts no shadow.
pop PHOTO JUNE 2009
_HOWTO ...
Feel the noise
Somdimes there ju~t isn't enough
light. Maybe you're shooting in a dim
place: where you can't use a £lash, or
maybe you r camera's weak pop-up
will make things worse rather than
better. So you crank up your ISO and
get what)'<lll can. The result? Lots of
noise, and an image almost too dark
to print. ""'hen you brighten it, the
noise only lx.'ComCl> more apparent.
Instead of trying to ignore the
noise or clumsily reducing it, work
with it. Convert the image to black-
and-white and disgui~ the noise
as grain-think old.,chool. push-
processed, fast b&w ftlm.
If you're using Adobe Phol.Oshcp
Elements 7, surt by going grayscale
using the black-and-white converter
uncler the Enhance menu. Usc Levels
to simultaneously adjust hrightness
and contrast. Bring the black and
white point sliders (the ones directly
uncler the histogram) closer to the
center to add contrast. Then move
the gr.ay, middle slider to the left to
brighten the image. You'll get a gritty
black-and-white, and no one ""iU
guess you didn't plan it all along.

-HOWTO ...
Make crowds
disappear
Yes, you really ca.n make people
disappear from a crowded landmark
or cars vanish from a highway. Just
buy an overall neutral-density (ND)
fiJter, whose gray tone cuts light
without affecting color in the scene.
(Street prices stan at around 520.)
The trick is to usc an exposure
time so long that anyone walking,
running, or even dawdling in the
frame blurs out completely. If they're
moving relatively quickly. a 10-
second exposure might ....,orl.:. but
.HOWTO ... he captures a beautifully blurry
shot entirely in h.is camera using a
you'lI usually need anywhere from 30 Lose your focus lens that focuses m.mually. Usually
seconds to several minutes. For a picture that feels more like sh.ooting at twilight or in very low
For instance, an overcast outdoor a tone poem than it does a news light, he hand holds for expo:>ures
scene typically needs an exposure of report. try throwing your entire that can run a'l long as 5 seconds.
about 1/8 sec at ff.22 and ISO 100, image out of focus. How does Yanlrus know when
too short to rid it of people. To get That's the starting point for he's reached the right level of
the exposure to 30 sec, you'd need to fine-art photographer Marc Yankus defocus? Instinct. "'When I'm
cut light intake by 8 stops or so. (www.marcyankus,cQm) in creating taking it out of focus . at a certain
If you're shooting in a truly such images as ""lower" (above). point the image starts to hm'e a
dim environment, you may not Although his artwork involves a poetic feel to it, ~ he says. "It starn;
m.'Cd an ND filter at all. So indoor lot of work with imaging software. to be in focus in my .....,orld ...

pop PHOTO JUNE 2009 WWW.PQPPI-IOTO.COM

"
 ~paccs lend thcm~lves more to this
technique. You need a tripod, of
course, and you should set the smallest
aperture (largest (-number) you can.
How much ND to use? Each 0.3 of
density will eat up 1 stop of exposure,
and each stop doubles your exposure
time. So, if the right exposure without
a filter is 1 sec, a 3-stop reduction in
WITHOUT NO FILTER
light will let you shoot at 8 sec.
Filt~r makers produce NO filters
up to a humongous 3.0 density, or
10 stops--that will take your 1 sec
exposure to 1,024 .sec. or 17 minutes
and small change. Singh-Ray makes
a Vari-NO filter that can be dialed
anywhere from 2 to 8 stops of light
loss. (It's pricey though: $340 and up.
10 WITH ND FILTER
direct; ~nghray-,-o;Qffi.)
With too much ND, you may not be
able to see through the viewfinder, and
it may be too dim for your camera's
meter and AF. So compose and focus
with the filter off the lens, take a meter
reading. and double the exposure time
for every stop of light your ND filter
will eat up after you've put it on.
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-HOWTO ...
Take great portraits
on the beach
A sun-filled day at the beach can be
heavenly, but it can also be exposure
hell, especially for portraits. The light
is glaringly bright and the shadows
dismally dark. A common .!>cenario
has the subject turned away from the
sun to prevent squinting, throwing
his or her face into deep $hadow.
With so much dynamic range to
cover, if you meter for the shadowed
face, much of the sunlit background
will be overexposed by several stops.
Remedy this by posing yQur
subject seated on the sand, using
it as a giant reflector. Or use fIll
flash. either from a built-in or shoe-
mounted unit. Start in your favorite
60
autoexposure mode, then dial down
the background using exposure
compensation, Start at -0.5 EV, and
keep going until background colors
are rich but not murky.
\\'hen you've found an c}l.posurc
for the overall scene. add flash
for your subject. If you uwn a
LurniQuest. Ken Kobre, Gary Fang,
or similar diffu.'OCr, pop it into place.
Start with flash exposure camp at O.
then try +0.5 or + 1 EV of additional
flash fin to brighten your subject.
(When the flash calls attention to
itself, you've gone 100 far.)
Want to mimic the effect of
backlighting but still have detail
in your subject's face? Reverse
the compensation: Dial up the
background by 0.5 to 1 EV, and dial
down the flash by-O.5 to - 1 EV.
WWW.POPPHOTO.COM
•
I
I
<II1II HOW TO ...
Center your subject
If you've ever taken an intra
photography COUfSe---<)t read
The Fix-you've heard this many
times: Never put your subject in
the center of the frame. Instead, •
you're told to compose your image
according to the Rule of Thirds by
placing the most important element
one-third of the way from the top
or bottom and from either side.
Feeling rehellious? Put,YQUf
subject sm.1ck-dah in the middle,
then crop to a perfect square. This
works perfectly with round subjects
such as sunflowcD, dock faces,
and domes interiors----particularly
if you crop in tight enough for }'OUf
subject to fill the frame.
With a portrait, whether of man
or beast, leave a little breathing
space around your subject to avoid
a feeling of claustrophobia. And,
while the subject as whole may be
centered, the picture still follows
the Rule of Thirds-look at where
the eyes and mouth (or. in this
case, nose) wind up.
-HOWTO ...
Depict architectural
detail in seconds
Architectural details, such as the bases
of columns, moldings around doors,
pedestals, and balustrades can payoff
CONTIN..JED O'J PAGE 88
MY PHOTOS MADE A
Three photographers share their inspiring stories
Can a photograph change of a lens in the right. place at the right cause, whether across the globe or
the wo rld? A single image can touch time, or one photographer's passion dose to home, can have a vital impact.
or amaze us, and sometimes awaken to open people's eyes. And although To show you how, we tracked down
us to something importa nt. Such pictures alone won't change the world, three exceptional photographers
extraordinary photos may ~ the result one thing's certain~just taking up who've made a big difference-and
your camera and getting behind a many little ones along the way.
 I By Lori Fredrickson
I
"I realize that photographs
cannot change the wood in one fell
swoop,· says Ed Kast1i. "But they can
change people's minds, and isn't that
where change begins?"
The 52-year-old photOjournalist has
spent 30 years documenting conflict and
civil war. And with his wife, Julie Winokur.
Kashi now creates advocacy projects ttJat
include books, 9l1hibits, and f~ms.
From 2004-06. National Geographic
assignments brought him to the Niger
Delta to photograph the oil industry. The
poverty of villages near the oil wells,
toxiCity of the environment, near-anarchy
of government corruption--all in the
wol1d's Sixth-largest oil-producing nation-
made him wOf'tde( how this was possible.
"In Port Harcourt, there's billions of
dollars in oil wealth and no paved roads,"
Kashi says. "About 90 percent of Nigeria's
wealth is derived from oil, but this is the
poorest part of the country. It's one of the
grossest examples of social injustice that
I've seen." He adds, on's something that
affects evetyone, not just Nigerians."
Kashi documented the villages, oil we lls,
and activities 01 MEND, a local group that
~shuts-in" wells in a campaign for (ocal
resource control. His images are beyond
diSIUfbing: women baking tapioca on oil
flares, vilJagers cleaning up 011 spills from
neglected wellheads. their dwellings built
around galed oil-compMY facilities.
Some of these made it into National
Geo, but the full impact was published
in Curse of the Black Gold (powOOiouse.
2008; $45), a book he did with the help
of scholar Michael Watts that iocludes
essays and interviews by Nigerian writers.
Now, he says, ~unlversities are teach ing
the boolI., activists and NGOs are using
it, legal teams are
using the images as
evidence against the
oil companies. Olllam
has commissioned a
[traveling! panel 9I1hibitiOl'l."
And the project has expanded into
multimedia and video, (To see more, ViSit
www.curseoftheblackooldbook.com).
Kast1;'s photos dkin't change things
ovemight lor Nigeria. but they did lor
14-year-old Paulinous Uko, shown here
wOfklng in a field where animals are
slaughtered, heaped in a pile, then roasted
Ofl toxiC fires fueled by discarded rubber.
After lt1is photo ran In NatiOnal G90 in
February 2007, Kastli got an e-mail from a
woman in Smithtown, NY, who had been
touched by it. So touched that she had ~
church group cootact Nigerian churches to
find out who and where the boy was. And
she began sanding him money to help him.
With her original donation of $500, the
boy started attending sctlooI, and he and
his benefactor in America have been in
regular corraspondeoce since.
~tt's one 01the things about
photOQfaphy that rejuvenates me,n!<ashi
says. •You can have a SingtJar experience,
but it's also a tni~ language.
ThIs IS <V1 eKafT'4l'la wtlere it's
achieved both."
Photographer Mona Reeder
was finiShing a story for the Dallas Moming
News on homelessness when a social
worker handed her a set of statistics from
the state comptroller's office: state-by-
state ranklngs on SLJch social issues as
teen pregnancy and high-school dropout
rates, voter apathy, and medical care.
With a career dedicated to socially
concerned photography, she had already
covered these topics individually. "But the
impact comes when you see all of these
things together, and see how low Texas
ranks, · she says. "II's a V9fy wealthy state,
$0 you wonder. How could this be?"
This was the birth of her photo essay,
"Th e Bottom Line," a Pulitzer Prize finalist
)t was a long timl! in the making. Papers
rarely take photographers seriously as
Journalists, Reeder says. "They feel that
the ideas should only come from the

