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Your Vision, Our Future

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· Compact size, interchangable lenses

· Multiple exposure

· 6 Art filters & 19 automatic scene-select modes

SRP Php 39,995 (14-42 mm lens kit)

SRP Php 46,995

(14-42 & 40-150 mm lens wi 4/3 adapter)

For inquiries, contact 7243340 Local 1911.

www.olympus.com

InFocus

8 Events

Attend the Alcove's workshop on basic digital photography this June

10 DPP Lead story

The history of DSLR cameras and their market

14 Get in touch

Your thoughts and feelings aired 122 Forum

Connect with DPP online

85 Competition

DPP and Caltex sponsor the 15th Hot Air Balloon Festival on-the-spot photo contest. Find out who made the cut and who bagged the awards

91 Go Pro: Career

Professional photographer Anders Overgaard shows us what it's like to shoot for an ad campaign and work with some of Hollywood's finest

Techniaue

Practical guide~ '0 help you develop your photography skills

38 Fashion Portraits

Jay Alonzo and readers share their techniques on fashion photography

55 Masterclass: Speedlights Learn the basics of speed lights in the first of a three-part series

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30,000

images already uploaded!

Join for FREE todaY!

www.digitalphotographer.com.ph

61 Masterclass: Light trails Learn to capture star light movement in the night sky with this guide

6620 Tips

Capture the perfect reflection with this issue's top 20 tips

70 Inside Tech: Specialist lens Modern zooms are very versatile, but there are some jobs in which only a specialist lens will do. Read on as DPP explains in the third of a three-part series

Tutorials

74 Helpdesk: Your problems soh 76 Creative cutouts

80 Create atmospheric portrait' 83 Basic guide to Dodge and Bu

Reviews

96 Canon EOS-lD Mark IV 100 Nikon D3S

104 Sony Alpha 500

108 Canon EF-S 15-85mm f3.5- ISUSM

110 Olympus M.Zuiko Digital17r f2.8 Pancake

WOlympus E-P2 Digital Pen 116 Peripherals

FOCUS

Lead story

The camera market in the 21st Century

wrthout haVing to know anything about photography

Steven expands thiS viewpoint: "Think about the use ot thmgs. Our cameras today are marvelous. Now they're 10-12 megapixels. I was happy with them when they

were twot lmages today produce beautiful colors and they can be taken under difficult conditions. The taking part has been addressed. We take more pictures than ever: everybody takes pictures." And this IS true. Digital technology and affordable cameras have opened a huge

area In the market to the non-professional enthusiast. This advancement means the market is branching in many directions With one crucial section emerging - the hybrid camera. The word 'hybrid' falls under many categories, as it means something that IS made up of different elements.

The lower end of the compact camera market IS one area that may dramatically change In a few years' time, The mobile phone could playa crucial role In the

The camera market is ever·changing. leaving the debatable question: what Will

be the future? To foresee the future, havmg knowledge of the past IS crucial, as the development of the digital camera market has been an Interesting journey. In 1976, under Eastman Kodak, Steven Sasson invented tho first digital camera and lus pioneering Invention has had a major Impact on the drastic change of the medium over the past 34 years. Steven was recognized for his achievements toward

the end of last year at the Economist Innovation Awards, winning under the category Consumer Products and Services. In a one-an-one interview. DPP was lucky enough to talk to the Inventor about his camera and

ask about the implications It has had on the market and, crucially, where the camera market will be heading in the 21st Century,

An overview of the market toward the end of the

20th Century and presently In the 21st Century shows that there has been, and still is, an extensve amount of manufacturers each competing for their share. Ttus has accounted for revolutionary products at cornpetmve prices, meaning the advancement of digital photography has taken on a new level, The amateur photographer IS able to purchase cameras that produce excellent Imagery

I 975. Steven Sass~n sets to work • on a revolutionary new

\ ention - the first digital camera

- JF cheaper-end compact models. When

·'-1$ point with Steven, he comments: "I don't .::.: gners at all. There are lots of restrictions You .. -ocessog power. and flash power problems. -. way to go before you get all of this into this"

:s at his camera and then his phone). "This ce slower than you may think. However, when 7 t. think about the rest of the equation:' He

- - ~aik about social networking and how we

-: '" Images. "We have electronic shoeboxes

now. The trouble is. what do you do with your cell phone? How do you organize your Images? This IS a difficult challenge and something Kodak has been working

on with Motorola. Hopefully in time we will see these systems Integrating more and more."

For now it appears the compact market will remain In a similar state. however there are small changes that are noticeable. An Interesting news story found recently on the Internet reported on the chance to enroll on a camera mobile phone photography course. While this mayor may not be the future. It IS a Significant development

The most common use for the term 'hybrid' is the assoctatton of the micro four thirds systems with key manufacturers including Panasonic. Olympus, and now Samsung. with the announcement of its NX series. Along with the launch of the new system. Sang-jin Park. CEO

of Samsung Digital Imaging Company. quoted: "We estimate that the hybrid digital camera market will be over 20% of the global digital still camera market by 2012. Samsung Digital Imaging will become a global leader in the new hybrid digital camera market and achieve the company's goal to become the global leader in the digital camera market by 2012." This is an ambitious statement from Samsung. however the share of this market

appears to be Increasing. Interestingly key consumers for these types of models appear to be neither professionals nor amateurs: Instead, manufactures have targeted the enthusiastic hobbyist.

lntnguingly. market leaders Canon and Nikon have not entered Into the micro four thirds category as yet.

IN

Image courtesy of Eastman Kodak Company. This image is of a back-lite transparency that was photographed by the prototype camera and played back on a standard television

Great or gimmick?

Groundbreaking features, but are they any good?

Toward the end of last year and at the beginning of this new decade. we have seen more obscure camera launches from major manufacturers. Will these new concepts and technologies become the next big thing, or will they fail and become nothing more than a gimmick? Here arc the three most noticeable products to fall Into this category:

FWIRLM3DWl

After reviewing the product. it seems that thrs model has a long way to go before It becomes anything special. The LCD screen IS small to view and the 3D technology only works With the screen face on. The 3D WI IS the gumea pig for 3D cameras of the future. however this model has many flaws.

RICOH GXR 510 AND Al2

The hybnd concept of Interchangeable sensor units could be a goodidea. however thts model IS extremely expensive. meaning two decent cameras could be purchased for the same amount. In order to become popular. this technology needs to become much cheaper.

NIKON 51000PJ

A projector In a camera IS a novel Idea. however initial teething problems include a lack of battery power for long periods of time and no way of running the projector off a mains CIrCUit

For these type of manufacturers connecting their entire brands together is vital to their survival. as they need

the consumer to advance up their range of products .

The micro four thirds model could undermine their entry-level DSLRs and semipro models. which is a huge section of their profits. Not only trus. but if the user wants to advance to a professional model It is more useful coming from the same type of body as some lenses and accessories are stili compatible. It Will be interesting to see in a decade's time where all these market leaders rank. however for now their position appears safe.

In another context. you can use the word hybrid to describe the Integration of additional features. The most common hybrid feature found on the OSLR model is

HD Video. and the inclusion of such a feature shows the change trus section has undertaken In the past few years. Consumers expect cameras to do more than take a still image and the video feature keeps developing to a higher level.

