Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
com
Retro-Cool Nikon Df
See page 22
Art Streiber
Coaxing Performances
For The Still Frame
Lessons For Directing Talent &
Crafting Elaborate Ensembles
Use Instagram
Buzz To Boost
Your Biz
Location
Lighting!
Go-To Gear!
Leading Shooters
On Their Essential
Equipment Secrets
Inside
Lightroom
Pros & Cons
Of Custom
Defaults
Photographed on the
/ /
Its no secret that creative workows have become more uid but
until now, the way you capture, transfer and share your work has
been frozen in time. Thats why we designed the Evolution Series
a swappable, expandable dual-bay storage platform that gives creative
pros the speed and exibility they need today.
The hub of the system is the G-DOCK ev with Thunderbolt, plus
two stand-alone G-DRIVE ev USB 3.0 portable drives that each move
up to 1TB seamlessly from capture to post to distribution. Use the
drives out on location. Then, once back at your workstation, insert the
drives into the dock to transfer your work with its ultra-fast Thunderbolt
interface. And the whole solution is RAID 0 and 1 congurable.
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JANUARY/FEBRUARY 2014
Contents
Features
PORTFOLIOS
Art Streiber
Editors Note
As we kick off
2014, things are
looking up. After some tumultuous years,
the U.S. economy is trending upward, and
Ive heard from several photographers who
are seeing significant increases in their business bottom lines. Its anecdotal research, to
be sure, but just a few years ago, everyone I
spoke with was either down or way down.
There are still plenty of challenges, but there
always will be at least some challenges. After
all, if it was easy to make a living as a photographer, everyone would do it.
The Great Recession has trained us all to
EDITORIAL
CHRISTOPHER ROBINSON
Editor
WESLEY G. PITTS
Managing Editor
JANUARY/FEBRUARY 2014
MAGGIE DEVCICH
Associate Editor
DAVID WILLIS
Associate Editor
ASHLEY MYERS-TURNER
Associate Editor
Contents
MIKE STENSVOLD
Senior Editor
J. ANA FLORES, SAVA ALCANTARA
Copy Editors
Equipment
76 BATTERY-POWERED MONOLIGHTS
With a combination of portability, power, versatility and the
ability to be used away from an AC outlet, battery-powered
monolights are gaining an increasing following among
professional photographers
By The Editors
ART
KURT R. SMITH
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84 THE ESSENTIALS
Top pros share the gear they cant live without
LISETTE ROSE
Web Production Associate
TECH
CHRISTOPHER ROBINSON
Photography Group Editorial Director
KURT R. SMITH
Executive Art Director
EDITORIAL OFFICES
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PHOTO BUSINESS
22
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36 (R)EVOLUTION
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DQG(3621([FHHG<RXU9LVLRQLVDUHJLVWHUHGORJRPDUNRI6HLNR(SVRQ&RUSRUDWLRQ$OORWKHUSURGXFWDQGEUDQGQDPHVDUHWUDGHPDUNVDQG
RUUHJLVWHUHGWUDGHPDUNVRIWKHLUUHVSHFWLYHFRPSDQLHV(SVRQGLVFODLPVDQ\DQGDOOULJKWVLQWKHVHPDUNV&RS\ULJKW(SVRQ$PHULFD,QF
FirstTakes
14 I Digital Photo Pro digitalphotopro.com
Art Streiber
For Paramount Pictures 100th Anniversary, Art Streiber was called on to take a single, epic photograph. In my experience, explains Streiber, the massively
successful celebrity portraitist, nobody really enjoys having their picture taken except for models. I liken it to dentistry. Its something you have to and
should do every year. I try and make it as easy as possible on my subjects. A shoot with the photographer is much like putting together a film. He
collaborates with a set designer and lights for mood rather than to show off his formidable technical skills. Streiber is also famously adept at working with
group portraits, as you can see in this shot of 116 very famous subjects captured for the studios historic anniversary. The set alone took three weeks to build,
and he and his team ultimately employed 56 Profoto heads. He explains in the portfolio article in this issue that he keeps from getting overwhelmed in shots
like this by dividing larger groups into smaller ones, which hes then able to piece together into a final cohesive composition.
FirstTakes
Howard Huang
drawing with his eyes, his nose and just a tear, explains Finlay of his Brock Baker portrait. But the process of creating the piece was more than just Finlays
vision. After a stint on the hit TV show Glee, Baker was ready to reinvent his image and eager to engage in Finlays process. Finlay explains, This is an
exchange between both of us. Something we both create. That communication. That bond that goes beyond just language. And it was a lot of improvisation.
Colin Finlay
FirstTakes
After years as a war and conflict photojournalist, Colin Finlay is exploring a new outlet for bringing his personal creative touch to photography through the
combination of original painting. I wanted to bring the uniqueness of creating a one-on-one piece. I envisioned [this image] to be more like a pencil outline
1,995
conceptual images. They blend classic portraiture in a flavor along the lines of Irving Penn, with a theatrical over-the-top approach to costume, makeup and
performance, says Bradley. The project was shot over a few days in a 100-year-old vaudeville theater called The Palace in Los Angeles, which has been
boarded up and hidden from the public for decades, and is just now coming back to life with public performances. Bradley and the Lucent Dossier performance
group have been committed to working together for some time. When we first met, after having been inspired by them for years, they said my images have
been on their computer wallpapers for years. That made it easy to flow into creative collaborations, he adds. The project will be launched on a micro-website
followed by physical exhibitions in Los Angeles and New York. For updates, visit Bradleys website at www.augustbradley.com.
August Bradley
FirstTakes
Dramatic, cirque-inspired themes moved August Bradley to collaborate with the performance group Lucent Dossier on a new collection of short films and
DPPIn Focus
DPPInFocus
Nikon Df
The highly anticipated full-frame Nikon Df utilizes current digital
technology, such as the 16.2-megapixel FX-format CMOS sensor and
EXPEED 3 processor used in the D4, within a classic body design
reminiscent of the Nikon 35mm film cameras. Solid mechanical
controls are used for setting adjustments and controls, returning to a
traditional SLR feel and reducing the need for scrolling through
menus. With a 3.2-inch LCD screen and a glass optical viewfinder,
you utilize the 39-point AF system to shoot up to 5.5 fps for sharp
action shots. With an ISO range of 100-12,800, expandable to
204,800, the Df performs well in low light. Wireless connectivity is
possible with the WU-1a Wireless Mobile Adapter for instant sharing
or remote triggering. The Df is backward-compatible with classic
Ai and non-Ai Nikkor lenses, as well as current AF, AF-S, DX and
AF-D lenses. Purists may appreciate that the camera doesnt
offer video capabilities. List Price: $2,749 (body only). Contact:
Nikon, www.nikonusa.com.
LED Fresnels
Litepanels has added a 12-inch option to their Fresnel series. The Sola 12 (Daylight)
and Inca 12 (Tungsten) provide a fixed lens, directional illumination and an output
nearing traditional 2K incandescents while integrating LED technology. Drawing only
346W, the Sola 12 and Inca 12 are convenient low-energy units for location lighting, as
well as efficient studio lighting. The cool-to-the-touch LED technology makes operating
the lightweight housing possible without gloves. An integrated DMX module includes
Ethernet connectivity for remote dimming, from 100% to 0 without any noticeable color
shift or flicker, and focusing, with a 67-15 beam angle. List Price: $4,795. Contact:
Litepanels, www.litepanels.com.