" WoNW.POPPHOTO.COM pop PHOTO JUNE 2009


get someone 10 ouy Into me concept. -
When an editor finally did give her the
go·aIlead. it was to wOr\( on the project
on her own time-after her daytime
assignments for the news desk. and
without the assistance of writers.
pop PHOTO JUNE 2009
mat list 01 ranl<lngs ana oocument all 01
them. Poverty in South Texas. Children
without medical insurance. Teen mothers.
Teens in the juvenile justice system.
Families suffering the effects of toxic
emissions. The wor\(ing pooI'".
WWW.POPPHOTO.COM
"I spent weeks and weeks
doing research and getting
access to prisons, lor e:o:ample:
she says. "I made countless
phone calls. I'd cootact all kinds
of advocacy groups, activists,
and outreach groups. II took 3 or
4 weeks just to get to ride with
Meals on WheeI$, w wh8f8 she
eventually found a family wi~ing
10 open up to her as a sub;ect.
The vast scope of her project
helped open the dOOf. With such
insliMions as tile Te:o:as Youth
Commission, MI had to talk about
the project in its entirety to make
them underntand it was about
the state rather than just them,
so that they realized that they
weren't under the gun and going
to be targeted," she recalls.
And to convince her actual
subjects-the families she found
through various organizations-
to take part. she had to convey
tt1e importElI1ce of her project.
She worked nearty every
waking hour tram January 2007
until right before her photo essay
ran in the paper ()fl December
23. She wrote all the captions
and even created audio fOf a
multimedia project posted on
the newspaper's websita (see it
at WWW dallasoews coml~ws,l
photooraphvaOO7/bonom!ineO.
Although the effects are hard
to measure, her photos brought
attention to the groups she
featured. Says Lynn Sipiora,
director of a Collins County
homeless shelter Reeder
depicted, "Anytime we get press
coverage, we're able to raise
public awareoess. Which always
increases community support"-
COf"Ilributions and volunteern.
But Reed&r hopes 10f" greater
changes. She sent copies of
the story to Te:o:as officials,
including the governor, state
senators, mayors of every major
city-and also to the presidential
candidates and the White House.
'lEI Morning News plans to print a
Special edition 101" the Texas legis~ture.
Reeder's grueling e:o:perience has
only motivated her more. "One thing the
project taught me," she says, "was that I
could accomplish almost anything if I was
honest and sil1Cef& about it."
65
MY PHOTOS MADE A DIFFERENCE

"I didn't go into it with a
big political idea," says Subhankar
Banerjee, 42. "People think of the Arctic as
this very cold and lifeless place-I wanted
to shOw them differently."
SliM, the photographer found his wor1<
at the cooter of a political storm when,
during a 2003 debate in the U.S. Senate
on oil drilling in the Arctic National Wildlife
Refuge, California's Barbara Boxer
whipped out his wildlife photos to retute
Alaska Senator Ted Steveos' claim that Ihe
refuge had no Wildlile to protect
This was far more attention than lhe
India-born Banerjee had eyer expected

" WWW,PQPPHOTOCOM POP PHOTO JUNE 2009


when he quit his job al Boeing in 2001 10
pursue his pasSion for photography.
Dreaming of creating a major photo
project, Banerjee was drawn to Blue Earth
twYiw..blu~arth,Qrg), a nonprofit that
pop PHOTO JUNE 200Q
supports and funds socially concemed
photography. Undef the guidance of one
of its 10und9l's, Natalie Fobes, who had
shot In the Arctic, he studied the region's
wildlife and immersed himself in what he'd
WNW,PQPPHQTO_COM
planned as a , 4-month project.
E~ht years later, he's slill at it
His first night in the Arctic,
the \hemlometer dropped to 90
00101'1, and for an instant Baner)ge
thought about giving up. But haYing
surviyed the night, there was no
turning back. He spool more than a
year trayeling throughout the Arctic
National Wildlife Refuge, capturing
the colors of the landscape, the
migration pallerns of caribou and
whales, and the Inuit societies that
have subsisted in this ecosyS\e(!'l
for hundreds of years.
Upon his return, he published
his photos, with the help of
Blue Earth, as Arctic National
Wildlife Refuge: Seasons of Urn
and Land (Mountaineers Books,
2003: $40) and landed an ellhibit
at the Smilhsoniar1 Institution's
Museum of Natural History. This
may be how BOller got wind of his
work-which was moved from its
designated spot in a main-floor
rotunda to a much smaller space
in the basement after the infamous
Senate dust-up. While partly thrilled
by the publicity, Baner}ee says
he was u a nervous wreck. I had
depleted all of my sailings on the
Arctic trip and, at the time, I was
not yet officially a U.S. citizen."
But tlla experience pushed
Banerjee into advocacy. "From
2003 to 2006 I was on the road
aU the time, giving lectures and
exhibiting the wOli<," he says.
Then he went back to his first
love: Photographing at 90 below.
Now he trayels not just the North
American Arctic btlt Siberia, lugging
medium-fonnat film cameras that
don't have ballenes that might
freeze (though the film sometimes
does); a Mamiya 6x7, Fujifilm 6119.
and two Fuji GSW 690s.
Oil drilling in the Arctic National
Wildlife Refuge remains a politiCal
hOt-potato, bIJt it hasn't happened
yet And Banerjee hopes that
his wOO;. will help show why this
unique and beautiful habitat must
remain untouched. ~It's aesthetic
as well as journalistic,~ he says.
"' don't want to show people in a
strict photojournaiistic way and make it all
about informatiOfl. If you giv9 people just
infoonation, they 'Ofget it. I want people to
imagine the Arctic otherwise.- 0
67
TEST OLYMPUS E-820
HIDD
More than meets the eye
So you want a full-sized
DSLA. but something in you-such
as your vsrtebra&-is telling you that
it's not a good idea.
Olympus fools your pain, as it has lor
a couple generations of compact DSLAs_
The latest , the E-620, has a body that's
no bigger than a pack of ramen noodles
and weighs just 1.04 pounds.
That's several cubic inches smaller
and-most important-nearly a quarter-
pound lighter than the just-announced
Nikon 0500J (see page 76), Doesn't
'"
sound like much of a difference? Tell
yoursetf that after a day of playing "I
want to be Ansel AdamsH at Yosamtte
National Park.
And like Its body, the E-620 is fairty
light on the wallet. Body only: $700,
street. With a 14-42mm t/3.5--S.6
ZuiKo lens, $800. With that lens and a
40-150mm 1/4-5.6 Zuiko, $900.
~pite its compact size, the E-620
is loaded. In fact, it's a bit smalier than
jls Olympus predoc9SS0r, the E·520,
yet has everything the E-520 did and
more: Sensor-shift image stabilization
(our tests showed about 2 stops of
WWW.POPPHOTO.COM
WHAT'S HOT
_Small, light body.
_2.7·lnch LCD tilts and
swivels. _In_body sensor-shift
Image stabilization.
WHAT'S NOT
_Noisy Imaging lit ISO 1600
and 3200. _ Multiple eAPOsures
limited to 2 frames.
_ Only one command wheel.
WHO'S THIS FOR?
_ Four Thirds fans (and
confirmed still shootersl who
want a small yet powerful D5LR.
handholding leeway). 12.3MP in the
Four Thirds format (2X lens factor), live
view, 4-lrames-per-second burst, and
a 2.7-inch 230.000-dot LCD on a flip-
out/swivel-around mechanism, which is
clearly a good idea (just ask Nikon).
Fistful of camera
What's the downside of the smal'
size? Ergonomics, you might say.
But 110. With a prominent grip on the
right front of the body. and a pad for
your thumb on the back, the E-620
gives you comfortable control to
create any composition. Even big-
POP PHOTO JUNE 2009
 • ON THE TOP: Th& fingered lumberjecks won't feel like
I11CIde ciaI, eKpo5Ure girly men trying to take hold. For a
oomp. oommond better handhold--especially for portrait
wheel, and shutter shooters-try the add-on vertical grip
release occupy the ($t66. estimated street). While that
right-hand aide, while adds to the mass, it nearly doubles
flash and drive mode your battery power,
buttons are found From whal we can see, Ihe real
to the left 01 the downside of cramming so much
viewflnder. camera into such a small body is noIse.
Heal builds up around the sensor, and
there isn't much that can be done to
draw it off with so lIttle real estate. Let's
not overstate the case, since much
noise can be removed in postprocessing,
but it is an issue. In oor tests in the Pop
Photo lab, the E-620 had a noise score
of 1.7 at ISO 100 for a rating of Low.
stepping up to a rating 01 Moderat&ly
Low with a score of 2. I at ISO 400,
and reaching Unacceptable levels at
ISO 1600 and 3200 with respective
scores of 3.2 and 4.8. All of these
numbers were d8fived from TIFF
files developed from RAW files WIth
Olympus' RAW conversk)n software's
noise reduction set to Standard.
Compare that WIth the new. small,
$520 (street) Pentax K2oo0. which had
scores of 1.1 at ISO 100, 1.6 at ISO 400
and didn't reach Unacceptable levels