So what is the next big digital camera technology? This IS unclear. as all manufacturers do a good job of keeping their secrets hidden, One thing IS for sure: the technology of the future will keep advancmg and products will continue to Integrate themselves into each other. What any category of camera Will look like in another 30 years' lime - whether it be DSLR. hybrid. superzoom. compact. or mobile phone - is uncertain. As Steven points out. "There is a lot to happen. there are a lot of challenges and a lot of opportunities over the next couple of decades:' Watch trus space

FOCUS

Olympus [mju3Tough 3000

The compact that can withstand water, impact and freezing conditions

Olympus has launched the

latest in its line of hard-knock compact cameras, ideal for traveling in extreme conditions. The rugged metal body with waterproof seals and gaskets can withstand shock up to 1.5m. freezing surroundings to ·10°C and can be submerged in 3m of water.

With a 2.7-inch LCD and 12MP sensor. the Tough 3000 (PhP 15.995) offers new features such

as HO movie recording and an impressive 1GB of internal memory. an additional SD slot. and a USB charger It Inherits the 3.6x wide optical zoom of the Tough 8000 and includes creative art filters such

as Pop Art. Fish-Eye. Sketch. and

Pin Hole.

Dual image stabilization avoids blurring in handheld shots. and Intelligent Auto mode automatically recognizes a scene and applies the correct settings. Available In OXide Red. Turquoise Blue. Hot Pink.

and Emerald Green. Visit www. axisglobal.com for more.

New releases

Cameras I

SonyA450

A DSLR that promises to be a great all-rounder

Manufacturing giant Sony has launched the exciting new A450. The latest addition to the Alpha line of

DSLRs aims to attract the active shooter advancing to a DSLR model.

One of the most innovative features. which it shares with the A500 and A550. is the Auto HOR mode. This in-camera editing software seamlessly merges

two successive frames shot at different exposure values to enhance the bright highlights and dark shadows in a single frame. The result is a high dynamic range image. which usually requires an image editor and specialist skills.

This new model offers the same 14.2-megaplxel CMOS sensor as the higher end A550. but does not include the tnt-and-tho LCD screen with Sony's fast AF Live View display. In its place

is a 2.6-inch Clear Photo LCD like that of the A230. An anti-reflective coating enhances the contrast. so the user can compose or view shots in bright light

Photographic opportunities are increased by the ambitious 12800 ISO. promising to make beautiful handheld images in low light possible even without the aid of a flash. Fast-moving action is also easily recordable. with a continuous Burst mode that extends to lfps in Speed Priority mode.

As with all Sony DSLRs. anti-shake correction is incorporated and there is a full range of 30 Alpha lenses and two teleconverters for the A450. as well as compatible A-mount optics by KonicaMinolta. For more details. visit www.

1 050 shots from the battery , equate to Sony's most impressive shooting stamina yet

Quick specs

Here's what Sony's latest release has to offer

:i the most standout releases of Panasonic's ~ __ !mIX DMC-FP3 is fitting for the tasruon-

_ - :srapher. available In no fewer than 12

_ : "he ultra-slim compact boasts specs that - -::- I1:S more advanced counterparts. such

:- couch-screen LCD with a 14.l-megapixel -: comes with an Intelligent LCD function that , - different lighting conditions. and features ,,::-dlng at 1280 x 720p at 30fps in Motion

In other news ...

A glance through the lens of the photography world

Polaroid goes GaGa

mix DMC-FP3 launched

~ of 11 new compacts in the 2010 Lumix line

- ;--quality aluminum. you can open and close ~ ,:.-s cover with a touch of your finger. which

c: 3S a Power switch. The lens itself has a 4x

- and supports a high-sensitivity ISO 6400

--"-0 IS also IA mode to optimize the settings

_ 31 optical image stabilizer to detect camera - - www.panasonic.com.phforthelatest

- :-1 releases and prices.

Apple iPad launch Photographers can store and view their images on the iPad's 9.7-inch screen. With the touch of a finger, albums spring open to reveal the pictures within, enabling you to zoom and Ilip through your photos. It also doubles as a digital photo frame.

The lens itself has a 4x optical zoom and supports a high-sensitivity ISO 6400

50 millionth Canon lens Canon has announced production of its 50 millionth EF lens for its EOS camera range. This was achieved with the manufacture

of the EF IOOmm f2.8L Macro IS USM.

Photography Gear

We work sweat and blood to get them, and they promise us potential, be it in our photographs, career, or simply our growth as artists. It only makes sense to maximize their use and take the best care of them-here we answer your questions on how

Are electric auto dry boxes necessary for our photo gear? How much do they cost?

AI Mendoza

It is a must to have a dry box. I have an improvised version since I have a lot of gear

I bought a glass cabinet around 6 ft. tall and It has

a light with around 5 watts of power. I also have those thirsty hippos in every level just to make sure no fungus decides to grow on my precious gear.

Pilar Tuason

Dry boxes cost about P5.500 and up, depending on the size. The recommended humidity is around 35-50 Rh.lf It IS too low, It might dry up the lubrrcation and rubber of the lenses and camera. Too high and fungi sets In

Jun Lee

How do you control the humidity in a DIY dry box? Carlos Ramirez

I use a DIY dry box for my cameras and lenses. I just got an airtight container (a 12L Lock & Lock or ll.5L Biokips case can fit the EF 400mm f/5.6L lens) at SM. a hygrometer to measure humidity, and silica gels to control the humidity inside the cases when needed.

Just in case you are looking for hygrometers. a

digital one is available at Infomax and analog ones are available in the Men's Department of SM or at Concorde. Silica gels are available at True Value

Tina Mallari

ASide from a dry box. which is excellent. an alternative

IS electric dehumidifiers that are about the size of a 4R print and about an inch thick. They have these little balls Inside that are blue when dry and turn pink when they have soaked up the humidity in the container. When they turn pink, all you have to do is plug It into a socket for an hour and all the balls turn blue again. ready to absorb humidity. Once you have this you can Just put

It Into an airtight container with your equipment. I

have one of these and take it with me on long location shoots: they're very practical.

Loiue Aguinaldo

I've been attending a lot of weddings of friends and family lately, and I haven't got the perfect

shot from each one of them. I'm not a wedding photographer nor am I planning to be one, but what would you suggest is the best lens for wedding photography and the necessary settings on a camera? 8y the way. I'm using a Nikon 0300, Thanks!

Angelo de Jesus

It really depends. Will you get close to the couple? If yes. a 24-70 2.8mm lens IS extremely versatile. If you will be seating from a distance. then your best bet would be a long lens. a 70-200 2.8mm.

Pilar Tuason

I have a question for professional wedding photographers who shoot alone. without assistants: do you change your lenses while shooting? Is a three-lens combo practical?

Randy Rivera

First it's not a very good idea to shoot weddings without any assistants or back-up photographers. Pius. even with back-up photographers. two to three camera bodies ready at hand would be a better option.

Lei Sarmiento

If ever you were shooting a wedding alone-let's say that it's a small. low-budget wedding and that you're willing to carryall your stuff-I would still recommend carrying a minimum of two bodies. During the preparation, when shooting details and when you aren't in a rush. it's easy to change lenses. from macro to ultra wide. But when the actual wedding ceremony starts, you normally wouldn't have the time to change lenses. During the ceremony the 24-70mm and 70-200mm combo is typically used. and you wouldn't need to swap lenses when carrying two bodies. Then again. I'd still recommend that you get an assistant, even if only to carry and watch your stuff while you shoot

Paul Chiongson

What speedlight model would you recommend for starters? I'm using a Nikon 040, and will be using the speed light for basic glamour/fashion photography.

Also, how much will it cost? Would you recommend lower 58 models like the Nikon 58-

600 for those with tight budgets? Thank you very much.