Street Shooter
The Panasonic LUMIX DMC-GM1 is a mirrorless interchangeablelens camera squeezed down to a pocket-sized profile. With a
high-quality, 16-megapixel Digital Live MOS sensor, the GM1
shoots both still photos and 1080 HD video at 60i/30p. The
metal-alloy frame, with aluminum dials and brushed metal, feels
comfortable in hand and has a stylish retro look. The 3-inch,
1036K-dot LCD screen allows you to set focus and trigger the
shutter via touch sensitivity. Silent Shutter mode reduces shutter
noise while in the field during sensitive moments. Built-in
WiFi connects to your smartphone and tablet for asset transfer,
as well as remote triggering using the Panasonic Image App.
The GM1 also has integrated creative filters, as well as
time-lapse and stop-motion features. List Price: $749. Contact:
Panasonic, www.shop.panasonic.com.
INTRODUCING
A CAMERA AS
FA S T
AS YOU ARE.
DPPIn Focus
DPPInFocus
Personalized Tripod
Novoflexs modular tripod, the TrioPod, is available in five different sets. Additionally, each
part is available individually for maximum flexibility and expandability to match your
changing needs. The system includes the 0.69-pound TrioPod tripod base, a center column,
which extends the stand base height by 3.15 inches, 3- and 4-segment aluminum legs,
3- and 4-segment carbon-fiber legs, mini-tripod legs and a 3-segment hiking stick. List
Price: $585 (TrioPod with 3-section aluminum leg set); $657 (TrioPod with 4-section
aluminum leg set); $887 (TrioPod with 3-section carbon-fiber leg set); $930 (TrioPod
with 4-section carbon-fiber leg set); $709 (TrioPod with Hikingstick II 3-section leg
set). Contact: Novoflex (HP Marketing Corp.), www.hpmarketingcorp.com.
All-In-One Superzoom
The 20.2-megapixel Sony Cyber-shot DSC-RX10 with
24-200mm /2.8 Carl Zeiss Vario Sonnar T*
high-zoom lens provides incredible variability in an
all-in-one design, perfect for lightweight travel. By
combining the RX100 IIs Exmor R CMOS sensor and the
new BIONZ X processor, Sony continues to reduce
area-specific noise and increase detail. Three different
sizes can be selected for autofocus, allowing you to
Ultratelephoto Zoom
Tamron has announced the development of the SP 150-600mm F/5-6.3 Di VC USD ultratelephoto
zoom, compatible with both full-frame and APS-C formats. With a large focal-length-range
expansion from the current 200-500mm lens offered, this lens is of particular interest for sports
and wildlife photographers who need a little extra length without losing quality (from extenders) or
time (by changing lenses). Including Vibration Compensation, a redesigned tripod mount and an
Ultrasonic Silent Drive for accurate AF, the lens is set up to shoot sharp images at a long focal
length both mounted and handheld. List Price: TBA. Contact: Tamron, www.tamron-usa.com.
Richard Walch
THE PROFOTO B1
WITH TTL
WITHOUT CORDS
The new Profoto B1 makes it easier than ever to use your
fash off camera.
TTL achieves your light in an instant. With battery-power/
without cords, the 500w/s B1 goes wherever you go. Combining
performance and the legendary Profoto light shaping system
the B1 makes great light easy.
To learn more go to www.profoto.com/us
Profoto US | 220 Park Avenue, Florham Park NJ 07932 | PHONE (973) 822-1300, profoto.com/us
DPPIn Focus
DPPInFocus
Versatile Support
Weighing a featherlight four pounds, yet supporting a full
22-pound capacity, the versatile 3POD P5CRH 5-section Carbon
Fiber Compact Tripod with K3 Ballhead by Flashpoint is the
perfect travel companion. With wear-resistant lock guards that
provide against slippage due to wear and temperature
changes, the 5-section legs individually
fold and unfold with metal-jacketed twist
locks and have three position settings to
compensate for uneven surfaces. Each
foot has a spike for outdoor trail use with
a nonslip rubber cap. Quick moments and
tight spaces may call for the P5CRHs
monopod configuration, utilizing the
center columns reinforced twist-lock
technology. The included K3
Ballhead provides smooth 360
panning with two bubble
levels and a sliding
quick-release plate. List
Price: $124. Contact:
Flashpoint (Adorama),
www.adorama.com.
Ab Sesay
Manfrotto Shoulder 50
The Shoulder 50 is a comfortable and sturdy shoulder
bag thats part of the new Manfrotto Pro line. The
bag interior features a Camera Protection System
(CPS) with thickly layered core center dividers
that mold to cradle your equipment and provide
shock absorption for two DSLRs with lenses attached,
a strobe, a tablet, accessories and additional personal
gear. Featuring a rigid, multilayered Exo-Tough outer
construction with thermo-formed areas and reinforced
feet to protect against impact, the Shoulder 50 also
provides a back compartment for personal papers, a
top zipper for quick gear access and a removable rain
cover. Estimated Street Price: $189. Contact:
Manfrotto, www.manfrotto.us.
PROFOTO RFi
SOFTBOXES.
ITS MORE THAN A
SOFTBOX. ITS A
LIGHT SHAPING TOOL.
The Octa RFi is most commonly used for such
purposes as fashion, beauty and portrait
photography. One of the most important reasons
for this is that its unique shape creates a beautiful,
natural looking catch light in the subjects eye.
RFi softboxes come in all sizes and shapes, and are
compatible with all major ash brands. To ensure
full control for the photographer, they have a deeper
shape, a recessed front, double-layered diffusers and
a highly reective silver interior. Optional accessories
are available for even more precise light shaping.
In short, an RFi softbox is more than just a softbox
Glidecam VistaTrack
Add smooth, even movement to
your next video project with the
Glidecam VistaTrack 10-48. Use
the track on flat or uneven
surfaces alike or mounted to a
tripod to create vibration-free,
high-quality movement. When
using the integrated adjustable
legs or a single tripod, the Linear
Track and Dolly System supports
cameras weighing up to 10
pounds, or provide added stability and support with two tripods for use with cameras weighing up to 30
pounds. Two quick-release plates are included. One plate mounts the VistaTrack to a single tripod and the
other mounts the camera to the track. The system is available in 48-inch, 36-inch and 24-inch lengths.
List Price: $699 and up. Contact: Glidecam, www.glidecam.com.
Profoto US
220 Park Avenue, Florham Park NJ 07932
PHONE (973) 822-1300, profoto.com/us
DPPIn Focus
DPPInFocus
Precision Panhead
The Induro PHD3 panhead provides quick and precise camera
positioning from a wide range of angles using a single-lock
knob control. The one-lock knob gives full control over the 360
rotation of the panning base, while a separate knob controls
+90/-45 front-back tilt movement and +45/-45 side-to-side
tilt. A graduated scale and bubble level aid in accuracy. A
double-safety lock is incorporated on the Quick Release clamp of
the included Arca-Swiss-style top plate. Fits size 2- and 3-series
tripods. List Price: $385. Contact: Induro, www.indurogear.com.
G-Tech Evolution
G-Technology has developed a dual-bay storage system
particularly useful for downloading files in the field, then
quickly backing up once you return to your studio
workspace. The G-DOCK ev with Thunderbolt hub ships
with two portable stand-alone G-DRIVE ev USB 3.0 drives
with 1 TB capacity each. The hub allows additional drives
to be swapped in and out for flexible and expandable
backup. Estimated Street Price: $749 ($199 for each
additional 1 TB G-DRIVE ev portable USB 3.0 drive).