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, - - - - - - - - UialNoriee
If you purchased an ATI graphics card,
you could be entitled to bencfiiS
under a dU8 action settlement.
A proposed senlement of. d,,>IS .ction I.....suil
may affec:t )'QII if, whik residing in the Uni(W
Stales during the period JUl\W}' 1, 2003 to
March. 31, 2006, you purchued o:xoe uf~ All
Krier of BBphin cards li~ below fM your
own ptT1(ITIIIlll$e and 00\ for rcIIolc::
Radeon$ oMeo 93SO, 9300. )1.700. ,,800.
d$O, ~UOO, .tl600, x1800 Of xl900; All,in-
Wondcr«J aeries '>'800. 2006, x600, "goo,
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To be eli,ible to wbmit I cla.im,)'OIl muS! have
purchucd <nx or more card.. tlw _re bui ll by
or fOT ATI, nm by or for &nOlMr cornPll"Y $\lCh
as AJua. DiamOlld.. Gipbyle. I'Ilil, Sapphire,
or ViiionTck.
Please read thia entire oolice completely ..
it .rr«:t.yow legal riPts. The CUIUI
authorized publication oftllis notk'c_
WHAT'S nils AB OUT1
The plaintiffs in !he lawsuit clai m INi I ATI
Mvenisee or mukete.:l the VSflhicl cards li~ted
above .. be ing "HDCP ready,~ or ot/'oci'Vl'Ue
«>nfotmillg to High·band .... 1dth Diiital COllltnt
PrcIccuon l"HDCP'} speei~ fer Ir'aI'Cl'Iissio
of HDCP oonlcnt, an arnibule they c laun the
~ did not or C<.>Uid not have poueuN. ATI
deni.:tl the alkptioru; and hat UIIerted many
dcfcIIsn. The Court hall 1101 made lilly findinp
00 thil iuue and the senlemeDt Iii not an
admit.sion of wronploill8 by all)' part)'.
WHAT DOES 1HB SETIU!MENT PROVIDE?
f~ CIICh &UtIui=I daim you Rlbmit. )'OIl will
rocciv~ one: new Raicoor4l 4650 S12MB PCJ
~ ~ .:aN {if 55~ ~ &wee IIIIIiIIrimd
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55,SOO and Ie$ dian 7 L ~l ~ daUnt ~
!lbruOO(lj; ~. ~ !hart: 0( SJ IIliIlim if ~
1han 11jOO AIIIhori:Dtd claims ICC submiacd. f~
~ iflh=.c 71,501 whoriz:CIdclaims. cadi
IIlltborizaI cIaimanI wiD Tted....: • clJcdc in the
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w iIlbmili.
WliA T ARE YOUR OPTIO NS?
Remain in the Clu, ali4 lubmil I claim: for
I dc:t.iJcd notice and cbtim form ~ call10ll
Ute L-388-)()9-9S61 nr go II) A'TIClucActiorux
YOIU claim mUSl be postmuked Oft or before
ALJIUSI 10, 2009. Cbim Fonns IlOl mailed by
Ihil date .... ill be rejected,
Objecl 10 al l or &Il)' portion o f the propo$Od
KI1!cmcnl: The Coun "'ill bold a IIarin3 011
Augw;t )1, 2009, al 9:00 I.m. to consider
(a) the faime., n:a.<:ooabl~n.::u .nd WeQ\lIlCY
ofw propoaed ~ulement; (b) the dismissal of
tt.e case with prejudice 1$ to all dc:fendallts and
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an award ofauomeys' (ees. rom and e.1.pCnK:S
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appear al &be hearing, bul yoo cion', Iuove to.
An)' objecliold to !be pn;IpOIIoed ~Iemcnl mun
be IlbnitI!:o.t II) me: COUI:I ..d tbe pnes no ......
tIan ~ 10, 2009. The delailed ootict
explainl more fully how In ohj«1 10 Ihoe
Jl1I:'I'POS¢d tctllnncnl.
(}pi:OUI from !he Class: If yoo "..ant 10 be
excluded t'rorn 1hr au.
lind !be JII'IlPOSC'd
K11IemmI, yoo must $Ubmit 10 Ow CouiISCl I
requesllO be c:llcluded~ by A"i\* 10,
2009. If )'OIl c:lleluck- ~ffrom the CIas&. you
wiD DOl reoeive.llll)' ~fim of the aulemmt
Do 1IOChiDt:: Ifyoo do nothin&.)'011 will stiD be
bound by ilIc: 1mm of tbc PfOp()«d IeItlcmcnt
and you 'III'OIl', be abloe \0 _ the dc:fmdanta
IbOIII IIle leall cb\.im& in this cue.
Tbil i l only • I IIlWIW)' ooIicc. To obtain .
detaIled notice cootainiog additional informalioo
on the propo:wd sett ltmtnt MId each of these
opIlon&. please call 1011 froe 1-88g,3CJ9.9S67 or
10 10 AilC\u$AClioo.oom. You may alIo wri~
10 Plaintiff,' CouaxI: S<:otI A ~ of
KambuEdebon u.c, II ar.:..dMy,22ncI Floor.
New YOlk. NY ](10(104: Of o.vid C. Parisi,
P1\rio; &; Havens ll.P, 15233 Villeyheut
Drive, Sherman Oab.. CA 91403.
TEST OLYMPUS E·620
until ISO 3200 using defauil le... els of
noise reduction. We'll soo how the
new Nikon 05000 fares as soon as
we get a production unit.
Other image-quality factors are
quite good, though. In color accuracy
it scores 7.9. an Excellent on our scale,
besting the 8.3 from the Pentax K2 000
bu t not the Canon EOS Aebel XSi's 7.3.
Resolution, too. was impressive, with
2120 lines at ISO 100 (the Pentax
SCOfed a little better at 2170 and the
Canon had 2265 lines).
Ready, set."focus!
The autofocus system is new, with 7
points in a horizontal diamond array. In
bright light, the Olympus Is fast. At EV
12, the brightest light level in OUT test,
it locked focus in 0.34 sec. AF took 0.5
sec at the ne)(t level down (EV 10), and
was still under a second by the dim light
of EV 2. In this range, the Pentax K2000
Is slightly faster at several points.
But in lower light , the Olympus doesn 't
slow as much as the Pentax, keeping a
focus time of 1.57 sec down to the cave-
like conditions of EV -1. Compared with
the canon Rebel XSI and the Nikoo D60,
though, both the Olympus and Pentax
are M laggardS.
Metering? Certainly a strong suit on
the E-620. In our field lests, th e 49-
poin t mult i-pattern meterIng did a great
job of detennining the proper exposure
for most conditions. And if you have
an extremely bright or dan.; scene, set
It to Highlight Of Shadow mode, and
the camera compensates, bringing out
details In the shadows and sa ... ing them
in the highlights. Impressive.
Like to spotmeter? You 'lI love t he 2%
spot in this vieWfinder. No other low-
priced DSlR comes close in this regard.
As for t he viewfinder overall, it covers
95% of the frame, which is excellent for
the class, and the O.96X magnification
keeps you from feel ing like you're
looking t hrough a tunnel.
Creative license
You'll Imagine you're in a funhouse if
you spend any time playing with the
camera's ~art filt9fs.~ Lots of DSLRs now
have in-camera editing, but Olympus has
taken it to a new level, as we first saw
wi th the rece nt Olympus E-30. Simply
pressing a button can turn your image
into '60s pop art, give you the grainy
realism of classic black-and-white film,
70 WWW.POPPH OTO.CO M
VITAL
STATISTICS
IMAGING: 12.3MP effective Uve
MOS sertSQ( captures Images at
4032X3024 pixels with up to 12 bits!
color in RAW. STORAGE: Dual slois
for CompactFIash Type III! (Including
UDMA) and xD-Picture carels. Stores
J PEG, RAW, RAW + J PEG. BURST
RATE: JPEGs (Super Fine-quality),
4 fps up to 9 shots. RAW, 4 fps
up to 5 shots. AF SYSTEM: Tn.
phase-ditf&rence detection system
with 7 points full twin-cross AF
sensors. Single-shot and continuous
AF with focus tracking. Sensiti ve
down to EV -1 (at ISO 100, 1/1.4).
SHUTTER SPEEDS: 1/ 4000 to 60
sec plus B (1 .3-EV inc rements).
ME'nRING: 49·zone TTL metering
with Oigital ESP, centerweighted,
and spotmeteTing (appro ximately
2.0% of viewfinder). EV 1-20 (at ISO
100).150 RANGE: ISO 100-3200
(1/3 - or l -EV increments). FLASH:
TIL auto pop-up flash, GN 36 (ISO
100, foot). Flash sync to T1180
sec. Provides wireless control of
Olympus RC flashes. Dedicated ho t-
shoe. VtEWFINDER: Fixed eye-level
pantapfism. LCD: SWiVelingitilting
2.7-inch TFT with 230.000-dot
resol ution and H...e· view mode.
OIlTPUT: HI-Speed USB 2.0, NTSCI
PAL video, PC terminal. BATTERY:
Rechargeable BLS· l U-Ion. CIPA
rating, 750 shots, 50% with flash .
SIZEIWEIGHT: 5.5x4.2x3.0 in.,
1.04 Ib without card and battery,
STREET PRICE: $700, body only;
S800 with 14-42mm 1/3.5-5.6 Zuiko
EO lens; $900 with 14-42mm f/3.5-
5.6 Zuiko EO lens and 4o-15Omm
f/4-5.6 Zuiko ED lens. FOR INFO:
www ojympysamericacom,
\ ........ - - "
" <I ~ "
VIEWFINDER TEST
ACCURACY: 95% (Exceltent)
MAGNIFICAnON: o.96X (Excellfmt)
pop PHOTO JUNE 2009
 or even m imic a pinhole photograph.
CERTIFIED There are six effects in all.
Don't confuse Ihese with th e special
TEST RESULTS effects that are built into almost
IMAGE QUALITY (ISO 100-800) every d igital compact. The Olympus
approach is much more sophisticated
VERY HIGH in technology as well as execution. Best
of all , you can preview the effects in live
0>00" .~----..
~ EXCEllEN T
view without any risk of wrecking the
RESOLUTION
up to four images, the E-620 lets you
b lend two. Try it, and you'll be hooked.
Set it to multiple e)(posure in the menu,
and fire the first shot. Then, while looking
at that image in the LCD, compose the
second image on top of it. Press t he
shutter, and the camera does the rest.
It this is starting to sound like a glorified
point-and-shoot, banish that thought.