Raymond Jovellanos

The Nikon SB-600 is a good choice: it costs about P8,000-P10,000 for a brand new one, and provides different power levels to suit all strobe shooting needs. Though in order to use it off-cam with your 040 it needs to have a wired/wireless trigger. as the 040 does not feature Nikon's Commander mode. found in 080/90 and higher models.

If you're willing to spend more. definitely go for

the SB-800 (it's about P16.000 for brand new): the ability to become an SUA remote flash enables it to

be trrggered by almost any camera that has a built-in flash. It works perfectly with the 040. I have tried it with the Canon 4500 and it also works fine. and with the Panasonic LX3s It works like a charm. Think of it this way: the extra P5,000-P6,000 you'll be spending for the SB-800 would equate to the wireless trigger set you'll be needing in order for your SB-600 to trigger the D40 off-cam.

JM Mejorada

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Meet the team ...

Every issue Digital Photographer Philippines aims to bring you informative, inspirational and educational features -here's the team behind them

Pilar Tuason

RaymondAng

Hannah Carrillo

Bella Luce Publications Inc-. Unit 204, Building 3. Jenncv Pia:: , 2295 Pasong Tamo ExlenSIOr" Makati City, Philippines

Tel: 817·2286 www.bellaluce.com.ph

Wflbslle: www,digltalphotographerc:- cThank. you for supporting Bella tuca Pub caan Independent specialist magazine pub J5_-: quality. Innovation and exceuence are ce-e-:

We hope you enjoy the magazve

Johnalene Baylon

Contributors

Photographers whose snaps filled this issue

Xander Angeles

Angeles, who holds a degree in FIne Arts from the University of Santo Tomas, has been shooting professionally since college. His work has appeared in various local magazines, and in 2003 healso ventured in directing music videos. winning MTV Philippines' Best Director Award the same year. In 2004, Angeles took upfilmmaking at the New York Film Academy, but has since shifted his focus back to the still camera. Today he shuffles between New York and Manila managing Edge of Ught Studios, which he founded,

Jay Alonzo

Alonzo is a commercial and editorial

~~~~~~~~~ C~i~~,a~:a~iU~~:~~~~.of

and Kumon, among many others, as well as contributed to local dailies and in-flight publications, He has also done poster and publicity photography for the local film industry, shooting for films like Mana Po 3, Aishiteimasu, and the internationally acclaimed Sigaw. When he isn't shooting, Alonzo conducts photography workshops atthe Alcove.

The Tum

Man .. gingDirector

Nick Tuason "63(2)817,2286 nlcktuasonaJIdlgltalphotographer_co.-- c-

Edltor·ln·Chler

Pilar Tuason pllarluason@:dlgltalphotographer cc-' c-

StaffWriterJ

Johnalene Baylen. Raymond Ang

(ontrlbutlngWrlter OarielQulogue LlyoutEditor HannahCamlio (oYlrCredlts

Photo Edge 01 Light Studios Model AnneCurtis StytistPueyQulnolles Milklt-upXengZLJluela

Dariel Quiogue

Nino Pasamonte

HarrFelicity

Website AdmInistrator NinoPas.amonte

Sales Head

Nick Tuason nickluasoll'#digltalphotographer.com or

SubscrlptlonsMlnager MlchelleMarallag micl1elle@dlgltalphotographer.coml=-

logistics

Bonnie Annover. Robert Sunga, Caloy cor-er

This magazlneispubhshed under scense .':Imagine Publishing Ltd.

Imagine Publishing Ltd. R.c ....... c.-e House. 33 Richmond Hill. Bour'-,,;-:

Regist~~dSc~~~;n~E5~7'::?-

(England): VAT No864 60.:.;::; Dirl!'ctors.: Damian Butt. Stever- 5-: ::

I MAG IN. Mark Kendrick. Harry Dhand s=z: ..

PUBLISHING Hartley. Sam Watklns.o"

NikoVillegas

Named after camera brand Nikon, Niko Villegas has come a long way from shooting for local dailies in Davao. After

~~~~~~~~:n~~~~~A~~~~~e Davao

University and Photography from The Art Center Design College in New Mexico. United States, he apprenticed for Xander Angeles in Soho. New York. Villegas currently works as the associate photographer of Edge of Ught Studios.