Contact: G-Technology, www.g-technology.com.
PROFOTO
UMBRELLAS
12 MODELS.
2 SHAPES.
INFINITE
POSSIBILITIES.
Available in 12 unique models and made with
high-quality fabrics and surface-treated metallic
elements, Profoto Umbrellas will provide a superior
light for years to come.
Available in a deeper shape for photo-graphers
who want a broader range of possibilities, and in
shallower shape for those who value portability and
ease-to-use.
For further information go to
www.profoto.com/us/umbrellas
By Baldev Duggal
VisioneersGallery
VisioneersGallery
The Wave
Sliding Club
ABOVE: Akira Seos Fish Out Of Water photos printed with Duggals new HD printer.
Frederico Martins
SHAPE SUNLIGHT
WITH PROFOTOS
COLLAPSIBLE
REFLECTORS
The latest addition to our assortment of Light
Shaping Tools is a powerful and cordless continuous
light source the sun.
Shape its light with one of ten collapsible reectors,
each equipped with two ergonomically shaped
handles, to make them easy to hold and fold.
Available in two sizes and six surfaces for any
lighting challenge.
For more information go to www.profoto.com/us
Hi-TechStudio
Hi-TechStudio
The Softbox
Softboxes create directional, diffuse, naturallooking light. The light quality might be
compared to that of an overcast day,
but using a softbox, you have control
over the size, shape and direction of
the light. Incredibly versatile, you can
use a softbox as a key light, fill light or
backlight. Their adaptability make
them a favorite among professional
photographers, from photojournalists
who use small ones on a handheld
flash to fashion and beauty shooters
working on location to studio photographers shooting a perfume ad. A
softbox should be in every photographers grip kit.
The basics of the design are simple.
The softbox attaches to a strobe or continuous light source. With four opaque
sides made of fabric, the light bounces
around the reflective inner lining, and
its shaped and released out the oppo-
TOP: LumiQuest SoftBox. ABOVE: Glow Hexapop R-series; Interfit Strip Pro Softbox.
www.pelican.com/photopacks
Pelican Products, Inc.
23215 Early Avenue, Torrance, CA 90505Tel 310-326-4700
&AX
sToll Free 800-473-5422
All trademarks are registered and/or unregistered trademarks of Pelican Products, Inc., its afliates or subsidiaries. iPad and iPhone are registered trademarks of Apple, Inc. Ultrabook is a trademark of Intel.
JOKERS
Gepe: Pro
Lightstands.
Anodized
black
aluminum.
5/8" top stud
with 1/4"
thread. Models
have various
leg spreads,
min/max
heights,
capacities,
weights.
Rodenstock: Vario ND
Filters. Calibrated in actual
F stops 1.5 to 5. 12 layer
multicoated. Extremely
smooth rotation. Anodized
aluminum mount.
Great
Gear,#5.
Giottos: MH1300-657
ballhead with QR. Arca
compatible. 2 levels.
Supports 20 lbs.
(R)evolution
(R)evolution
How to use Smart Filters, Blur Tools and Blur Effects to control blur in your images
1)
Smart Filters
2)
3)
Gemini by Bowens
BowensUSA.com
Distributed by MAC Group 914 347 3300
Bowens and the power behind the picture are registered trademarks of Bowens International Ltd.
Photo by Ian McManus Model: Vera Bartsch @ Nemesis Model Management Hair: Lisa Booth MUA: LucieMUA Styling: Bernard Connolly
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(R)EVOLUTION
of the Smart Filters applied to one
Smart Object); using Layer Blend If
sliders isnt one of them.
Use Smart Filters sparingly, as the price youll
pay for this flexibility is a
significant increase in file
size, as much as four
times, which slows processing and saving time
but dont write them off
because of this.
Blur Tools filters
Tilt-Shift, Field Blur, Iris
Bluroffer simplified interfaces, easier filter setting selectivity (though limited to hexagonal iris
shapes), stronger intensity and faster
performance than the Lens Blur filter. Not only can these filters be easily applied as Smart Filters, but
theyre best applied as Smart Filters;
apply one filter, and two new
palettes will appear, Blur
Tools and Blur Effects,
which can be further
adjusted in the future if
the effects are applied as
Smart Filters.
The Blur Tools palette
allows you to activate one,
two or all three of these
filters and adjust the sliders that control each
effect. The Blur Effects
palette offers three sliders: Light
Bokeh (this slider brightens bokeh
effects), Bokeh Color (this slider
increases the saturation of affected
areas) and Light Range (this slider
adjusts the range of levels affected,
allowing you to target effects into
shadows, midtones or
highlightsmore effectively than Lens Blurs
Threshold sliderand
it intensifies the tonal
range between the sliders, producing a more
realistic effect).
Sooner or later, youll
wonder how applying a
filter selectively through
4) Field Blur 5) Iris Blur 6) Tilt-Shift
4)
5)
6)
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(R)EVOLUTION
its controls is different than applying
a filter to a duplicate layer uniformly
and then adding a mask. Sliders that
provide selective application of an
effect offer variable intensity, blurring
an area more or less, while a layer
mask selectively reduces the opacity
of a uniform effect revealing the
focused image below. The effect produced by these two methods can be
significantly different.
Its the type of selectivity, not the
quality of the blur, that differentiates
the Blur Tools filters from one
another. Field Blur produces an
overall effect. Iris Blur adds selectivity through a radial gradient. TiltShift adds selectivity through a
reflected gradient.
Each filter has a blur ring. The
central point controls the position of
the effect; the outer ring dynamically
adjusts the Blur slider. Pins can be
used to place additional blur rings
with overlapping fields of influence
that will feather into one another
gradually, making it easy to apply different filter settings to different
image areas.
Radial Blur surrounds each blur
ring with a second larger double ring.
The outer line can be used to adjust
the size of the blur field, and it has
one square radius roundness knob
that makes the field rounder or squarer, and four outer ellipse points to
adjust the shape and angle of the
radius field. Between the outer line
and the center double ring are four
inner ellipse points that control the
gradient effect between the center and
the outer ring; dragging one point
will move them all equally unless you
hold the Shift and Option/Alt keys to
control a single point.
Tilt-Shift adds a reflected gradient
with two solid center lines that define
a region of clarity between them (the
center points on them control rotation)
and two dotted outer lines that control
the gradation of that region of clarity
into blurred areas.
You can easily combine Iris and
(Contd on page 93)
Portfolio
digitalphotopro.com January/February 2014 I 43
(T
aiwan-born, Hawaiian-raised,
New York-based Howard
Huang considers himself
an urban fashion/celebrity
photographer. Comics and
Japanese anime are building blocks
for the fantasy sets he creates for musicians, models and actors, from Lil
Wayne and Jacki-O to Ice-T and
Nicki Minaj. Huang often composites
photographs to achieve his inner vision
or an art directors storyboard idea.
Huang creates color-bursting magazine features for publications ranging
from VIBE and Billboard to Maxim
44 I Digital Photo Pro digitalphotopro.com
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Tell
Me
What
You
Want
Me
To Do
F)
Portfolio
professional demeanor and mental
acuity bring a sense of calmness and
confdence to the often frenetic handler-handheld world of Hollywood.
The son of a banker might well have
inherited the traits that have given
his career such a solid foundation.