--
(ISO 100)
original image file.
More fun and creativity can be
unleashed with the double-exposure
ExcelL eNT
feature. While Ihe more expensive E-30
COLOR ACCURACY (AVG. DELTA EI ($1.250, street. body only) can combine
One 100+< at the back Of the E-620 shows
a contrDl-freak-calibeT array of buttons,
And what you can't press immediately is
easy to access on the LCD with Olympus'
well -proven five-way control pad.

HIGH

NOISE
"
EXCELLENT
".,'-....::":.....-..
. ~
7.9
.
EXCELLENT

AT ISO
Three Seconds
1.7 LOW • • • • • 100 to Shoot
1.9 LOW • • • • • • 20 0

2 .3 MO ERATELYLOW 800

<l1li3.2 UNACCEPTABLE 1&00

"'4.8 UNACCEPTABLE 32 00
1.0 '.1 U 'lS t .O D.l
UNACCEPTAB LE .~--....~ E)(fAEMELY LOW

HIGHLIGHT/SHAOOW DETAIL
VERY HIGH
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pop PHOTO JUNE 2009 See \"(" t.l L M'o""''.'f''J<, Ii 5~r e~
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f'HOTO LUGGAG£ & COMPUUR CASES
TEST OLYMPUS E- 6 2 0
-----~
There's one
control wheel on
top of the body, but
we wish there were a
second tucked in front
of Ihe shutter button for
controlling aperture and shutter speed
independently in manual shooting. As
it is, you have to p ress Ihe exposure
compensati on button to switch
betw een these two.
Serious control also extends to flash.
The E~620's built-in pop-up controls up
to three groups of Olympus accessory
flashes through your choice of four
channels, so there's little chance of
72 WWW.POPPHOTO.CO M
other shooters firing
your strobes.
Shrunken treasure
In all , this is a very competent
little DSLR. Being little is its
slrength~and if yo u're sensitive to
nOise, its weakness. This might be one
of the last DSLRs not to include video
capture. After all, both the new Canon
EOS Rebel T1 i-which costs within
$100 of the E-620--and the similarly
priced Nikon D5OO0 pack it. But many
dedicated still shooters aren't clamoring
for it. For those photographers, there's
plenty in this smail package already. 0
pop PHOTO JUNE 2009
t- .PENTAX K2000
W $520, street, with 18-
55mm 1/3.5- 5.S lens
II) and AF-200FG f lash
w Gi",en its price, and the
> fact thai It comes with
an accessory flash,
t- this Pentax is a. sirong
competitor. In Pop Photo
t- Lab tests, resolution
W proved comparable, but
Cl... Pentax took the lead in
~
noise and AF speed in
moderate and bright light
o (e,.;cept at EV 12, where
o they essentially tied). The
Olympus E-620 ralliad
back in low-light AF, where
it didn't slow as much as the
Penta,.;, and in color accuracy,
where it edged into our Excellent
rating with an average Dalta E of
7.9, compared with the Penta,.;'s
8.3 (an E,.;tremely High rating). If
you've never been in live-view
mode with a DSLR that has a
swiveling, tilting LCD, you won't
know how convenient It can be.
For us, it's enough to bring this
match-Up to a tie.
_CANON REBEL XSI
$ 690, street, with 18- 5Smm
' /3.5-5.6 IS lens
Again, this Canon carries a
more appealing price tag than
the E-620. And in our lab tests,
It bests the Olympus in most
ways. Color accuracy? Both
achieved Excellent ratings, but
the Canon did so with a score 01
7.3, compared to the E-620's 7.9.
In rosolution, the Canon scored
almost 150 more lines than the
Olympus. It also proved less
noisy than the Olympus across
all Its ISOs, though the Canon
tops out at ISO 1600, which is
starting to feel outdated even for
entry-level DSLAs. Autofocus?
The Rebel XSi was faster at all
light levels in our test, though the
difference was more pronounced
in low light. At EV -1, the Canon
focused more than a half second
faster than the Olympus. And
the Cenon focused at EV -2,
while the Olympus failed in that
super-dimness. Though tho E-
620's articulated LCD redeems it
against the Pentax, in this case,
the Rebel XSi has the edge.
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HANDSOfi

High-def video and

stills for under $900?1
DSLR shooters who fall
somewhere between hardcore
and tyro are getting the cross-hair
treatment from camera makers these
days. That's who Olympus is aiming
for with its tiny, creatively playful.
yel powerful new E·620 ($700, body
oolyl. tesled on page 68.
Now the two biggest guns-Canon
and Nikon-have these buyers in
their sights, with DSLRs that bring
high-definrtion video capture and
other major-league features to kits
costing $900 Of less.
Canon's eotry, the 15.1MP EOS
Rebel Tl i, inherits capabili ties from the
EOS SOD and 50 Mark II. Similarlv, the
12.3MP Nikon D5000 is packed with
much of the tech coolness of Nikoo's
upmarket 090. But these contenders

Canon EOS Rebel T1 i

DIFFERENCES ARE BEHIND ~EM:
One of the most obvious points of
divergence between the Canon EOS
Rebel T1i and Nikon D5000 is the LCD.
The Canon's Is bigger and sharper, while
the Nikon's nips down and swivels.
& NOTEWORTHY
.1 5.1 megapixel$ in a Rebel!
_Big. fll'l&-QraJI'Ied 3-inch l.CD•
• 192Ox1080 2O-fps HO movies.
. SeositMty upto ISO 12,800.
CONSIDER THIS IF •••
.You want lots and Iota of rtlsoiution,
big-screen INe view, video capabi lity,
lind access to II huge 'e"' Nne, and
want it tor under D grand.
IMAGING: 15.1MP APS-C~size
CMOS sensor (AID, 14-bit). LCD:
Fixed 3-inch, 920,OOO-dot. ISO
RANGE: ISO 1~12,800 {extended).
VlDEO: 192Ox1080-pixel HD, 2Ofps,
12 min/clip; 1280x720-pixel HD. 30
fps, 18 min/clip; 640x480-pix~, 30
fps, 24 min/clip. Mono sound via
built-in mic. BURST RATE: 170
(Large Fine) JPEGs or 9 RAW at 3.4
tps. AF: 9--polnt diamond pattern
with high-pr&eision center cross-
type sensor, 8 linear sensors.
METERING: 35-zono evaluative,
centerweighted, limited-area, and
spot. BATTERY: LP- E5, 400 shots
per charge (50% with flash). FLASH:
GN 43(150 100, feet); coverage
angle, 17mm lens. No wireless TTl.
contTOl from pop-up. LENS
COMPAT1BILITY: All Canon EF and
EF-S lenses. 1.6X lens f&ctor. SlUJ
WEIGKT (BODY ONLY): 5.1x3.8x2.4
in.; 1.06 lb. liST. STREIiT PRICI!:
$800, body only; $900 with 18-5Smm
fl3.5-5.6 EF-S IS lens.

pop PHOTO JUNE 2009

" WWW.POPPHOTO.COM
also demOnstrate some divergence in
ttunking by their respectt\le makers.
Let's Ioott at them side by sid e in
several key areas.

Imaging
Both camet'as use sensors and procesSOfs
from e)(lsting models of what might be
called the high-mldlevel class.
The Canon gets Its 15.1MP C MOS
sensor from the 500, plus 14-bit AID
conversIon, and like the SOD, tSOs can
be pushed into an extended range to
12,800. Naturally, we expect that Image
quality from the Rebel 11; will closely
match that of the SO~.
The Nlkon 05000 plays it a little more
conservatively, using the 12.3MP CMOS
setlsor of the 090, with its 12-bit NO
converter, and 150s e:JCpandlng up to
6400. This hardly makes it a slouch. As the
Nikon D90 ran practically neck and neck
with the canon SOD In our lab tests-and
bested the SOD In noise performance at
NEW & NOTEWORTHY
.Swlveling, tilting 2.7-lnch LCD.
Nikon 05000 .128011720 24-fps HD mov&es.
IMAGING: 12.3MP APS-c-stze CMOS ....tps burst shooting.
sensor (AID, 12-bit). LCD: Articulating _SenaitMty up to ISO 6400.
2.7-lnctI, 230,ODO-dot. ISO AANGIi:
CONSIDER THIS IF •..
ISO 100-6400 lenended'!. VlOIO; .You want to move up from 8
1280lt720-pixal HO, 24 fps, 5 min/clip; starter DSLR, and pref.,. the
640lt480-phlel, 30 fps, 20 min/clip. flexJbrtity of a tilting, swiveling LCD
Mono sound vta built-in mic. BURST over wireless Ilash controlsnd
RAU: 100 {Large Norma~ JPEGs or 9 compatibility with legacy tenses.
RAW at4 fps. Alii: 11 -poInt box pattern
with center cross-type sensor, 10
linear sensors, MEnRlNG: 420-plxel
30 Color Mabix evaluative, cente,...
weighted, and spol &ATT.FIY! EN-
ELSa, 510 shota per charge (50% with
flash), PI.A8H: GN .56; coverage angle
not yet available. No wirel. . TTL
control from pop-up. LaMS
COMN.TlBIL~ N-S Nikkor len...
with autofocus; all other Nikkors with
manual focus.. t .5X lens factor. SlzaJ
nIGHT IBODY OHLy): Slt4.1x3.1 in.j
1.25lb, nT. ~ PlUC&: $730,
body ooJy; $850 with 18-65mm fl3.5-
5,6 AF NikkorYFIlens; $1 ,100 in two -
lens kit with added 55-2OOmm fl4-6.6
AF NIkkOI' VA lens.