Anders Overgaard

~~~~up'%~~~:i~~~ ~~~;~~~~ro~~~~~~r ~~~~s

Overgaard moved to Paris where he assisted for several commercial photographers for a year. He then moved to New York and worked as an apprentice forworld-class photographer Bruce Weber. and after five years, began to work on his own career, He has shot editorials for magazines such as British Vogue, Vanity Fair. Harpers Bazaar, Tatler. GQ, and Esquire, He has also shot campaign~ for companies such as Nautica. Bill Blass, Tiffany. Ralph Lauren. and Saks Fifth Avenue.

If I can bring the past back again. knowing what I know now. I would buy a cheap Nikon flash (either the SB·24 or SB·28). or

a Vivitar 285. and then buy a wireless trigger. It's a great way to learn the manual settings of a flash and the principles of lighting. Instead of working on auto for everything.

Howell Santiago

I want to ask about the differences and uses of a soltbox and cap type diffuser, and which one is better for outdoor portraits. When should I use a soltbox and when should

I use the cap type diffuser? Do they have specialized purposes? Which is better for fashion photography, and do you have any tips on using them? Thanks for sharing your knowledge.

Kevin Abuel

We're talking about speedlight flashes right? While the softbox for the speedlight may be large. it won't be large enough to give that very soft feel to it. If you're slicking the speedlight on top of the flash. you're limited to a certain size as to not obstruct the lens. Going off-earn is your option if you want to go big. however you will need to use full power most of the time if you're gOing with a larger soft box. The pay-oft? Short battery life. overheating. etc.

As for the cap diffuser. it produces a harsher light than that of a softbox. However. rts small size makes it discrete and portable. and hence more usable. I use them more for fililighling rather than diffusing.

Ralph Dabao

From what I've read and learned from others like David Tong. Just use the flash sparingly when domg outdoor portraits. The sun would be your main Jight source. providing lots of soft light depending on the time of day and weather conditions. A cap type filter only wastes flash power as it is too small to effectively soften the light. Reducing flash power settings would achieve the same effect. While I would admit that it's better than nothing. I'd still prefer soft boxes to cap diffusers.

Noel Guerrero

Soltbox or umbrella? I'd just like to get an opinion. It seems like they serve a similar function-or do they each have particular advantages over the other?

Lei Sarmiento

Are you talking about shoot through or reflective umbrellas? Let's make some assumptions first. 1) Both are the same color (white). 2) both are roughly the same size. 3) both are parabolic. and 4) we're lust talking about light quality. not efficiency

An umbrella has a little more edge spill and broader light as

the reflected area is wider than a sottbox's. We have different umbrellas available. as you already know. The most common ones are: 1) a white shoot through. 2) white shoot through With black backing (brolly bOX). 3) white reflected (black back). and 4) silver reflected

The silver reflected one IS the most efficient. allowing you to place the umbrella farther as it reflects more light than white. White brollies. as long as there's a black backing. will act like a softbox. wherein only the front of the umbrella (the part tacmg the subject) emits light. A plain white brolly on the other hand will throw light both front and back of the umbrella. making It hard to control spill. but it usually has less contrast when used indoors as the rear of the umbrella will scatter light and the stray light bounces off walls.

When usmg a white umbrella. there may appear to be softer shadows. but the fact is. there is just a lot of spill light bouncing around. causing the shadows to be lighter. The shadow actually turns lighter. not a gradual fall-off as with silver umbrellas Contrast-wrse. a shoot through usually has a little bit more contrast. especially when used up close. Shoot through brolhes usually have a bright hotspot Within a few feet of the umbrella and then a soft. diffused light as It goes farther. The light tall-off IS more gradual With a softbox.

A softbox will have a soft. diffused light even if the object IS placed right next to the edge of the softbox. If used far enough from the light source. the difference is less. but a saltbox allows more precise control as you have hard edges to work With. not to mention you can't really grid an umbrella either. If you have an umbrella. you can add a diffusing sheet/panel in between the light and the subject to create a large. uniform. and soft light like a saltbox as well

When shooting reflective subjects. an umbrella will cause you problems. as the sterns of the umbrella will always show through. whereas a soft box or a scrimmed light will not. Also. let's not forget the catch light shapes: umbrellas' would be round. as will octagon soft boxes'. but rectangular or square softboxes will give you a square catch light.

A cheap way to rmrruc a softbox on the cheap would be using v-carcs: just form two white boards to shape a "V" and plunk it on the ground: as you open the V board. you get a larger. wraparound light. The narrower the "V" fold. the more It looks like a strip light. All you' II be spending on are two 4ft foam boards.

With static objects. a diffusing screen really will be sufficient. If you're using softboxes. a boom stand would be ideal as a lot of table top subjects would require you to aim the light downwards beyond the vertical axis of the stand. Ditto With butterfly lighting. David Tong

<;JPilarTuason

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Lensbaby® opens up unlimited opportunities for creative photography with our Creative Effects SLR and PL Mount lenses. Control depth of field in a unique way and add a completely new dimension to your artistic toolbox with a Lensbaby Creative Effects lens.

Lensbaby's Optic Swap System features 6 optics that can be swapped in and out of your Lensbaby lens, with each optic creating a different type of image. It's easy - choose a lens that fits your shooting style and an optic that matches your vision. How do you want to see today?

LENSBABY.

the little light ... with a powerful punch

Studio or location .•• Bowens AC/DC powered monolights mean TOTAL FREEDOM & CHOICE for photographers

Wlth bowen. entry-level lighting there is no compromise on qu.lity.

Tne new ultra-compact Gemini 400 features the same solid metal construction and tough build of the more powerful professional Gemini models. Performance has not been compromised either with this petite power-house offering short flash-durations and quick recycling plus 5 stops of DOwer control using a single dial which also controls the proportional modelling.

No complicated digital menu systems - :simplicity' is the keyword here, the Gemini really is plug-and-go.

And when you want to go, the Gemini is the only truly portable compact flash system, able to be powered from mains AC power or the optional Travelpak battery system delivering up to 370 flashes out on location.

That's why photographers in over 60 countries know ... for a real choice there i. only one choice'

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1heEdgeofX

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____________ ~_~ ~ xander AngeleS and company

~,the triCl<s behind their magic

and the secrets to their success

••

Interestingly enough, the magic for Xander Angeles begins not with the idea or the equipment, but with a face. "Irs

aU about the casting," he says. "I always begin with the casting. What we do is once we've found the right girl for the shoot, we cook up a story depending on the girl. We don't preconceive the story - we let the talent's face inspire us and give us ideas on how to dress her, how to apply makeup, and how to light her."

Now, this is quite the reverse of how photography is taught, so Team DPP just had to press Angeles for his reason why. "I used to be like that," he admits, "because I was idealistic. But in the real world, you might come up with a concept and

then can't find the right talent for it, or you can't afford the talent you want for it, then you get desperate and lose your inspiration. So it can become a dead end. I reverse-engineered that process by starting with the model."

Doing it this way, however, requires a repertoire of skills that Angeles has honed over his years of doing fashion and glamour

Casting and Inspiration

<4. Another example of determining

pose by the model's features: Angeles makes the most of this model's eyes and pouly lips by taking her photo in a direct face-on pose.

.~~. The highlights at the back and the deliberate use of lens flare add a feeling

of heat to this sultry image.

~ Light itself plays an integral part in many of Angeles' compositions. such as this one, Here the shaft of light playing on the wall to the right balances the model on the left.

to a woman I'm already analyzing her face. I study her features, [ study how a face transforms while it's being made up, and little by little, fall in love, trying to be inspired by whatever [ see in her, her hair, her eyes, and that's what translates into my photos. It's easy for me to take a picture of her because I'm already in love with her in a way." In concrete photographic terms, Angeles' approach

is to break down a face into its most striking or attractive features, while at the same time already planning out ways to light its planes and curves