Tell
Me
What
You
Want
Me
To Do
group and certainly when youre photographing a group of celebrities. The cast
of Last Vegas shoot was in New York,
and we had very limited time with our
subjects because theyre all very well
known and overscheduled. The hurdles
start with coming up with an idea and
a setting in which were going to place
these people. So I brainstorm with the
client and my set designer and come up
with a look, a feeling and an aesthetic.
With the cast of Last Vegas, we opted for
classic tuxedos in terms of wardrobe and
fnally landed on the idea of photographing them in a bar. We were inspired by
the Slim Aarons photo of Clark Gable,
Van Hefin, Gary Cooper and Jimmy
Stewart. The idea was to really get these
guys to hang out. My set designer had
to fnd, build and stock a bar in the Pier
Im looking for the group to have a dynamic, for the group to rise and
fall and have depth so that your eye keeps traveling through the frame.
59 Studio in Manhattan, and then my
crew and I had to light the bar to make
it look as legitimate as possible. Im always interested in a lighting look thats
appropriate and natural-looking unless
Im going for something very aggressive. In addition to the bar set, we had
to do a cover, so we created two addi52 | Digital Photo Pro digitalphotopro.com
Tell
Me
What
You
Want
Me
To Do
This spread, Top: The stars of Last Vegas were photographed on a compressed schedule.
streiber had about one hour with the actors, and he had to work with them on three
different sets. The concept for this photo came from a slim aarons photo of Clark Gable,
Van hefin, Gary Cooper and Jimmy stewart. LefT: streibers sense of humor can be seen in
this photo of the Monty python ensemble. aboVe: Justin bieber in a photo that exemplifes
the immortality of fame. NexT paGe: beyond work for major L.a. and New York
entertainment studios, streiber has a special appreciation for doing magazine editorial
work like this image of Zynga founder Mark pincus, which was shot for Fast Company.
With an eye for creating austere projects, Maria Burns shows that
you can make a tremendous impact with the simplest of ideas
Thanks to generous prizes from RED, Zeiss and
Adobe, our 7th Annual Emerging Pro Contest was a
huge success. The contest was groundbreaking. It was the first time weve run
the Emerging Pro with our sister publication HDVideoPro magazine, and it was
the first time weve invited participants
to submit either a series of still photographs or a short film. As more DPP
readers experiment with motion capture,
we were particularly excited to see such a
strong group of motion submissions.
PROJECT: Onus
Simplicity seems to be the guiding principle behind Maria Burns conceptual filmmaking style. Simple doesnt mean plain or dull. She uses the full
frame to create tension where its warranted, and the occasional superimposition of two images is the most elaborate her VFX work seems to be. New
filmmakers should take note of the way Burns crafted her compelling two films, Tendance Brute and Onus, each of which was just a few minutes in
length and that took place on single sets.
Maria Burns
PROJECT: Onus
Maria Burns
Maria Burns
PROJECT: Onus
Maria Burns
Maria Burns
PROJECT: Onus
Maria Burns
Maria Burns style is easily identifiable in these side-by-side frame grabs from Tendance Brute and Onus. Burns uses the human form, both static and
in motion, to convey emotion and transformation. The films are confined in scope, and the sets themselves are reminiscent of experimental dance
productions. Nothing is extraneous, and everything in the frame, from wardrobe to props, has been meticulously selected.
Fig. 1
DEFAULTS:
A Double-Edg
The pros and cons of using Develop defaults in Adobe Lightroom and Camera Raw
Whenever you import new photos into Lightroom,
they always come in with the same basic set of
settings. Every control is generally set
to zero, with a few notable exceptions,
such as the controls in the Detail panel.
And these default settings seem to be
the same for every camera. But did you
ever wish that you could change that?
At their most basic level, customizing your Lightroom and Camera Raw
defaults is childs play. For instance, if
you want your photos to come in with a
bit more Contrast or Vibrance, setting
that up as a Develop default is easy.
62 | Digital Photo Pro digitalphotopro.com
Fig. 1
Fig. 2
Fig. 3
Fig. 4
ed Sword
So the process is very straightforward, and you now have new default
Develop settings for that camera. But
when you dig into it just a little deeper,
you start to nd out that Lightroom
and Camera Raw defaults can be a lot
more powerfuland complicated
than they appear on the surface. This is
because of two preferences that govern
how defaults behave. One will make
defaults specic to a given camera serial number, and the other will make
defaults specic to the ISO setting.
These two preferences make De-
Fig. 5
Fig. 6a
Fig. 6b
Fig. 7
The Cons
Shoot More.
Work Less.
New Members:
Complimentary
Studio Consultation*
Promo Code: dpp2013
Expires: June 30, 2014
Make
Insta
Expanded Opportunity
Instagrams meteoric rise has helped
expand and rejuvenate interest in pho-
Use Of
gram
is that it makes communication between fans and followers incredibly
easy and accessible.
Mobile Trends
To get a feel for how drastically the
winds are changing when it comes to
web-browsing behavior online, lets
take a step back to expand our view.
As of November 5, 2013, Walker
Sands, a public-relations frm, released
a report showing that 28% of all their
clients traffc now comes from smart-
6 Instagram
Pro Tips
Follow us on Twitter
and stay updated
on the latest trends in
digital photography
and technology.
4
twitter.com/digitalphotopro
STATEMENT OF OWNERSHIP
Varied Approaches
Pro photographers use Instagram in
myriad ways, including highlighting
work thats part of long-term projects,
providing location and behind-thescenes footage, displaying portfolios,
sharing experimental work to gauge interest, and sharing news and accolades,
etc. These varied approaches provide
ample room for photographers to experiment and succeed. Unsurprisingly,
one common goal that runs across all
these approaches is to increase ones following. Surprisingly, though, there isnt
always a clear path to commoditize that
following. Take, for example, the following professional photographers:
Digital Editions
www.digitalphotopro.com/
Illustrating the dramatic impact that even a subtle change can bring to a photograph,
commercial lifestyle photographer Corey Rich spent a day working out
with cross-trainer Del Lafountain to capture a series of high-impact shots
of the towering athlete as he muscled through several hundred kettlebell
repetitions. Ultimately, despite an extended sequence of well-executed, meticulously composed shots, only one fnal image stood head and shoulders
above the rest. Interestingly, while Richs original concept was to capture the
athlete at peak form using high-powered Profoto strobes in the controlled
environment of the gymnasium, the fnal most successful shot is composed
of natural lighting with a bit of fll from a Litepanels 1x1 Bi-Color LED
panel. Rich says that, as a photographer, its important to stay adaptable at
all times, even if it goes against your original concept.
I went into this shoot feeling like, Oh, this is going to be a great opportunity to use strobes, to use Profotos, laughs Rich, and you can see
in the frst experimental shots that the Profotos look pretty fat and pretty
boring. First, I was trying to do this with bare strobes, and it looks like I
tried softbox strips on each side, then I moved the strips to 45 angles to fatten the light, and fnally I ended up eliminating one strip to see if I could
create more directional light. Then I had that epiphany, which is, Wait a
The
Hero
Image
Final Image
second, whats so appealing about this location is all of this natural light pouring in from the windows, the daylight! And thats
when I took that step back, and I said, Okay, hang on, the biggest
attributes to this photograph are the big fag in the background,
the natural light thats pouring in through the window and then
this very appropriate subject for this setting, the CrossFit athlete.
Sometimes, thats what it really requiresto distill it down to
whats working and whats not working, and then eliminate
the elements that arent working and capitalize on the elements
that are.
Rich says that they had two Profoto 7b power packs with six
or seven accompanying Profoto strobe heads. The daylight coming out of Profotos and the quality of light to come out of the
Litepanels, theyre both best in class in my opinion, he says.