pop PHOTO JUNE 2009 77


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YOU LOVE
IO:'""TOGRAPHY.
..._ ... we want yoor
~. Join the Popular
Photography Preferred Reader
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thoughts on a range of topics.
As our way 01 saying "Thank
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NO PUMCHASE NECESSARY TO OI"TDI. The 0illlta'1l
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or ...... ~orenJy...:l 'IIIho.--...........
an..1O_~0I\'QII~~
II ItIIry.-.... gcMf!Wlg" ~ .... 'o'IIil:
...........~~SlMII2:01"'"
~ Tmt("ETjon 11111,w. &dI.ll.56Pht (ETJ
,., ,2/.1,,,.. 'Aldin.".p";,.;".:.,,, ()IIbec 1nCf_
~ by .... 5parIIor: H.:Iwtte F~ MedII
us. LIn'IIt: On!! -*Y IB ~ CO" "'*'
~ monIIiy....". ptn:X\.
HANDS ON
hlgh8l" ISOs-we expect a comparison
of the two new cameras to be quite
competitive. Keep in mind, 100, that
camera makers often twsak the
processing finnware for newer modelS
with the same sensor, so we might
even see some improvement.
Viewing and focusing
The D5000 shows some new thinking
from the Nikon engineers--il's the
first Nlkoo DSLR to have an articulated
LCD scraen. A great idea in any event,
the OSOOO's does something different
and, in our view, better. The 2.7-indl.
230,000-<101 display flips down-
not out to the sJd~nd then rotates.
Since the display remains centered
laterally, you don't flOOd to movalt1e
camera to the right to keep the screen
in front of your face while you frame
yOU( shots. This also keeps the
screen centered on the optical axis and
makes panning 1001 more naturnl than
with a flip-to-the-sJde design.
This setup will also come in handy
when capturing video.
Canon took the more traditional
path, with a fixed 3-inch, 920,ooo-dot
lCD borTowed from the EOS 500 and
EOS 50 Marti: II. If flfle-grained screen
viewing is more important to you than
an articulating LCD, too Canon may
tug harder on your heartstrings---it's a
WE gorgeous display.
Autofocuslng systems on both
cameras are also off-too-shelf items.
The Canon uses 9SSef1tially Itle same
9-point, diamond-pattern AF array as
the EOS Rebel XSi (wnlch will remain
in the liooup, as well as the EOS
Rebej XS). The center cross-sensor is
SUlTOunded by linear sensors.
The Nikoo, as you might expect,
employs the AF system of the 090,
With to lineat SEII'lSOfS arrayed in a '00....
pattern around a central cross-type
sensor. Both systems lested out fast
and sensitive in the respective older
models, and we'll see how they fare in
these new cameras.
Video
The Nikon D5000 has the same video
capability as the 090: 1280x72O-pixel
HD video al 24 frames per second in
clips up to 5 minutes long. with mono
sound and manual focus.
Canon seams to have a clear
I(Idr-. 1*
advantage with its full 1920xl OSO-pilcel
78 pop PHOTO JUNE 2009
CANON EOS REBEL T1 i and NIKON 05000
HD recording, up to 12 minutes a clip,
but there are a few asterisks. Because
the Tl i has just two outlet channels
from the sensor, as opposed to four
on the 50 Mark II, the camera can
manage only 20 fps at 1920xl080,
making for choppy motion.
And since it has a smaller sensor
(and smaller pixels) than the full-frame
5D Mark II, there may be greater noise
issues in videos taken at higher ISOs.
Unlike the stereo-capable 50 Mark II,
sound recording is limited to the built~
in mono microphone.
The Rebel Tl j does take lower--
resolution 1280x720 video at 30 fps,
though, and at this price, it may prove
a boon for film students.
The bottom line
Both DSlRs stack up fairly e ... enly in
terms of in-camera effects like dynamic
range adjustments, fiher effects, JPEG
profiles, and so on. (The Nikoo 05000
doesn't offer wireless flash control lrom
the pop-up flash, unlike higher-end
Nikons. But since Canon dOesn't offer
this feature on any EOS model, mark
them even here, too.)
Another Issue: The Nikon 05000
does not ha... e the AF-coupling pin
found Of! more expensive Nikons,
which means that you need AF-S
lenses (which ha... e internal focusing
motors) to autofocus. The Canon. on
the other hand, can take any lens from
the EF arsenal, digital-ooly or full frame.
Wheth6f you're a Canon or Nikon
fan, you're getting a ton for your money
in these respecti ...e models. And if
you're sitllng on the fence deciding on
a sub-$I.IXlO OSlR, your decision just
got exponentially harder. 0

Handling and add-ons

We shot with the two cameras in
brief field tests alld were impressed
with both. In terms of the body, the
Canon Rebel T11 is a near-clone of the
Rebel X5i, differing only in the video
setting 00 the mode dial on lop. and
a thumb button on the back, for liye
view and yideo recording. (Note to
Canon: That button needs to be raised
a little more-it:'s almost impossible to
find by leel alone.)
The fit of bOdy panels was trim and
tight on tile beta version we handled.
Great Giottos
As with other Rebels, if you have big
hands, yoor pinky could slip off the
Gear.
bottom 01 this petite camera. so you
may want to add the battery grip for
extra finger room. (The Tl i uses the
same battery grip, Li-ion battery, and
remote switches as the XSi.)
The 05000 Is similar to Nikon's 090
in body design. There's a dedicated
live view button 10 make it easy to
switch to framing images on the LCD
or to capture video. Also, the grip is
longer than the one on the Rebel. so
yoor pinky won't feellelt out . And a
bevy of buttons gives yoo access to
all the most important controls.
Nikon's display lets you change
other important settings and see
all your main settings quickly.
The build quality felt solid on the
preprodUction sample we used. The
05000 isn't compatible with any Of
Nikon's existing battery grips, and
unfortunately there won't be a new
grip for this model. But it is compatible ==
with current Nikon Speedlights, ML-L3 - - =='
wireless remote, and GP-I geotagger. illMartelhgCotp
973/~IO For deafer lis/, ~ Glcrrrr:>l
pop PHOTO JUNE 2009
'lis" WWW.hpmarkofingcorp.com The benchmark in value.
LENS TEST By Julia Siltier

POP
NIKON AF-S OX ~normalM lens ($220, street), this
52mm full·frame equivalent is also
35MM F/1.8G
ttle fastest DX and widest noofisheye
The first OX Nikkor with the digital-only NikkO!" prime. It has a
classic advantages 01 a high-speed single aspheric element, Nikon's

35mm (36.2Bmm tested). "'.8

(111.83 lesled), 8 elements in 6 group•.
Focusing tlIms 120 degrees counter'
clockwise . • Weight: 0.47 lb.
• Flit....... : 52mm. • Mounts:
Nikol'l AF. • Incluct.d: l&n&hOO(!,
softcase, • 51,.... prke: $220.

super-quiet SWM autofocus motor, and

rounded aperture blades for smoothly
defocused image areas at at! apertures.
HANDS ON: All inch shorter and about
halt the weight of Sigma's comparable
30mm 1/1.4 digilal-only normal, it's both
Hght and compact, casting no shadow when
used with the Nikon D90's built-in flash.
There's no distance scale, and its manuaJ-
focus r'ng tums with a slightly scrntchy feel.
IN THE LAB: Our SQF teslS found
near·nawiess sharpness and contrast.
with SQF scores a bit below the Sigma '$
mid-Excellent range results. DxO Analyzer
3.0.1 tests rsveaJed only Slight barrel
distortion (0.27%), an above-aV9fa99
performance. light lallollieft the COfl1efS by
fI2.S. At the close-focus distance of 10.87
Indles, maximum magnification came In
at a powerlull:5.10. Indeed, this Nikkor
signiflC3l1tly outperformed the Sigma in
distortion, falloff, and magnifying power.
CONCLUSIONS: Fast for shooting in
low light and able to produce attractiVely
defocused backgrounds, th is utility play« is
compact and light for rraval , inconspicuous
for street shooting, <rid about as affordable
and useful a lens as you're likely to find. 0

Subjective Quality Factor

ke,
o •
pop PHOTO JUNE 2009
'"
LENS TEST The Acratech GV2
• Weighs less than 1 Ib (.45kgJ
• Easily holds over 25 Ibs (11 kg).

GO-TO • Works as both a Bal1head and

a Gimbal Head.