to the best effect. At the same time, he's already running a search in his vast internal databank for visual associations that can inspire his story.

As with many serious artists, Angeles is on a perpetual and voracious quest [or more input. He taikes in magazines, books, art, and most especially cinema to fuel his creative fires. As his apprentice Niko Villegas says, "Since [ started associating with Xander I've been watching a lot more movies. We see a movie almost every day, if we have free time. Also, Xander always designates at least one day

a month as 'library day'. We go to a library, or to Barnes and Noble, and just spend the whole day browsing books and mags."

"I'm also always watching people," Angeles adds.

"In New York, my eyes are always darting around, I'm always filing away little ideas based on what I'm seeing. There's so much diversity and energy in New York, the people are so fashion-conscious, so the ideas just keep coming." ••

:t. Motion from the robe adds drama to this picture, while the mask adds mystery.

~~ Angeles' familiarity with video production influenced the cinematic feel of the lighting in this image. The use of colored gel make the model's hair and form stand out even more from the

.04 A ripped-up board can be used to create an intriguing mask for framing the subject. as seen here. The model's oval face is beautifully set off by use of the three-quarter view.

FEATURE

The Edge of X

:t Angeles used the model's arms, body, and swirling robe to block this image into dynamic triangles.

.... Rim lighting works especially well for monochrome photos, as here where it sets off the lines of the model's face and musculature.

Lighting

•• Xander Angeles' images are created with a bold blend of lights, striking highlights, and often with one or more

light sources visible in the frame. It was this taste for edgy lighting that made him a favorite with local publications and advertising agencies, and is now gaining him a following in New York. What are the secret ingredients of Xander Angeles' lighting' "If you ask me exactly what it is, I don't know," Angeles grins. "But I can teli you that I've mastered my light. I can't exist without thinking of light - even while we're talking, I'm seeing you like you were in a still life or a film. I'm always thinking at the back of my head of scenarios, or which pan of a room I could use for a shoot because I like the light [there]. I love soft light, I love flares, I love colored gels, I love high-key."

Central to Angeles' philosophy of lighting is the need for control. "1 hate bounce," he declares. "I don't use reflectors too much, and I don't bounce my lights - you get spills, you

~~ ••• ~.~._...I;_~~1-.1 I_~~ T: •• _. "I_.~" \;\,_ .1-. __ (tn."" 1 "p_f_.

to have a light for every single highlight or catchlight I want to put in the picture. That's what all your equipment is for, right? You invested in all those lights so you can control your situation, so you should use them. That's how I learned to light, so that's my orientation."

"My key light is usuaJly soft," Angeles continues. "My

main light is usually in a softbox. I've thrown away all my umbrellas; their effect just isn't 10 my taste. An umbrella's light isn't quite hard, it's not really soft, and you kind of waste the power of your light because so much of it is just being spilled," he says, With the main light set to his liking, Angeles then throws in his special spices: "I like adding hard lights

for accent. Often I also see that the linage can benefit from a touch of a different color here or there, so I'll introduce gelled lights. That's where the cinema flavors come in, because your mind automatically associates colors with this or that place, or

I think that's hy they liked y lighting-

.t' s very warm, .he colors are .estive, and :here's that bold edge"

~"r satisfied for long, Angeles insists on

=s:u experimentation. For his Drenched exhibit, - <ed all his models inside transparent tanks,

-.g them through the water for that magical

_::Ion only water can do. In another series, he .: moving colored lights to accent the backdrop. · another shoot, cinematic klieg lights and 22dlights were included in the frame to add

- -':IC pinpoints and flares, accented with smoke ::-5 This style of lighting served Angeles in good .; s: hen he made the move to ew York. "When

• started showing my portfolio there, people _: look at it and say 'It's too Asian.' But when . .:_~ It with Caucasian models, they were blown JI· the lighting. The thing with American

:, photography is that it tends to have this ::.ed, very cataloguish look," Angeles says. "I

, that's why they liked my lighting - it's very - the colors are festive, and there's that bold

--c.:nce and experimentation have given Xander _= es yet another edge: speed. "A clients' time

_ ~. and that's even truer in the U.S.," Angeles ~:-·"S. "That's why my clients like it that [ can

• -.;XltS done very quickly. The reason [ can do .: because I'm so comfortable juggling a lot of

- : it's almost instinctive - the client describes .aey want, and [ can immediately see what .-;-: iO do to get that kind of lighting. That's the . Jf practice, lots of practice. Remember, 1

- ~j photography using film. Back then, you had ~= Polaroids, and your first Polaroid could make --,,21< your career. You couldn't take a test shot,

, peep at it then delete it if you screwed up;

,:t your Polaroid, you peeled it in front of the

and that'S your life there!" he says. "That's had to learn lighting until 1 could do it all by '0-=1."

z.jer also makes us practice the lighting setups ·cought of the day or the evening before the

. adds Villegas. "It's part of his training for me, . -cs service to the client. So when the client gets -" studio the lights are already set up, if we need 221< anything it's very minor, and the shoot gets = 'eery quickly. American clients really like that

.- .. "l; ... h:l:t" C" ..... tho" ("I"'\,TlO h"I"'t." ~ ..

EXPERT ADVICE

Any session spent talking shop with Xander Angeles is bound to uncover some nuggets of photographic wisdom, so here are the Top 5 he shared with Team DPP:

1. Start with the model

Build concepts based on what your available talent is suited for. Doing it the other way around can lead to frustration - your shot might look half·baked because your model looks wrong for the concept. or you can get frustrated trying to get the right model.

2. Observe people constantly

Learn to analyze faces quickly. Identify which features appeal to you most and think of how to highlight them in your shot.

3. Get creative

Practice your lighting setups, and experiment a lot.

4.leam to shoot quickly

It benefits your client, who likes the fact that you don't waste their time. It also benefits your model because you're not tiring them. and it benefits you because you get more shoots.

5. Get eveI)'thing sharp

For commercial work. we shoot at f/16: you'll never know when a client wants a certain detail sharp, so get everything sharp. Blur's easy to add in post. but you can't recover sharpness from a blurred capture.

FEATURE

The Edge of X

The X-Factor in New York

Which brings us to what it takes to make it in the Big Apple. What was Xander Angeles' edge? As it turns out, it's more than just a feel for light, though that's definitely a major component. The story of Xander Angeles' move to New York is the story of a photographer relentlessly shaping and driving himself to reach new heights in the craft. Which explains the choice of New York in the first place: "As a fashion photographer, that's where you need to be if you want to make it big," Angeles says.

Being a Filipino in this highly competitive, Western-dominated world was no barrier for Angeles. It may even have been an advantage in a way, he notes. "There's no question that Filipino photographers have the talent," he declares. "At the top of the fashion food chain is a Filipino - Stephen Gan, the publisher of Visionaire magazine. That mag is regarded as a collector's item in the fashion industry ...

"There's no question that Filipino photographers have the talent"

Pn!ferTed genre: Fashion and glamour

Info: Xander Angeles is a Filipino photographer currently based in New York. Born in Manila. he graduated with a degree in Fine Arts from the University of Santo Tomas and has been

shooting professionally since he finished college. Known primarily as a fashion and glamour photographer. Angeles' work has appeared in many local glossies such as FHM. for which he was also the exclusive photographer chosen to shoot their calendars from 2002 to 2006. He has done ad campaigns for Penshoppe. Zed. Ponds. Smart, Redken. and many other brands. His early training got him used to shooting wrth mixed ligihting. a skill he has since parlayed into higihly successful advertising shots for watches. food and beverage products. and of course fashion.

In 2003 he began a second career directing music videos, and won the MTV Philippines' Best Director Award that same year. His success at directing led him to take up filmmaking at the New York Film Academy in 2004. but after directing more MTVs and TV ads, his love for photography called him back to the still camera. He was selected FeatUred Grand Winner in the Beauity & Glamour category by American Photo Magazine in 2004, and MTV Philippines Fashion Photographer of the Year 2005, In addition to his busy studios here and in New York. Angeles is now doing branding work for a lingerie company and expects to spend most of this year traveling around South America.

FEATURE

The Edge of X