Beautiful daylight and an incredibly fne shape to the light. We
have a variety of light modifers for Profotos, and we have another set of modifers for our Litepanels kit. I fnd that they actually work quite well in tandem. For me, its a scaling situation;
there are plenty of jobs where a set of four Nikon Speedlights
Rich shoots the majority of his work on manual settings, and here you can see how even the slightest change in composition and exposure can have
a profound effect on the fnal image. This is a classic controlled environment, right? asks Rich. Im setting up the lights, theres window light
pouring in, but nothing is changing. The idea of being in an automated mode sure doesnt make senseyoure setting yourself up because the
camera will get fooled every time I make a subtle adjustment.
In order to capture the decisive moment, Rich would machine-gun sequences using the rapid-fre
capabilities of his Nikon D800 and D4 full-frame DSLRs while Lafountain powered through repetitions.
Im doing bursts of images, Rich says, and Im doing that for the simple reason that Im handholding.
In a controlled environment, its all about shooting enough, explains Rich. In this situation,
theres no vreason why I couldnt continue to evolve the shot by making lots of exposures
because, oftentimes, Im surprised that an image I thought was the best while shooting turns
out to be not as good as the evolutionary set of images youve been capturing.
AMERICAN
THE
Presented By
LANDSCAPE
Photo by
DuLaurence
Duke Miller
Third Place Winner
Battery-Powered
Monolights
Location Lighting
Masters
Crafting the light for a photo is
an art, and its also an exercise in
puzzle-solving. Two photographers
you should follow to learn both the
art and the puzzle-solving sides
are David Hobby and Joe McNally.
Hobby is the founder of the popular
Strobist blog, and McNally is
widely known as one of the most
innovative location lighting masters
in the world. As much as we focus
on the light head in this article,
its knowing how to manipulate the
light that really creates the style,
look, mood and emotion in the
photo. David Hobbys Strobist blog
is at www.strobist.blogspot.com,
and Joe McNallys website is at
www.joemcnally.com.
Adj.
Range
Model.
Light
Max.
Recycle
Pops per to Full
Charge
Power
Shortest
Duration
(sec.) ##
Modifers
Weight
Street
Price
400 W-s
500 W-s
500 W-s
750 W-s
1000 W-s
5 stops
5 stops
5 stops
5 stops
7 stops
250W
250W
250W
250W
500W
370#
300#
300#
220#
150#
4 sec.#
5 sec.#
5 sec.#
7.5 sec.#
10 sec.#
1/1000
1/900
1/2900
1/2300
1/2100
Bowens
Bowens
S-type
S-type
S-type
5.9 lbs.
7.5 lbs.
7.7 lbs.
8.8 lbs.
9.9 lbs.
11.8 lbs.
13.8 lbs.
$399
$649
$899
$1,049
$1,249
$620
$757
BRONCOLOR
Minicom 40
Minicom 80
Minicom 160
*Power Box 900/W
300 W-s
600 W-s
1200 W-s
5 stops
5 stops
5 stops
300W
300W
300W
240
120
60
1.5 sec.
3.0 sec.
7.5 sec.
1/2500
1/1500
1/1100
Bron
Bron
Bron
6.6 lbs.
7.2 lbs.
9.5 lbs.
14.3 lbs.
$1,338
$1,630
$2,245
$518
DYNALITE
Uni400JRg
*Jackrabbit II Pack
320 W-s
4 stops
100W
150
4 sec.
1/675
Dynalite
3.6 lbs.
2.3 lbs.
$599
$459
FLASHPOINT
Flashpoint 180
Flashpoint 320M
Flashpoint 620M
Flashpoint 1220M
Flashpoint DG400
Flashpoint DG600
*Flashpoint M D/C Power Pack
180 W-s
150 W-s
300 W-s
600 W-s
200 W-s
300 W-s
5 stops
5 stops
5 stops
4 stops
5 stops
5 stops
LED
100W
150W
250W
7W LED
7W LED
700
180
100
100
N/S
N/S
N/S
1.5 sec.
1.5 sec.
4.5 sec.
3 sec.
3 sec.
N/S
1/1000
1/1000
1/1000
1/800
1/800
Bowens
Flashpoint
Flashpoint
Flashpoint
Flashpoint
Flashpoint
2.1 lbs.**
3.0 lbs.
4.5 lbs.
5.3 lbs.
4.0 lbs.
4.4 lbs.
2.7 lbs.
$199
$99
$189
$299
$179
$199
$124
HENSEL
Expert D 500
Expert D 1000
Integra 250 Plus
Integra 500 Plus
Integra 1000 Plus
Integra Mini 300
Integra Mini 600
Speed Max
*Power Max L
500 W-s
1000 W-s
250 W-s
500 W-s
1000 W-s
300 W-s
600 W-s
400 W-s
8 stops
8 stops
6 stops
6 stops
6 stops
6 stops
6 stops
8 stops
300W
300W
300W
300W
300W
300W
300W
300W
440
220
880
440
220
440+
350
600
1 sec.
2 sec.
2.6 sec.
2.5 sec.
4.2 sec.
2.4 sec.
3.4 sec.
1.6 sec.
1/5600
1/3250
1/2380
1/1390
1/1680
1/1900
1/1000
1/2000
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
7.5 lbs.
8.6 lbs.
6.1 lbs.
6.3 lbs.
8.6 lbs.
5.0 lbs.
5.1 lbs.
13.7 lbs.
10.1 lbs.
$1,020
$1,435
$710
$615
$1,107
$485
$625
$4,980
$1,995
Unit
BOWENS
Gemini 400Rx
Gemini 500R
Gemini 500Pro
Gemini 750Pro
Gemini 1000Pro
*Small Travelpak
*Large Travelpak
Profoto
Profotos battery-powered monolight
is the B1 500 AirTTL, a self-contained
cordless model with an onboard, exchangeable, integrated, lithium-ion
battery, so you dont have two pieces
to deal with. The unit also offers TTL
exposure control with Canon DSLRs
10
Paul C. Buff
Paul C. Buff offers a number of
monolights that can be plugged
11
Adj.
Range
Model.
Light
Max.
Recycle
Pops per to Full
Charge
Power
Shortest
Duration
(sec.) ##
Modifiers
Weight
Street
Price
150 W-s
300 W-s
5 stops
5 stops
150W
150W
200
100
10 sec.
10 sec.
N/S
N/S
S-type
S-type
N/S
N/S
1.8 lbs.
$229
$255
$109
600 W-s
200 W-s
300 W-s
400 W-s
600 W-s
4 stops
3 stops
3 stops
4 stops
4 stops
10W
150W
150W
10W LED
150W
N/S
150
100
N/S
N/S
N/S
4 sec.
4 sec.
9 sec.
6 sec.
1/800
1/600
N/S
N/S
N/S
JTL
JTL
JTL
JTL
JTL
5.5 lbs.
3.3 lbs.
3.8 lbs.
10 lbs.
4.5 lbs.
$419
$269^^
$299^^
$449^^
$649^^
640 W-s
160 W-s
320 W-s
640 W-s
320 W-s
330 W-s
660 W-s
1320 W-s
9 stops
6 stops
6 stops
6 stops
6 stops
6 stops
6 stops
6 stops
250W
150W
150W
150W
8 10W
250W
250W
250W
500
500+
500+
500
500+
500+
500
250
3 sec.
0.75 sec.
1.5 sec.
3 sec.