CANON EF 16-35MM
F/2.8L 1/ USM AF
Replacing Canon's original
16-35mm 112.8L 01 2001, this full-frame
u~rawlde for pros ($1,450, street) has
two UD glass elements to suppress
chromatic aberrations, and throe
aspIlenc elemerrts to minimize linear
distortion. A 26-56mm equi'lalent on
APS-C sensors, it delivers fast and
quiet autofocus, smooth bokeh. intemal
focusing and zooming, and solid, dust-
and moisture--sealed construction.
HANDS ON: Slightly bulkier and
heavier than its predecessor, this tank
of a !ens balances nicely on metal-
bodied EOS models, but IS nose-heavy
on Rebels The nbbed and rubber-clad
zoom and manual-focus nngs turn with
1.,.
~

smooth, well-damped actioos The

greefl distance scale In feet IS a bit hard
to read, especiall y in low light; the metric
scale, in while, is easily legible. The new
flush-mount AF/MF switch keeps you from
aCCidentally changing modes.
IN THE LAB: SOF tests found
stlarpness and contrast in the Excellent
range. similar 10 ttle original and to Nikon's
17-35mm tl2.BO. DxO Analyzer Version
3.0.1 tests found Visible barrel diStortion
(0.59%) at 16mm-a vast improvement
over the Very Visible 2.9% of the earlier
lens (and over Itle Nikon's 2.5%). At 24mm
and 35mm, we found Slight pit"ICUshion
distortion (0.12% and 0.19%, respectively),
also a big Improvemeot over the earlier
versioo (0.25% and 0.86%).
Due to its larger diameter. vignetting
was gone byf/4 at 16mm; we saw
none at 24mm or 35mm--agam.
mtJCti bene!" than the other lenses. both of
wh ich showed vignetting from f/4 to f/5.6
across the focal-length range. Mcu<.imum
magnification at the uniform close-
focusing distance of about 10.6 inches
was 1:8.02 at 16mm. 1:5.51 at 24mm. and
, :4.06 at 35mm-similarty top-notch.
CONCLUSIONS: One of the most www.Cilm~raHolster.com
distortion-free fast. wide-angle zooms, thiS A hand-craftcd leather case
lens gives you relatively straight sub;ect is just th~ ticket for your digi-
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while including wide swaths of backgrouoo.
Skytop Trading.
The price is high. but so are the rewards. 0 Este$ Park. Colorado
Phone 970577.089'2
Subjective Quality Factor skytoptrading@ao1.com

Specifications
16-35mm (1S.51--34.2OtMl1\lSledl. 112.S
(t/2.79-2.96 tested). 16 elements in 12
groups. FocoSin91uITIa 90 O&greel •
!
COlIi"llefdcd<.wiM. Zoom ring tum. SO
clegrees ctocl<.wise. Focal qll13 marl<ed at
16·.20-. 2.. ·. 2&. and 35rrvn. • DIagonaiI
. . . . .: 10S-63 degre&&. • Weight:
1."5 lb.• FIttM size: 62mm. • Mounts:
CarO'l AF. • k1duded: Lenahood, lena
C8II8. • SII"Mt prtc.: $1 ,450

POP PHOTO JUNE 2009 • •

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PICTURE DOCTOR

Ways to Use Vibrance

Photographers who use Adobe
Photoshop's Saturation tool to increase
the saturation of their digital images can
often ron into problems, notably unnatural color
rendition. The Saturation slider adjusts aU colors
equally: Dull colors and already-saturated colors get the
same boost, with the result that the latter can lose detail
and become WU'ealistic-or just plain ugly. Photosnop
CS4 and PhotO!lhop Elements' RAW convemr in
Version 6 and higher remedy this with the Vilirance
tool, .....h.ich may also be called Smart Saturation. This
tool minimizes the saturation change for CoiOfS that are
near total saturation, while adding more saturation to
the duller colors. Here are three good uses o{Vibrance.

Enrich "enlcs: Saturation, used on the right

1 th~d of Photo A, creates surreal colors and loss of

detail in the richest areas--notice the halos of color
arovnd the blades of grass. Vibrance, used on the
left third. makes the coors richer and deeper without losing
detail in the saturated areas.
In portions of Photos A
and B , Saturation and
Vibrance were set al l 00%,
while 20% to 300/0 is usually
enough, Pulling Vibrnnce

Improve portraits: Vibrance has built-in

2 protection to avoid oversaturating skin tOIleS. The

software detects the tonal range of skin tones, and
does not add saturation to these areas. In Photo e,
SaturatiOn was used on the left side, which affected all
color values including skin tones, creating unnatural,
undesirable tonas. Vibrance, used on the right side,
saturated various color.>, including the eye makeup and the
coat, without unnaturally altering skin tones.

Go pastel: Usually you add Vibrance to an image,

3 but you can achieve some beautiful effects by

dragging Vibrance into the negative settings. Doing
so gives you a slightly muted image, more of a pastel
effect than you'd get by desatumting. Decreasing Vibrance
can be used to make portraits appear almost hand-painted,
as in Photo C. And note that you can apply VIbr'ance locally
using the Sponge tool. -Lindsay Adler

processing, and then overexpOlo:cd highlights Or

Did you know.
A HISTOGRAM DOESN'T
REPRESENT All THE IMAGE
DATA IN YOUR IMAGE.
As our regular Nature contributor Guy
Tal pointed out to us in May 2009,
computing accurate histograms based
on all the data in multi-megapixel
images may slow down the camera's
performance. In reality, the camera
generates a small-scale JPEG version of
the image, applies its default
• I
uses data from this
smaller image to
underexposed shadows, they may not
show on the histogram. In addition, the
create the histogram. The small version camera's little LCD--even a very fine-
IS generally a very good representation grained one-is of limited precision,
of the distribution of tones in the larger _ Bottom line: Leave room for error
file. But be aware that if there are very on the right, and hracket exposures. 0
small areas of
WIGGLE flOOM: It's
good to leave a little
more room on the right
side of the histogram to
allow to( possible small
inaccuracies.

pop PttOTO JUNE 2009

42 W. 18th St. NY, NY 10011 I www.adorama.comI800.223.2500
 ~"::.'~!"'":'-':'s:' ': _- -~ , Y" CCNlNJED FRC>M PAGE 60
',;MAGIC ,LANTERN in arty prints for decorating almost any
~~.; 'GUIDES':': ' room in your home. Use an approach
.; .~~' ..~ •. , , .;; '-,>./;',':: ... similar to the one used by the architect
"
who originally drew the detaia, How?
IntrodUcing NEW e SHOOT HEAD-ON. Record the obtect
Multimedia with your camera's imaging plane perlectty
parallel to the primaty subject planes.
Workshops!
Whether it's a YauHed doorway, window
casement, cornice. arch, or arcade, shool
Includes, it. centered and straight on, without tilting
• Comero,spEC~it eh inllle iRStruclklld DVD the camera. (If you must tilt, lollow the
advice in -How to ... Straighten out a
• Taling 6reol OigilaJ Plnllas bDOk Skyscraper" OJ) page 54.)
.liTear Phoms firh rourO~imlSLR l iye-oction ovo e PLAY UP PARALLELS. Place strong
• CoIIero-1p!Cificquitl f!tel!OCedlet rom parallel lines in your subject parallel to
the image edges.
$24,95 ($31.95 can) e FORGET COLOR. Try monochrome.
e LOOK OLD. Tone your print to look
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e FILTER IT. Architectural details
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e GROUP THEM. If a single detail is
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the sum of their parts.
-HOWTO ,. ,
Capture the make-
a-wish moment
Getting the classic hirthday-cakt: shot
by available candlelight is no piece
of cake. You have to deal with tricky
technical issues (uposure, color
balance, noise), as well as the human
factor (usually a young and probably
antsy subject), and then get the shot
within just a couple of seconds.
So planning is key. Your best bet is
to do a rehearsal shot beforehand with
a stand-in and the appropriate number
of cancUes on a table, Then .. ,
* SPEED UP. Bump your ISO to 3200 or
beyor»-you want to get th6 shot, noby
or not. For a very young child, use thick-
wick candles, because three or four skinny
birthday candles don't shed much light.
. PRESET EXPOSURE, Spotmeter a
face near the lit candles, and than set
that as a manual exposure. (Auto can be
flummo)(ed in scenes like this,) Use a fairly
For a complete list Of tilles viSit
www.lar1<books.comlmlgv;ortshop wide aperture (f/3.5 or fi4) but 0f'\EI that
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gives you soma leeway on depth of field.
WW'vY.POPPHOTO.COM
You want a shutter speed no
slower than 11100 or 1/125
sec-remembef, the kid's
going to move.
e HOLD STEADY. Tripods
are impractical here. Use a monopod.
tablepIXI, or articulating support such
as the Gorillapod. No '1X>d? Braca your
elbows on the table or the back of a chair.
e SET WHITE BAlANCE, Use tM
Tungsten preset. This will keep the scane
amber, but not e)(cessi~y so.
. PREFOCUS. Set your focus on the far
edge of the cake. This is where most faces
end up at the end of - Happy Bir1hday.-
And use manual--AF takes time to hunt in
"""" """"",,
* SHOOT A BURST, Start it early and
end it late. 1f your camera can manage a
decent number of RAW e)(posures in a
burst, shOOt RAW for rl)()fe control over
the image In editing later.
-HOWTO",
Brin,q your own
baCKground
The insects and flov.'ers in your
backyard can be your best subjects.
Because the yard is your ov.-n, you're
intimately familiar with the best
lighting conditions and the best
seasons to photograph all the life
that's there.
But familiarity can breed monotony,
and there's a good chance you need
to shake things up. Enter the portable
(and simple) backdrop. One ofthe
best props for outdoor, backyard
photography is a pack of colored
construction paper,
To set up your shot, choose a color
that contrasts with your subject. Then
.~t a wide aperture to get shallow
depth of field, and ask a friend to hold
the paper far enough from your flower
that the paper falls out of focus. Make
sure the sun's at your side to avoid
casting a shadow on the backdrop,
and shoot away.
For a photo that looks more studio
than great outdoors, wait for a bright,
doudy day, and let the sky be your
softbox, Need a bigger background?
Savage (www.saya~papeI,c.om) makes
seamless paper in rolls as narrow as
26 inches, Want a background of blue
sky with puffy white clouds? Take a
picture of blue sky with puffy white
douds, get a big blowUp of it, and
mount it on foarncore,
pop PHOTO JUNE 2009
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 Subscribe to the
PopPhoto.com Newsletter
and Discover the World of Photography!