» "For me, what I had to do to get clients there was first, to adapt my portfolio as I said earlier, and also to adapt my style a bit," Angeles continues. "For personal work my style really tends to be edgy - I use a bunch of colored gels, hard lights, backlighting - bUI for the U.S. market I had to tame it a bit. As a photographer you have to adjust to what the market wants, and not to bash American photographers, bUI American photography tends to play safe and conservative," Angeles observes.

Another factor Angeles had to work on was his focus. "At first I thought I could juggle New York and Manila," he says. "So I'd shuttle back and forth, a few weeks here, a few weeks there. I wasn't getting clients," he recalls. "So I decided, I'll try staying put for a while

in New York. And the accounts came in. That was the secret - I

had to stay put and be available for my business. Because when I wasn't there, sure I'd get inquiries, but when they found out I was here at the time they'd take the shoot elsewhere. That's something

a photographer setting up shop has to remember - you have to be available for your own business."

That said, Xander Angeles makes no bones about where his heart is. It's still definitely residing in Manila. "I'm setting up a new venture here that I'm really excited about, but I'll remain based in the U.S. most of the time," he says. "It'll give me more excuses to come here

- and that's good because this is where I recharge. You want the good

life? It's right here, baby!" Angeles declares, hoisting his beer. We'll drink to that.

GETTING TO KNOW ...

Niko Villegas

Prefened genre: Fashion and glamour

Info: Niko Miguel Gempesaw Villegas, named after camera brand Nikon, was born to Davao photographer and artist Arnel S. Villegas and wife Teresa. His interest in photography began in college,

when as an AS Mass Communications rnajor at Ateneo de Davao University, he took up photography as an elective. From there he moved on to work for local newspapers and websites.ln 2006, Niko decided to move to the United States to pursue a second degree, SA in Photography, at The Art Center Design College, Albuquerque, New Mexico. Two years later he decided to move again, this time to New York, where he apprenticed for Xander Angeles and Edge of Ught Studios in the SoHo district. Today the portraiture and fashion photographer is based in Manila, where he works as an associate photographer for Edge of light Studios Manila. His influences in photography include lens men Chase Jarvis and Richard Avedon, apart from his father Arnel and mentor, Xander Angeles.

~ Red colored gel adds a splash of heat to this image. adding to the tension created by capturing the model in mid-leap.

.. Tension in the photo was created by breaking the principle of moving room: the model's body orientation suggests she

is moving out of the frame. The pose however goes well with the urban skyline.

"My style really tends to be edgy - I use a bunch of colored gels, hard lights, backlighting - but for the u.s. market I had to tame it a bit"

, z .. ~IKON SUOO ,REDGELSND~~

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NI)(OND3X

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NOW AVAILABLE

Fashion PortraitS

12-PAGE GUIDE

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Fashion Portraits

Whether to help you get started on becoming the next sought-after fashion photographer or to simply add to your bag of shooting tricks, here are some sure-fire tips to give your photographs that high fashion edge

Perceived as one of the most lucrative in tile industry, fashion photography is a geme many Filipino photographers try to make it in.

Vet while the narrow path to success may not be for everyone, there are many techniques from behind the scenes that any photographer can pick lip to enhance their shots.

Three elements make a successful fashion ShOOl: proper lighting, sharp attention to detail, and rappon between the photographer and model. Miss out on anyone of these and your photographs are sure to end up flat or lousy. Flat because of the one-dimensional image produced by

bad lighting or the taciturn subject resulting from the photographer'S

bad direction; lousy because of the clothes' awkward draping or an

extra bangle too much. As you might have noticed browsing the pages

of Vogue and Vanity Fair, fashion editorials are a product of highly controlled, completely staged environments. Fashion photographers, together with their team, are expected to demonstrate spot-on precision with every aspect of the shoot. And in shooung other genres, it helps to be just as observant of every element in your image and precise about every lighting setup you arrange and exposure setting you dial.

Let us begin with light. What most beginner photographers don't realize is that lighting your models correctly can produce beautifully dramatic images. The light you direct on your models produce shadows that contour the way they look, adding depth to what would otherwise be a flat image. "The great thing about beauty and fashion photography is that it's open for experimentation and novel concepts," says Filipino fashion photographer Jay Alonzo. "But of course," he adds, "there are established lighting setups in photographing people."

If you're new to fashion and shooting in a studio, set up your lights in such a way that everything is at 45-degree positions to your subject. The worst ,hino\f()ll (".:II' rin i<:: tn rmsitinn vourltshr dirscrlvin front ofvour model. When

you light your model from the front, you don't leave room for shadows, and consequently produce a flat image. Pay attention to the height of your light in relation to the model, and keep the light above pointing down at a 45-degree angle to your model's eyes. Eventually you may experiment with your lights, but staning this way will help you learn about the details that give you control over the contrast of your image and allow you to contour your subject.

Lighting correctly may involve the use of other accessories, so take advantage of this opportunity, One tool professional photographers find helpful is a Sunlight Reflector; a round, three-part tool that acts as a softbox. Unlike a conventional soltbox, a Sunlight Reflector isolates light to your subject without it spilling onto the background. It is especially good for beauty photography, and perfect for replicating warm coloring and delivering a wide spread of flash.

Another useful tool is a black card, to control escaping light. Stray light causes haze and leaves a foggy imprint on your images, something you will not like if you want your images sharp and clear. Also make sure to have all room lights turned off and doors closed at a shoot. More often than not you will find va.riations in your shots due to the fact that a bulb on the far side of the room added the extra light source.

Attachments can also be helpful when you want your images to project a certain type of feel, but always keep in mind how the light behaves.

For a noir-like look, use attachments the isolate the flash. If you want

to illuminate a large area of your frame, then go for a reflector or brolly attachment. Dealing with light may be difficult and complicated, but

this is what shooting in a studio is all about. The best pan is that you don't have to worry about losing the light, because you're controlling it completely.

One more important tool you don't want missing in your shoot is a flash

meter, which not only determines the right exposure, but also assesses the ••

EXPERT ADVICE

Jay Alonzo is a commercial and editorial photographer, Among his roster of clients are Super Bowl of China, Big Buddha, Chili's, Victoria Court La Corona Hotel, Pearl Manila Hotel. Pier One, Kumon. Soda and Blue computer laptops, He has also done poster and publicity photography for the local movie industry, with a string of film titles such as Mano Po 3, Aishiteimasu, Bedtime Stories and the international award-winning horror flick Sigaw (now released internationally as Echo) to his credit Jay is a contributing photographer for Mabuhaymagazine, Philippine Airline's inflight publication, and High Lifemagazine, the supplementary magazine of Business World,

In between shoots, Jay teaches at the Alcove Gallery, Filipinas Heritage library (an Ayala Foundation Inc, division), starting out with the Technology & Livelihood Resource Center (a government livelihood institution) in February 1996, Jay has been tapped by Axis Global Technologies to becorne the first official endorser of Olympus digital cameras inthe Philippines, He has also conducted several photography workshops forthe company's promotion and sales team, as well as for the Olympus Asia & Middle East Block,

.. relative brightness of the scene you'll be photographing. This particularly works for Alonzo, whose light meter is purportedly his best friend dwing fashion shoots. "Using a light meter will make you more efficient, no matter how intimately familiar you are with your lighting gear and lenses. Your camera's histogram is at best a gauge, but it is not definitive. You can't rely on your camera's LCD, because it tends to be more contrast I' and not calibrated," he explains. "Understanding the behavior of light and how tile imaging sensor responds to it can never be overemphasized. Without knowing how your camera will respond to certain brightness levels and contrast, it will be hard for the photographer to visualize the end result."

Now apart from setting up your lights correctly, coming up with a well-lit image also involves your camera's exposure settings. You may want to start with a combination of Ijl25sec at Ill , and then adjust according to the effect you want to achieve. If you want the spread of light to cover a