1.5 sec.
1.5 sec.
3 sec.
7 sec.
1/2000
1/6000
1/3300
1/1800
1/2000
1/3300
1/1800
1/900
Buff
Buff
Buff
Buff
Buff
Buff
Buff
Buff
4.3 lbs.
2.5 lbs.
2.9 lbs.
3.7 lbs.
2.5 lbs.
4.1 lbs.
4.9 lbs.
7.1 lbs.
3.5 lbs.
$499
$224
$279
$359
$399
$389
$439
$549
$239
PRIOLITE
MB500
MBX500
MBX1000
500 W-s
500 W-s
1000 W-s
5 stops
6 stops
7 stops
LED
LED
100W
400
220
160
3 sec.
2.5 sec.
2.5 sec.
1/4500
1/4500
1/4500
S-type
S-type
S-type
9.3 lbs.**
7.0 lbs.**
9.9 lbs.**
$1,479^^
$1,709^^
PROFOTO
B1 500 AirTTL
500 W-s
9 stops
1.9 sec.
1/1000
Profoto
6.6 lbs.
$1,995
300 W-s
600 W-s
130 W-s
300 W-s
600 W-s
4 stops
4 stops
3 stops
3 stops
3 stops
150W
150W
150W
150W
150W
1.5 sec.
3.0 sec.
1.3 sec.
1.4 sec.
1.9 sec.
1/800
1/600
1/1200
1/800
1/600
Visatec
Visatec
Visatec
Visatec
Visatec
5.7 lbs.
3.1 lbs.
5.0 lbs.
5.4 lbs.
6.8 lbs.
14.3 lbs.
$992
$1,249
$484
$644
$807
$518
Unit
INTERFIT
Stellar Xtreme 150
Stellar Xtreme 300
*Stellar Xtreme Battery Pack
JTL
Mobilight DC-600
Mobilight 201
Mobilight 301
Mobilight 401
Mobilight 601
PAUL C. BUFF
Einstein E640
AlienBees B400
AlienBees B800
AlienBees B1600
AlienBees ABR Ringflash
White Lightning X800
White Lightning X1600
White Lightning X3200
*Vagabond Mini Battery Pack
VISATEC
Logos 800
Logos 1600
Solo 400 B
Solo 800 B
Solo 1600 B
*Bron Power Box 900/W
Notes:
Recycling times with battery power; will be quicker on AC
Number of pops is unlimited on AC
Pops per charge and recycling times are to full power after a full-power pop
240
120
500
240
120
Interft
Interfts Stellar Xtreme AC/DC
Monolights are 300 W-s units. They
have built-in slave sensors for fash and
IR, modeling lamps and user-change-
12
Visatec
Visatec makes several AC-powered
monolights that can be plugged into
the Broncolor Power Box 900/W. The
Broncolor
Broncolor makes AC-powered
monolights. Weve included them
80 | Digital Photo Pro digitalphotopro.com
Priolite
Featuring exchangeable lithiumion batteries built into the back of the
lights, Priolites MBX500
and MBX1000 provide studio control
and power without cords or external battery packs.
With the power of 10 to 20 speedlights
packed into one unit, the MBX have
suffcient output for use on location on
sunny days. Both units feature a quick
duration of 1/4500 at full power, modeling lights, optical slaves and bidirectional radio controls.
Hensel
Hensel offers monolights that can
be operated with AC or battery power.
The Expert D (500 and 1,000 W-s) features built-in radio receivers (Hensel
Freemask Wizard or Hensel Strobe
Wizard, both 3-channel, or Profoto Air
receiver, 16-channel). The Integra Plus
FM units (250, 500 and 1,000 W-s) incorporate a Freemask Strobe Wizard
radio transmitter and Freemask (part
of the Hensel hardware), which allows
the photographer to take two shots on
a white seamless and drop in any background. The frst shot is a normally lit
Continuous Lights
The dramatic rise in the number of photographers who are also engaged in motion
capture has created a lot of interest in continuous lights for still and motion.
Continuous units let you see the actual lighting (electronic fash units modeling
lamps just give an approximation), but they dont have the action-stopping
ability of a fash or strobe. Most reasonable portable continuous lights are less
powerful than strobe monolights, and incandescent continuous lights are hot
(LED and fuorescent lights are much cooler and more energy-effcient). Some
photographers prefer continuous lights for their ability to create a feeling of
warmth in an image. This is highly subjective, but strobes have always been
characterized as creating a sterile look, and as continuous lights have become
more portable, powerful and cost-effective, theyre certainly worth a look.
13
foreground image and the other is a silhouetted background image that allows
for easy masking in Photoshop. This
eliminates the need for bluescreens or
greenscreens and the problems they
cause. The compact Integra Mini units
come in 300 and 500 W-s versions; the
Speed Max can deliver ash durations
as brief as 1/66,660 seconds and up to
31 ashes per second. All can be powered (up to 2,000 W-s max) by the companys two-socket Power Max L mobile
power supply, which can deliver up to
880 ashes at 250 W-s, 440 ashes at
500 W-s. The Power Max L can also be
used to power the companys continuous lights.
Bowens
Bowens offers six Gemini monolights, from 400 to 1,500 W-s, which
can be powered by AC or the Bowens
Travelpak. The Gemini 400Rx has a
built-in Pulsar radio receiver; the others have a slot for a Pulsar receiver card.
The units are ruggedly built, and have
either a 5- or 7-stop range and bright
modeling lights starting at 250 watts.
The 500R features a digital readout
with two dials for quick independent
control over full stops and tenths of a
stop. The Pro models also incorporate
a cooling fan, and faster recycle and
ash duration. The Travelpak comes in
Small and Large versions. Both provide
400 to 1,500 W-s output and recycling
in 4 to 15 seconds; the Small provides 50
to 185 full-power pops per charge; the
Large, 100 to 370. Each can power up
to two Gemini heads.
Dynalite
Dynalites Uni400JRg monolight can
be powered by AC or with the compact
Dynalite Jackrabbit II battery. With the
Jackrabbit II battery, the Uni400JRg
can deliver up to 150 full-power (320
W-s) ashes with a 4-second recycling
Join Te Discussion
With Other
Photo Enthusiasts!
facebook.com/digitalphotopro
late 50s and then launched his photoprocessing business in the 1960s.
The massive 30,000-square-foot facility on 23rd Street in New York City is
a sprawling and frenetic hub of activity. My father, a commercial photographer in Manhattan in the 1970s, used
Duggal for large output prints; I used
Duggal in the 1990s when I attended
the School of Visual Arts and needed a
photo paper, which is fed into a washing-machine-sized lighttight chamber around four feet wide. A circular
drum holds the paper via suction, and
the device slowly moves a laser to expose the paper.
The HD C-printer needs to perform
calibration when the paper is changed,
but when it has been completed, the
device will stay in register, unlike inkjet or other printers that tend to come
out of alignment over time.
Evaluating the images, I found them
to be excellent, although not necessarily the best choice for all photographers. For casual output and even for
some gallery work, weve seen inkjet
devices produce highly detailed work
with good longevity.
But the HD C-printer has two things
going for it, most importantly, the
C-print look. Theres a different
lookalbeit, sometimes subtlebetween something produced on an
inkjet and work thats produced on
The new Polielettronica
HD C-printer that Duggal Visual
Solutions installed in mid-2013
is capable of rendering fne
details with stunning sharpness
and clarity. Examining the
resolution in a printout of a
map reveals the precision.