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newsletter subscribers.

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 COOLPIX. P90

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TIME EXPOSURE

YEARS AGO
25 JUNE 1984

1. R..cI hItr II,.: Model Ma~orie 3. A at.r II born: Tedmical Director

Andrade was photographed by Douglas
W. Dubler in his studio as part of an ad
campaign for hJ>-care products. He used a
Hasselblad with a 150mm lens and Kodak
Ektactnome Professional transparency film.
Lighting was provided by two umbrella-
bounced flash units agamsl a rear-
prOjected background.
2. ~ whIlt he prMChIMIl
Senior Editor Norman Rolh9Child, adYocats
of the SLR, was shoW!) using one with a
zoom lens 8S part of aI1 article on how to
use zooms effectively. As he demoMtraloo.
a tripod assures m<Ulimum sharpness when
using a large, heavy lens.
Noonan Goldberg described thE! new Penta:.:
645 medium-foonat SLR as -the most talked
about" carnera at the 1984 Photo Marketing
Association trade show. Born with a wtmle
system 01181"1888 and accessories, the Penl8ll:
845 combined much ollhe handling ease of
35mm with a Significantly larger negalive-a
successful combinat.on to this day.
4. ~. . Iow-tKtI: This 1903 Cherry
Portable wooden box camera was shown at
a hIStorical exnibit highlighting the impressive
growth of the Japanese pnoto industry.
The show, at George Eastman Hou5e in
Rochester, NY, wa& mounled in cooperation
with Japan Camers IflSpection Institute (Jell).

3. No tun todtiy: The dil:lcomfort of

50 YEARSAGO
JUNE 1959
.:!:=============~ Kodak Tri-X
aniele on film. The
pictur6
4·yeat·oId OiooislXldsay in bed with.
cold was recorded by Leolt photographer
Jan'1e$ Hansen using. Nikon SP and
picture ran in an
stories thai showed how
t ......... trip: The Gay Nineties • common e'lOOt could provide the basis
were not quite like this recreation, bullhia for an Interesting and accessibie photo essay.
send-up seUs Ihe idea of using photos to .... aq....,. fatfIure: An emmple of a camera
teK a a1ory. This seaside picture was made that made li"1e marlceting sense was this

.. ,..,
by Mike Tsbb u&mg a RoileifieJ,; 'l.8
a 80mm f/'l.8 Xenotar lens. Exposure on
Super Anscochrome daylight·balanced film
w~h Revere Eye-Matic, a fully automatic ugly
ducldirlg that used 127 roll film to produce
12 4x4cm pictures. It had 8 single shu tter
was 1/60 sec al f/a. speed-lISO soc-and a 5Smrn Wollensak
2, Bard rneeII; girt: New Yon.. Cty's ff2.8 lens. The camera was probably inspired
Pennsylvania Stahoo was the scene of Ihis by the success of 4x4 reflex cameras and of
random meellng between a pigeon and a Super Slides. The price? An unrealtstically
child. Pop Photo editor Charles (Uponsive $ 139.50, plus
Reynolds ahot this sc&ne as $1 2.50 for a casco 0
part of an article on the photo
ossay, comparing how two
photographers shot the same
asSignment Reynolds used
.a 35mm lens on his Leica.
Expo~re on Msco Super
Hypan film, rated at ISO 650.
was 1150 sec at f/4.

.. WNW.POPPHOTO.COM pop PHOTO JUNE 2009

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 SHEET
MEMORY CARDS
THERE ARE TWO
1 different speed
ratings that matter 10
still photos and
video. When you're
shooting stills, pay attention to
the maximum transfer speed,
expressed in megabytes per
second. But for video, what
counts is the Speed Class
rating, listed as Class 2, 4, or 6.
This designates the minimum
sustained write speed for video
applications, whether you use a
camcorder with flash-memory
or the video function of a digital
compact camera or DSLR. For
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you need, but jf you're ShOoting
high-del, spring for Class 4 or 6
(which cost $10-$15 more).
IF YOU HAVE THE
2 right camera, a faster
card can boost the
bUrst. Some DSLRs,
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090, can take more successive
images when loaded with a fast
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SanOisk. Extreme III SDHC card.
You could also potentlatly get a
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card/camera combo. For
example, with any brand of
UDMA CompactFlash card, the
Sony Alpha 700 captures images
at 5 frames per second, instead
of 4.8 fps with a non-UDMA card.
YOU CAN'T TAKE
3
full advantage of
the fast speed of a
memory card unless
you have a fast enough
'"
card reader, too. Sure, a top-rated
card will allow yoor DSLR to recover
more quickly so you can go back
to shooting after a big burst of
images. But the other main benefrt
of these cards is their taster transfer
speed when uploading images to a
computer. For instance, the Lexar
Mufti-card USB 2.0 Card Reader
($24, street) transfers images at up
to 480Mb/sec, suffICient for many
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stick, and SD cards, while the Lexar
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at up to 800Mb/sec, better for a
Lexar Professional UDMA 300x card
or other Professional CF cards.
ALWAYS FORMAT
4 your memory card
for the camera you're
using. 11 you swap the
card between cameras,
yoo could lose what's on the card,
or risk corrupting the new pictures
you're taking. And, of course, before
you format, make sure you've of/-
loaded the photos you just took.
THEN AGAIN, YOUR
5
pictures might still be
there, even if it looks
like they're gone.
While reformatting your
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doesn't. So if you think you've
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~. Lexar Image Rescue 3 ($29, a pro card, go with a mutti-
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cards; www laxar com) works with softwaro (D) recoV6f'S
any brand of memory card. 0 seemingly lost Images.
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 WAYS TO

SHOOT
THE .
MOON
BY KATHLEEN DAVIS
Whodo-
es-n~'t~w
-a-n
~t~t-
o --­
capture the beauty of the
evening moon, w hether
it's moody and full or just
an enigmatic crescent?
But getting your
exposure right can prove
challenging. Here are
three ways to include
the moon in your scene
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its mystery.
When the moon is full,

1
Compare features' Compare
follow the Sunny 16 rule .
values Sigma delivers!

_--
Because a full moon on a •
SD- 14 -.atIII .ua

_----
clear night reflects sunlight

..--
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.)lJDNa .........

...........
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............
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Just like the earth on a clear day,
avoid getting an overexposed ball
or an underexposed foreground
by setting your aperture to fl16 .

--- ---
~
-
Determine your shutter speed using
the fannula 1I1S0. For example,
if you're shooting at ISO 200, the
shutter speed should be 11200 sec.

-- .. .. -... -...-
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-
---
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••
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2
1n other phases, open
u p the apertu re. As the
moon waxes and wanes, its

----
---
------
-- -
....
- .... --
-- -
---.. -
..._....
.....
....
brightness stays the same,
but there is less light overall, so
adjust by 2.5 stops in the first or
third phases, and 10 or more stops
.......
-_ ... --....
when It has a thin crescent shape

__....
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,.. ••• ,. . ,. . 'lUI ' "

------
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-- - ----
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-

-
-
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to get a good foreground exposure.

Get it earty and l ate.

_... --_
--
--
••• ,_ IIIUI

----
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3 The best time to capture the

moon is 10 to 20 minutes
before sunrise or after

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sunset. The moon is distinct then,
but there is still enough light to

-_ .. ...
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........
capture detail in the foreground-a
~ rising Of setting full moon is best.
Look for it directly opposite the sun

l~~~~~"~=-~~~~'~"~~~~~~~"~""ii~-~'~~~~-~---
in the sky (in the east at dusk and
IN.y"Uc:TIO ... .
the west at dawn). 0

,,,. pop PHOTO JUNE 2009

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COMPILED BY KATHLEEN DAVIS

""---
' -. . ..m ...
___""'_lit.

--...-
~ .... . IL_tt

..,-
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---
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FOCUS, PLEASE

---
It's one of the quickest photo killers and
easiest things to mess up. So how to get

-
--~
the focus right? Here are three solutions.
• Switch among focusing areas in the
\iewfinder. In most DSLRs, you'll find
FILTERS several. usually delineated by a box. When
your subject is off-center. a dial or toggle
lets you select the primary area for focu~,
• Use zone focusing. TIlls is for when you
can anticipate your subject's trajectory
(e.g.. in sports such as racing). Focus
manually on a point ahead of your subject.
then snap the shutter when it arrives.
• Differentiate bet\\'een single and
constant autofocus. Single AF focuses just
5 OFF once when you press the shutter button
halfway and is best when you and your
subject are still. Constant or continuous
heliopan mode. also called focus tracking. adjusts
to keep your subject sharp when in
motion, as long as you're holding the
Digital HT
shutter button do\VIl halfway.
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..... Knowing the technical aspects of macro
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"*"
._-
• ~ FIIIt composition right is what really pulls the
. . . COIIId FMerTecfmIogy • '*"-llrim fWIjI
TlIItI .. 09IIIHT ..... ~_
QooIiIII.Jtro C-'~ ' 110 0.,
.
. ~lJI;:lo'"
~",,"
image together. Here are a few tips for
extreme close.up shots .
..... ' NOU • Frame )'Our subject with an oUl-of·focus
--1I\I- ' ~3
• bqllIOd o.ntIIt

_
' 10..""""", foreground and background. A sharply
~- "'~1'I:wII2 .,_~ _

rendered subject surrounded by softer

t12'w..,mg Ftr. . ~1fO<l.8
_d""'~.:_==:':_
=':::"=
"' __---, tones and shapes gives it visual weight.
Tiff. " D ig ital
Fitter Kite ... • Fill the frame completely. Sometimes
even small gaps or holes disrupt the
telCture of an image and inadvertantly
r~~ distract the viewer's eye,
GIll mil'! - ~ ... • Shoot horizontally. then verti~lly.