1._____ _ •• _ •• __ .~_ ...... _ ..... to ~ .... .-I I"",,, ... ""'" .. C'h"na,'

speed at Ijl25sec. This combination will cause some light

to fill in around the model and hit some background. If on the other hand you want to control light spread, close your lens down to fl6 and set your shutter speed to lj200sec. This prevents your light from affecting anything but your subject.

Before shooting, turn down the contrast levels on your camera to prevent detail loss as you edit post-shoot. Increasing tile contrast while shooting bums blacks easily, which cannot be recovered. "A bad photo can be sugar coated with post processing, but it cannot be transformed into a masterpiece unless you're more of a graphic artist," says Alonzo.

Once you've set up your equipmem, it's time to pay attention to what goes into your shot. Attention to detail is crucial in shooting fashion; after all, fashion is about what you put on your body, so even the smallest of details make a big difference. No matter how pretty the face of your model is or the size of her physique, if she is put together well, you can come up with a professional-looking

nhnlnOr.lnh nf h,:,w

FEATlJRE Fashion Portraits

·DEEP

3 lights were used for this set-up: 2 Nikon 58 800 and 1 Canon 580 EX. both used with

a radio trigger. One flash was attached to a 43-inch wide umbrella in front of the model and served as the main light. A smaller 24-inch umbrella was placed behind the model for accent. while the third flash was placed in the background .

1 Read a lot of photography magazines

For inspiration and technical advice.

2 Have a set. clear plan in your mind Think about how you intend to approach the task in hand.

3 The li~ position is what detenmnes the result

Asaguide. try and have the light no closer than four feet to your model and no further than six feet back. Position your light about 18 inches above your model's eye line and point the light down toward that eye at a 45-inch degree angle.

4 Measure it

If you measure the light with your meter pointing directly back at the source, then the shadows will be stronger. If you point the light meter back toward the camera and the light to your side. then the light will have to work harder to meet your chosen exposure .

S Be patient and gentle with models If you start getting frustrated. models will inevitably pick up on it and they won't be able to perform properly. Meet with your model and explain your vision and concept.

EXPERT ADVICE

.. When it comes to accessories, make sure they flatter your model's features and compliment her clothes, not distract from it. Earrings, for example, should not take attention away from the model's face, but accent its shape. Necklaces, likewise, should not disproportion the model's physique by broadening her shoulders or highlighting the size of her body relative to her head; instead, it should elongate the neck or accent your model's top. Also, put on only what is necessary+you don't want your model to look like an accessories rack. Styling your model is similar to composing your images: you need to know where to look. It's all a matter of moderation and balance.

Aside from clothes and accessories, detail in fashion also includes your model's make-up and hairdo, as well as their body shape and movement Think of tile message you want to express through your model and her outfit. Is it about being carefree and having fun? Keep her look fresh and neutral, with pastel tints for a youthful, playful vibe. Or is it about being provocative, and yet mysterious at the same time? Highlight your model's facial features with strong hues, such

as deep red for the lips and dark brown or shades of grey for the eyes. These are the basics you can start with, but feel free to experiment; you know you have it right when you glance at your model and get the exact same reel you envisioned in your head.

When you are done putting your model's look together, observe how everything falls into place. Do the clothes flatter her figure? Does the dress, shawl, or veil drape over her body just right' Do her heels look like rhev're about to break. or her feet about to break out

-crzo used four lights here: providing

-a'-' lumination was an a 80 x lOOcm

·'"1ted strobe set at top-left and a

"rted strobe from the top-right aimed at ...,c.eci's hair. an umbrella-fitted sottbox t-e bottom-lett to act as a fill, and

€!" snoot-fitted strobe at bottom-right. z: me subject's right leg.

eetalls: Olympus E-3 with 14-45mm z.+=. 5 Zuiko lens at 18mm and f8,

FEAnJRE

Fashion Portraits

•• of her shoes? Does she look comfonable; is her posture correct? The way your model looks in front of you before you stan shooting is one of the best gauges of how your photographs will look when they appear on your LCD display. If something looks wrong, figure out what it is and correct it, There are some things better corrected on the set than on Photos hop, and that includes the size of your model's shoes and the direction in which her dress is blowing.

It then comes down to what could be the defining factor of your photographs: your directorial skills as a photographer. This includes your connection to your model and how you communicate with her, because once the stage is set, all you have to do is shoot-vthis is where all your hard work setting LIP and styling will translate to your images. "Photographing models is like dancing-it takes two," says Alonzo. "Otherwise, one has to dominate and force tile other, That could be stressful and not so enjoyable, and then you have the question of how your images will turn OUI."

When professional photographers work wi til a model for the

first time, more often than not they stan analyzing her at the first encounter. They observe the modeJ's personality, identify her special features, and determine the best angles and lighting setup to shoot her in, and then they make use of this information in approaching her. Now get ling to know a oerson in a snan is irnnnccihlc

John Michael Bueno shot this photo during one of the monthly themed shoots organized by The Noctumals Photography Club. To bring out the shoot's theme, hip hop, Bueno took advantage of the graffiti'd walls of a

warehouse in Marikina, using his reliable 18-55mm

lens, a light strobe on the Eft. and a reflector in taking the shot. To make both the outfit and background pop without overpowering the

other. Bueno sharpened the edges post-shoot. and did 50fTIe warm color treatment on the background. floor. and wall in the image.

Shot details: Nikon 060, 26mm, 1/4.2, 1/160 sees, 150200

·SPAGHETTI GIRL

'DEF HIP HOP

EXPERT ADVICE

1 Learn to lismt technically as well as aestl1etica11y

It's not enough to know how to set up or make use of lights, but it should be appealing without taking attention away lrom the star 01 the shoot - the subject. 2 Always check out the com~on and see what they re doing

This is not to emulate or mimic them, but to see what works and what doesn't so that you can improve your own craft.

3 Be people-oriented

It's not easy to deal with different people, but you have to do It. Fashion is people-oriented and not just about the clothes.

4 Circulate and reach out to potential clients

People will not beat a path to your studio if they don't even know you exist. no matter how good you are.

51nwst in professional makeup artists and models

Don't just get any girl or guy you just met althe gym. These experts will help you polish your work, increasing your chances of landing a job.

TIGER LADY ~~

Archimedes Sy took this photo for a collaborative project with GargantiUa Accessories and makeup artist Keiz Caballero, An octobox was placed in front of the model, and two speedlites positioned on the left and right. faced toward the subject's background.

Shot details: Canon SOD, 30mm, 13,5, 11160 sec, 150100

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--,~tand where you want to be in ·JENNIFER ~
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and network in it eel by a Louis Vuitton catalog shoot,

\. y Medici had a simplistic and

-s-s-anst approach in taking this shot for a collaboration with fashion designer ....asala and model Joyce Chua at Rouge Makati. He wanted viewers to focus :: on the dress.

details: Canon E05 50 Mark II, 70 mm, '-: 11128 sec, 150 160

Lee Tong took this photo of model

'er Polce for her portfolio. A 3ft sottbcx costtioned at camera right, angled toward the model at 60 degrees from ~ of 6ft. For fill, Tong used a 4ft silver

-e-tector on the side. positioned slightly cthemodel.

details: Canon E05 400, 33mm, t18, :!:C sec. ISO 100

~

·SWEET AND SOFT SPRING COLLECTION 2010

'BULLETPROOF

nnding out what makes them tick-in person and in a photograph-is a skill caphers can develop with practice and time. And it is a crucial one; all technical and proficiency will go down the drain if you don't have the people skills to take a good

';;50 need to be comfortable with your skills in order to be comfortable with others . . vhat you can do and be confident about it, and that anything you may lack is

-mg you can always leam-and trust that your models feel the same. Try as well ntain a light atmosphere on the set where communication is open and free flowing. " your concept clearly, and allow your co-workers, be it models, make-up artists, or '. to do the same. Working in a fashion shoot is a collaborative effort after all; the

ay for it to work is to work with each other.

ere taking good photographs means being an expert on light, excellent at