EE
The Essentials
August Bradley
www.augustbradley.com
Hasselblad H4D. I shoot all of my commercial and exhibition work
on this camera because of its resolution, color depth, smooth tonal gradients, skin tones and versatility in post. I also love the feel of this camera; it becomes an extension of my hand and eye.
Datacolor Spyder4. Consistent, accurate tonal gradients and colors
are hugely important to me, and this keeps my color management tight.
Adobe Photoshop Lightroom. Enables extraordinary control along
with very fast postproduction workow. Essential for getting jobs done
on time, and for achieving the looks Im after.
84 | Digital Photo Pro digitalphotopro.com
www.peterreadmiller.com
Hoodman HoodLoupe. The HoodLoupe is always around my neck on a shoot.
Not only is it great for viewing my cameras LCD on a bright sunny day, but the
adjustable diopter allows me to see the screen clearly and check critical focus without having to put on my glasses.
Canon Angle Finder C. I love to shoot from a low angle,
often with my camera on the ground, and especially while
shooting football. As time and photography have taken their
toll on my neck and the rest of my body, its not easy for me
to look straight through the camera when its that low. The
Angle Finder allows me to kneel over the camera and look
straight down to see the image.
Gumby And Pokey. These small replicas of the claymation
gures have been my good-luck charms for the past 20 years.
They have been in my pocket on 99.9% of my shoots in the
last 20 years. Although original Pokey is missing his leg and
has been retired, and original Gumby was lost in a bicycle
path mishap during the London Olympics, Ive replaced
them both, and their magic lives on.
Tyler Stableford
www.tylerstableford.com
Think Tank Photo Speed Racer Bag. The thing I use all the time is the
Think Tank Speed Racer hipbelt bag. I take out all the divider compartments
and all the padding, and I just shove as many lenses and camera bodies as I can in
there. I use them for skiing, climbingany type of eld shooting. Theyre super-versatile. If
I need to carry a lot of gear on a quick shoot, I can carry it along with an avalanche pack for
skiing in the backcountry. It just works well in all situations. I really use it for everything
climbs, coal mines, oil rigs. Theres rarely a time when a Speed Racer isnt on my body.
Canon EOS-1D C. One camera thats with me now is the Canon EOS-1D C. Its essentially
with us on every shoot for the main reason that we can shoot 1080p video at 60 fps, shoot 4K,
and shoot full-frame stills, full res. So its the most versatile camera out there for me.
Its our go-to second camera. Thats for both stills and video, since probably over
half of my work is video now.
Peanut Butter CLIF Bars. I take them all over the world. Just food for
surviving long days.
Sun Scout. A favorite app on my phone, Sun Scout tells you when and
where the sun is going to rise and set, and how it tracks in the sky. On a
scout day, I can stand in
a position and gure out
whats going to happen
tomorrow, where the sun
is going to go. Essentially, I can set up my shot
in advance. So, on motion shoots, its a big thing
because of all the setup with
equipment like cranes. Its great
to know what the sun is going to do.
digitalphotopro.com January/February 2014 | 85
EE
Ketch Rossi
www.ketchrossitreeoife.com
RED EPIC DRAGON. Its my
GO2 camera. In life, weve learned
to always compromise; choosing a
camera is no different. However,
when it comes to choose what to me
is such an important tool, I carefully
consider all reasoning for the purchasewhat am I using the camera
for, what are the most important aspects that such camera must deliver
on, etc. In the past 30 years, Ive used
just about every camera ever made
in the still photography world, and
in recent years, Ive ventured into
what was always my nal goal
lmmakingand in this I needed a
motion camera.
Now the new dilemma is that
when thinking of only ONE camera to become my absolute GO2
camera, I dont want to lose the capacity to shoot still images because,
after all, it was through still photography that Ive become who Ive become in the acquisition of imagery.
Yet now, what has priority is no longer still imagery, but motion imagery acquisition, and it needs
to be of the highest quality, as to not only be as good as 35mm lm, but surpass it, and be comparable to 65mm lm.
That camera is the RED EPIC DRAGON, busting a 19-megapixel sensor, capable of shooting
up to 100 frames per second in 6K. Not only can I shoot slow motion for narrative work, but I can
use this incredible power to lm a motion stream of 1 to 100 frames per second, and from there
pull out my best still grabs to print, something that no other camera in the world can do, still or
motion. It proves to be an invaluable tool when shooting fast-moving subjects of any kind, from
natural events in nature, FX, sports, and allowing for capturing that perfect moment in a models hair or dress movement, etc. The applications are innite, really, with this kind of power.
Additionally, it offers a high dynamic range of 16.5+ stops, high ISO sensitivity being
as good as low ISO sensitivity, with extremely well-controlled noise and giving you those
beautiful super blacks, with a crisp contrast, yet very gentle and subtle to skin tones. It offers user-interchangeable lens mounts for PL, Canon, Nikon, Leica M, and add to that the
new RED MOTION MOUNT, which allows for controlling electronically up to 8 stops of
NDs, with included linear polarization and IR ltering, in a global shutter, including
a completely new Soft Shutter mode, to allow for more control and creative possibilities than ever before in both elds of motion and still image capture.
This camera has an incredible array of accessories to change congurations as needed
in order to cover just about anything you can think of. At last, I now have a camera that
allows me to capture the highest-quality motion images than ever before possible with
any camera, lm or digital, yet still also allowing to extract still images of 19 megapixels, and while
not wanting to compare in image size to some of the new medium-format digital backs with up to
80 megapixels, I give up the extra pixels for the overall capacities that the RED EPIC DRAGON
brings in both worlds of motion and still image capture together with a freedom of congurations
like none that has existed before. Its a camera that could go from Hollywoods big-budget blockbusters for a 4K or IMAX printout, to a fashion photographers set, to print magazine spreads and
large prints, with no problem at all.
86 | Digital Photo Pro digitalphotopro.com
Caesar Lima
www.caesarlima.com
Phocus. I have my iPad out and use the
Phocus app to preview the images wirelessly. This
app works with my Hasselblad. While the clients
hair and makeup and wardrobe team stay in front
of the monitor, I have my own screen, and I can show
the model the images as feedback.
Sony RX-1. I use the RX-1 for shooting the behind the scenes. Its a quality camera, with a full-frame, 24-megapixel
sensor, and sometimes the client actually uses the images in their campaign. I always shoot at /2. It gives great depth of eld, and it also helps
to keep the cast and crew engaged when were not shooting.
iPod. Music is so important. We have many different playlists to
capture the specic mood for the type of shoot were doingfast and
slow, different genres, etc. It helps
to get the models in the right mood.
If youre shooting something that
needs action or attitude or romance
or sensuality, music is very important. I have a wireless system at the
studio so anyone can play music from
their iPhone or iPad.
Sarah Silver
www.sarahsilver.com
Julliard Box. I got the JULLIARD box a million years ago from
a dancer attending the Julliard School. Its a 16x18x17-inch, squareish wooden box with JULLIARD stenciled on the side, and it was
part of a dance that he was doing. He left it for me at the studio,
and the box turned into the everything box. We do castings on
it. We stand on it to get height instead of apple boxes. We use it
for seated beauty. Basically, anytime we need to do anything that
requires a box, we use the JULLIARD box. Years later, we even
repainted the box black, but made sure not to cover the stencils.
One time we had the creative directors of Julliard at the studio,
and they asked, Did you steal our box? It was a funny moment.