~ilIS~aIOrII I PIlliClllol\
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~I/'IIIAniEcHII'Ig ~_
--"'
Sometimes it's difficult to tell what ,,>ill
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IJIgIIIIlJnc.;~ _. 81 ~. EtIWICKl". 1'I;u:II shooting. Cropping .after the fact means
IItIbII'nI SUlD you'll lose pixels and image quality, so
......,.....101
-.......
DIgiIIj 0.. OokNl.... ,., /L6, PIo-MiII" 2.a..ing CIoIJ\, Pw:tI take pictures in both orientations and
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ANSWERED Your wick angle of view gives the

Night shift appear.anc:t: of ckcper ZOne5 of
ADORAMA

t
I use a Canon EOS Rebel XSi and
DESHADOW have found that at night I seem to
get more lkpth o f fteld than I do
BOX in daylight . Is that possible? This
photo was made aLfIJ .5 and 30 sec
with a 18-55mm £13.5-5.6 C anon
kit lens at 18mm. How do you
16"X1 6" account for the incredW.c OOF at
_ 39.95 such a large aperture? TIm Weir
~ s. ... SIudiCI ~ .....e.g. \ia ft-mail
sharpness, which can seem t:vt."n
det:~r jfyou focus at or nur the
lens' h)'pf!lfocaJ distance. (For acMt;e
on how to usc: hypcrfoc.u distance to
)'OUr a<n7UIt41ge, see page 53.)
Frame up
H aving read "The Full-Frame
Decision (April 2009), 1 have
ft

Ml"\IS' . 19' SOlI UghI8oot, HaIOgInlMrlpt.

ea.,,*" one quc:.1ion: What 't\"OuJd be the •
,~
t:Mu. ~ SwMo9. & eullOlll
wlopUoowo! TIItMI Top 2 s.ctlon Ti1pod ; onJr ......15 Ikp th of field im't affected by light difference between a 20x30-inch
1~3. But it is by foeallength. print from a 12.1MP Nikon D300 •
112 WWW.POPPt«lTO.COM POP PHOTO JUNE 2009

(APS-sized sensor) and one from a
12.3MP Nikon 0700 (full-frame-
sized sensor~both shot in RAW ilnd
with the same tecnnique? nak Heir
CedaT City, UT
If J'UU were shooting "t ISO 800 or
below, you'd ~ \'Cl)' little difference.
7bt" two c:.ameras produce uruges
with the s.ame pixel dimensions,
~nd in our usts their resolution waS
very similar, But you'd need to use
difl'eunt lenses (or the same zoom
lens lit different focallengtJu) to
fra~ the SIS1IC scene in the .JIIme
wlily lit the.f.ll~ distance from
the subject. So you might see a
di~'ergence jt] wrpness, distortion,
light fsUoff. or other optield faCEOrs.
Polari-zlng!
When I snoot in bright sunlight with
a pobrizing filter and Auto ISO, my
., Nikon D80 sets ISO 800. Shouldn't
it be ISO 200 in such bright Light? Is
something ....TOng? The pictures Look
fine. m"Stn'atula RamaJi:rUbna
.. Via e-mail
It sounds bke your GlmelJl '""U rIM.
PoLuizers clln cut light transmission
by MVCrai stops, which is why
your ISO jumped to 800. Ifyou're
concerned about image qlJ.lj/ity and
e~abjlity, tum off Auto and set II
lawer ISO. If that tneMU you hat"e to
use a tripod to make up for the longer
shutteT speed, so be it.
SQF across the ages
I had a Canon 35mm SLR (the EOS
Elan) with a Sigma 28-7Omm en.s
and 75-3OOmm fl4-5.6 len.~ . both
bought in 1993. For each, I have
the vintage Pop Photo SQF charts
publisned in 1992. I just bought a
Canon EOS 40D, and want to see
how my older lenses compare with
today's optics. So my question is:
Can I compare 1992 SQF charts with
current ones, or nave your criteria
amilor testing methods changed over
the years? Cbristian Savoie
Via e-mail
Our optiCAl bench W;iS completely
overluukd in 2001, usulting in more
~C1U»r:e test dau and II slight dip (5
to 7 ~rcent) in apparent sharpness
for lenses ~5ted since then. So,
unfortuaatel,; the oM and new test
re~ults are not diredly compal7lbie.
The TWAIN shall meet
1 recently upgraded to Adobe
Photoshop CS4 on my Mac, and
was surpri5cd that my scanner didn't
automatically appear as an option
in Photoshop's Import/F.xport menu
as it did in previous w..'l'sions. The
sc.anner is several years old, but I
recently updated its driver. Do I
have to keep CS2 for scanning? D. T.
Exposure
Via t-mail ( l<EA:rfui;;;
CS4 should wwk. though you lTh1y
The
experience occJukmal clJIshes,
nVAIN, the pipeline Phot06hop uses
to communiate with your scanner
driver, considered outmoded by
Adobe, is 00 longer autom.t~
loaded ioto Photoshop. 'The answer
lies in the Goodies folder in your
CS4 instaIL:Jtion disk. 10 GotxJjes,
open the Plug-ins (older.nd then
the Import-Export folder, It should
contain the File TlVAIN,plujin, Dr"1
that file into PhOEOShop's Import-
Export foldt:1' inside the Plug-ins
fo/du. Reboot .,nd sun .,WIIY. 0
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SPEAKING OF
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CQMfltLED BY MATIHEW HOLDEN LEWIS ON THOUSANDS
FREE Shippin OFPRODUCTS

QUOTES
"Devastation is photogenic. FL4SHJI'OINT
~~~~~O~U~R~W~E~B~~.--

Tragic but beautiful... In that Kit Case

wounded landscape I find an polymer tht Is COffied
untamed beauty. Strength. TM m.1tenal. The
The struggle for survival. protect your fIiV1 hNds and
Indudes a divider shelf thallUflS acro5~
Mter its destruction. land
slowly begins to recover, to
renew itself, and life begins
again .... In that landscape
you can see how strong
lO·H x 9.7S · W
Nature is . That it is stronger
than Man ," Farace Reporter Backpack II
JOSEF KOUDELKA
a camera oadk> tht Will Mid
digilai pro camera wilt! a 100-400 lens.
9 r~lionabie dlvid," to hold lotWfallenses.
"My sitters turn into my a lIash and Iots _ .
victims . But I would like to
add that it is only those with Separate (OmpartfMlrt
a demon, however small and holdl .. 17" laptop (CIS).
of whatever kind. whose
Made of weatht'l r~sant black,
faces lend themselves to Sottu nylon. 19.5· x 13 " J. 9.8"
being victimized at all."
JOHN DEAKIN
...
I ""'P' All ~inger USA att<Khmfllt accessories.

'"War is. above all, grief. I

photographed it nonstop for
years , and I know that in all
that time. I produced only El Series BR Ultravjd

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4.SW~1
five or six real photographs. .~a._

War is not for photography." ...... _u

DMITRI BALTERMANTS
V,""" c...n.
--.
\/S.o..l_
Stock The Full Une ..... '-lOOO- .......
ot V..... U1A
"The camera .. .on the
one hand extends our v..ou.llD canon
comprehension of the WlN(HESTER
necessities that rule our
lives; on the other, it
manages to assure us of an
immense and unexpected
field of action. "
WALTER BENJAMIN PERSONAL PLANETARIUM SPOTTING SCOPES
..a. .., ok,
"What counts are the little
differences. 'General ideas'
""~ii l on.
mean nothing. Long live ... the
details! A millimeter makes
all the difference."
HENRI CARTIER-BRESSON 0
_K_
e
POP PHOTO JUNE 2009 42 West 18th Street New York, N.Y. 10011
'" www.adorams.com • 800.223.2500
 •
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"This Is IS stairway in the Plaza Holel in New York, and the debutantes fn gettilg reedy bef0f9 being introduced to their I
famitles and friends and other guests. They're doing ttl8If last bit of pnmping I tried to capUn the nervous energy of being
young and being on the cusp of adulthood. 1did this as part of the Redux book 00 American ~ wanted to fOllow people
i:VOlnd who are right at the point v.-t'tefe one thing is ending and another beginning. The white dresses to me are a unifonn,
wn.e people assume they know who these gir1s are and wtlat they're about. But they're all individuals, with their own ~V'8S,
their own paths. I shot this With a Canon EOS 50. I'm a real Slave to my 24mm f/l.4 lens. The light wasn't groot In there, so
I was at ISO 400 at fI2.B and 1/15 sec. It looks much brighter in theN than it was-that's the beauty of a lastlens'- 0

WWW.POPPHOTO.COM POP PHOTO JUNE 2009

'"
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