A Fresh Manicure. Everybody loves nails. Okay, well, maybe
not, but everybody loves nails that are extravagantits hard not to comment on ashy nails, and its a great conversation starter. I dont know how it began for me, but somewhere along the way, I became obsessed with nails.
(Im an obsessive ex-nail biter and have been in nail rehab for seven years now.) Ive never missed a manicure
every two weeks without failand Ive gotten really into bright colors and a long, long pointy shape. Theyre 100%
my nails, and people always say, Wow, your nails are so... You would be surprised how many people love nails.
Screen Square. We used to have this problem where we would run out of room tacking up pictures of selects
onto my shoot monitor to help with making a layout while on set. We would have 4x6 printed images taped to
images taped to other images running the entire perimeter of the screen. A very special person made a foamcore
frame that ts around the monitor like a collar that we can use like a pincushion to put our favorite images on.
That way, we can keep track of what we like and where were going. Its the only way I can map out a shoot, and
I literally cant work without it.
digitalphotopro.com January/February 2014 | 87
EE
Martin Wonnacott
wonnacott.com
Alison Wright
www.alisonwright.com
Because I photograph in remote locations around
the world, Ill always have these three things.
My Medevac Insurance Card. When my bus
crashed on a remote jungle road in Laos and I nearly died of my injuries, I didnt have Medevac insurance. It was $25,000 out of pocket to be airlifted to a
hospital in the U.S. I now have it.
A Buddha Amulet. I received this amulet in
Thailand, and it has been blessed by numerous
monks and lamas during my Himalayan travels. I
carry it in the hope that it will protect me from ever
having to actually use my Medevac insurance.
Nikon AF-S 50mm F/1.4G. This lens is just so
deliciously sharp. Its ideal for portraits, and its
fast enough for low-light use. I never know when
I might come across a great face that just begs to
be photographed, but Im ready with the 50mm. DPP
DPPSolutions
Jibbing
Get a cool move in motion
shots and a new perspective
in still shots with these
versatile camera supports
THIS SPREAD, CLOCKWISE FROM TOP: Libec Swift Jib50, DitoGear MiniJib, Carbon XL 10, Kessler Pocket Jib Traveler. NEXT PAGE: Cinevate Axis Jib.
DitoGear MiniJib
DitoGears MiniJib is great for working in small spaces. Its available with
arm lengths of 1.0 and 1.5 meters, and
can handle up to 7.5 kg for motorized
operation and 15.4 kg for manual operation. You can use it three ways: motorized with the OmniHead; manually
with the MiniJib Manual Operation
add-on; or manually mounted on sliders, dollies and other supports. The
MiniJib can be used with any of
DitoGears Motion controllers, from the
battlefield-tested OmniController to
the state-of-the-art multiaxis wireless
Evolution. www.ditogear.com
Scan here
to visit
Adorama.com
DPP SOLUTIONS
Carbon XL 10
The light and versatile Carbon XL
10 can become a camera crane, camera jib, dolly with track, motorized
time-lapse track, car mount, zerogravity head, remote-control camera
and motorized rotating platform, all
from a single kit of components. All
Angle Balance requires less counterweight, while Aim and Shoot
Controls make it easy to adjust the
pan and tilt of the camera when its
located remotely at the end of the
crane arm. Designed specifically for
airline travel and difficult-to-access
locations requiring hand-carrying,
the carbon-fiber system weighs just 50
pounds (100 pounds including cases).
www.Carbon-XL.com
(R)EVOLUTION
(Contd from page 40)
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Body Only #CAE70D ........................................ 1199.00
Kit with 18-55mm STM #CAE70D1855 ............1349.00
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Zuiko 4/3 System Digital Lenses
35/3.5 Macro ED (52) ......................................... 229.95
50/2.0 Macro ED (77) ......................................... 499.95
7-14/4.0 ED (72) .............................................. 1799.95
11-22/2.8-3.5 ED (72) ........................................ 799.95
12-60/2.8-4 ED SWD (72)................................... 999.95
14-42/3.5-5.6 ED (58) ........................................ 249.95
18-180/3.5-6.3 ED (62) ...................................... 499.95
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11-18/4.5-5.6 DT (77) ........................................ 799.99
18-250/3.5-6.3 DT (62) ...................................... 649.99
70-200/2.8 G APO (77) ..................................... 1999.99
75-300/4.5-5.6 (55) ........................................... 249.99
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Prices, specifcations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2014 B & H Foto & Electronics Corp.
Alpha A7 DSLR
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#SI102045D*
#SI122445*
#SI175028*
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#SI1820035*
#SI1825035M*
#SI247028*
#SI5015028*
#SI50500*
#SI7020028*
#SI703004S*
#SI7030045*
C, N, P, S, SM
C, N, P, S, SM
C, N, P, S, SM
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C, N, P, S, SM
C, N, P, S, SM
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609.00
629.00
449.00
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369.00
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739.00
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18-200mm f/3.5-6.3
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10-20mm f/4-5.6
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Page 2
#VI285HV .....................................85.00
012014
Misinformation
Moving Targets
The many facets of photography today
Its clich to say that professional photography
has been in the midst of tremendous upheaval,
but were going to say it anyway. Were
restating the obvious because the
upheaval has been so unprecedented.
Over the past decade, weve seen fundamental shifts in the stock business, a
massive influx of undervalued images
from amateur photographers who are
happy to see their photos used in
exchange for little or, more often, no
money, as well as a steady erosion of
job pricing. Tough times, indeed. But
amidst all of the chaos, there are some
lights burning bright.
Since 2008, a sea change has
Myth:
occurred in image capture. In the fall
of 2008, Nikon introduced the D90,
and almost simultaneously, Canon
introduced the EOS 5D Mark II.
These DSLRs had one critical similarity. They both could shoot video. In
camera or maybe one of the
one of the greatest occurrences of synprosumer models that were betergy to hit the photography industry, a
ter, but also large and complex.
Pulitzer Prize-winning photojournalThe new class of HD-videoist got an early 5D Mark II and procapable DSLRs put incredibly high
duced a short, captivating movie.
image quality into the hands of still
Vincent Laforets short film Reverie
photographers in the form of a camera
was an Internet smash. It went viral to
that was familiar combined with an
the point where servers were crashing
arsenal of lenses they already owned.
because of the traffic. At that moment,
Going from still shooting to motion
everything changed.
was a matter of flipping a switch,
DSLRs that can shoot such highrather than changing to a camera with
quality video were a revelation. Many
diminished low-light capacity and
filmmakers might have paused to ask
lesser overall image quality. And, of
what the big deal was
course, there was the gloriafter all, they were used to
ous cinematic look that
>> More On The Web
Go to www.digitalphotopro.com was now accessible. Laforet
using high-res movie camto learn more about cuttingeras, but for still shooters,
and Reverie didnt destroy
edge technology and how its
changing photography.
a whole new door was
depth of field, but it pointed
opening. Up to 2008, the
the way to a motion look
video camera a still photographer was
that hadnt been achievable to most of
likely to use was a dedicated motion
us up to that point.
camera with its own interface and
So amidst all of the chaos of the
controls. Also, it was likely to produce
past decade, motion capture has
mediocre image quality. Still shooters
emerged as an area where still photogwho carried a video camera in their
raphers again have a chance to differbag for occasional motion shooting
entiate themselves and their skills
probably had a high-end consumer
from the throngs of amateurs who
nt
You Do Shoot
o
Need T tion
Mo
// FREEDOM
MADE BY ZEISS
www.zeiss.com/photo/freedom