sit ion, and exemplary with 'people, fashion photography is the best training ground. eed not be a fashion expert to take good pictures, all you need is an eye for what

good and know how to capture it best with your tools as a photographer. So run with nuggets of gold wherever your next shooting endeavor brings you. Armed with these, .ould you go wrong'

Your

Read on and learn from our readers who show and tell-their ideas, inspirations, and techniques in fashion photography

COOL~

Leo Pacalda shot this photograph using two flash heads. one attached to a large Octo box. and another attached to a strip light box. Post-production was executed in Adobe

light Room where Pacalda adjusted the color hues to blue. and then processed the final image in Photoshop CS3.

Shot details: Canon E05 20D. 24mm. 1/9.1/80 sec. 150100

36.INCH STRIP BOX POSITIONED 1 FOOT HIGH AS FILL LIGHT

TWIGGY PLANT PLACED HERE

SO·INCH OCTOBOX POSITIONED 7 FEET HIGH AS THE MAIN LIGHT

-COOL

-DESERT HEART

THE DANCER ••

: was break time during a sroot in a dance studio. _' Nith a camera in hand. : -oden asked the model =- ram around. and hit the

rte- as soon as she faced ne image was taken in t. in front of a giant wrro::HI. at around 2-3 in the

afternoon. ;o,t details: Nikon 0700 . .:amm. 1/2.8.1/80 sec. 150400

=-= l. Chen took this •• ;::rc.o under the midday sun ..., 'Aakati.lt took limited -esources to pull off this 2""CCt: the backdrop of twigs s-edows happened to be - r-e vicinity, and the make-

up they used was ~t from a convenience - store nearby. details: Canon E05 50. 38mm. 1/16.1/250 sec.

150200

4. IRISH IN BLUE

Hobbyist Rae Pedrosa's photo features a dress by Josip Estolloso made

of recycled materials. Two lights were used forthis set-up. The main light positioned high at camera right. was fired at full power diffused through an umbrella. The second light was fitted with a shift snoot and was turned toward the background and fired at 113 power providing that hint of separation of the model from the background.

5~ot details: Nikon 03000. 32mm. 1/4.8.1/200 sec. ISO 100

·IRISH IN BLUE

Your

~VAL

~o~~e~~r~: ;~~~~eGti~~~~~b:~~d~~~~~~r;r:~~~~~;r~~~oS~r~~~i~~:

harsh shadow dividing the frame. he made use of a styrofoam board to flag the light.

Description: Nikon 040.18·55 mm. 1/8.1/125 sec, ISO 200

STR06E WITH BARN coos ANDGRIDMOOfIERS.

FLAGGED THE UGHTWITH A STYROFOAM TO<;R£ATE THE HARSH SHADOW THAT OMO£5 THE FRAME

·Val

-Aneel Devil

Jiferson "Jhim" Abucayon took this shot in Dubai with a Nikkor 24470 mm lens on a Nikon D90. drawing inspiration from

Rembrandt's lighting techniques. 8eginningwith an initial threelights setup. Abucayan ended up using only one. along with an S8·900 Ilash and a 60 x

60crn double diffuser softbox triggered by a Cactus V4. To soften the shadows, a gold reflector was placed at waistline level in front of the model.

Description:

Nikon 090 with Nikkor 24·70. 48mm. 1/8.1/100 sec. ISO 200

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MASTERCLASS ~ Lighting part 1

»

~BRIDEIN WAITING

Soft light was filled in with flash light bounced from

a reflector to achieve the perfect quality of light to complement the bride.

"It will pay dividends to read through the manual and familiarize yourself with the speedlight"

Modem digital photography couldn't be easier, with newer all-singing, all-dancing, fully automated cameras cropping up all the time. However, if you want to make the most out of your portraits, there will come a time when you will need to progress your knowledge, hone your budding skills as a photographer and break free from those mundane automatic settings.

Well, there's no time like the present, so pick up your reliable DSLR and invest in a decent speedlight. With a little time, practice and monel' you will soon be on the path to changing and improving your photography habits and techniques, and you never know where that may lead.

But why use speedlights, you may be wondering? There's nothing wrong with utilizing your pop-up flash and it can be useful to add a little fill light against a dark background. However, that is about as far as it goes. Pop-up flash has a reputation for harsh direct lighting, mainly because it is situated immediately above the lens and cannot be bounced or swiveled, therefore

it only lights the front of the subject. Think back to annoying shiny reflective foreheads and dark backgrounds, and you'll soon

.~ 4
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If realize that this is where a decent speedlight will really improve what you can achieve with your photography.

Once you have a compatible speedlight, there are a couple of things to smoothen out before you get stuck shooting the side

of things. Start by finding a quiet room to sit in. Attach your

flash to the camera, insert a compact flash card, and then grab the manual. This may sound boring, but it is sensible and will really pay dividends in the long-term to familiarize yourself with the speedlight. its controls and terminology. It's easier to get to grips with things on your own as opposed to having an impatient subject in front of the camera while you're fumbling around with the controls trying to figure out how things work. It's nut-andbolts stuff but I can promise that it will dramatically help you get the most out of your equipment.

After you've got to grips with your speedlight and have achieved a good understanding of all the menus and controls, you need to recruit some patient friends and family to pose for you. Children, teens, and toddlers of tamily and friends are a great place to stan and you'll usually find parents more than willing to accept your invitation if they get a few photographs ~~

580 BOUNCED ON SILVER REFLECTOR

• BRIDE IN WAITING

Expose for the sky to get details

580 FlASH AlMEDOOWN SET 2FT ABOVE

THE MODEL

• LITTLE SURFER

, .

. .

..

Here's what our Ed~or-in-Chief has to say about using speedlights:

L Use them to enhance

Spotlights are an essential part of my photography but I use them mostly to create or enhance an effect I'm looking for. Z Understand the way speedligltts work and how their light behaIIes

Achieving a natural look using speed lights is a balancing act between ambient and flash: knowing where to add your highlights andlor creating the best light regardles of your lighting conditions

3. Use other accessories to your advanbge. ..

There are times when I want the light hard, but when I want my light soft, I use diffusers such as scrims, and bounce light off styroboards. whrte walls, reflectors, and wh~e curtains when needed.

4. .. .especially when shooting from a distance

My speed lights are triggered by Pocket Wizard's radio triggers or Canon's STE2.

5. Shoot in Manual mode

Shooting in Manual mode gives me maximum control and the best results. With modern DSLRs, it's simply a case of metering and then quickly checking the LCD, and making adjustments to your flash output.

S. Start with one speedlight

Learn to use one speedlight properly first and adding more comes easy. I use up to three speedlights depending on the quality of light I want. and will be adding a fourth soon.

7. Again. use them to enhance-that's what they do, after all

I would encourage new photographers to use flash to enhance existing light rather than as the main source of light. It's a good idea to take control of both your camera and flash and use Manual mode when possible.

Essential gear

Must-haveequipmentfortaking creative photographs

Speedlights are available for almost every mainstream brand of DSLR: and can vary in features, power, price, and of course performance. Obviously. each camera system will have certain advanced and integrated features that will work better within that system. For example. Canon speedlights will work better with Canon DSLRs.lt is recommended that you stick to your manufacturer's recommended flash for maximum compatibility.

However. there is more to flash photography than just the flash. There is no end to creative solutions to help you maximize your speed light's creative potential. from remote triggers to mounting brackets and diffusers. Here are a few essential and interesting items to get you started.

CANON 580EX II SPEEDLIGHT

What you get: Canon 580EX It Speedlight. protective pouch and flash hotshoe stand

Expect to pay: PhP 24.205

Essential info: Flexibility, power, and a host of features that are fully compatible with the latest Canon DSLRs make this speedlight highly desirable and a must-have purchase fortheenthusiast and pro photographer,

CANON SPEEDLIGHT TRANSMITTER ST-E2

What you get: ETIL·compatible transmitter Expect to pay: PhP 11.535

Essential info: Ideal for triggering a remote Canon speedlight. this enables you to place your speedlight on a stand and trigger it without the need for wires. A must for

both flexibility

and creativity.

UMBRELLA BRACKET WITH HOTSHOE

Perfect for when

you need a large diffused light source and want to get the flash off-camera for more control and creativity. Attaches to any standard lighting stand and holds both the speedlight and umbrella.

Please note that the guide numbers on flashes are a measurement used by manufacturers to identify the amount of light a flash gun emits. They are calculated in relation to the aperture and distance between the flash and subject. The higher the guide number. the more powerful the flash. which means you can optimally light a subject that is further away than with a speedlight with a lower guide number.

MAS I ERCLASS ~ Lighting part 1

To capture the details of the subject, the bed, and the lamps in low light, I used an ISO of 800 and a speed of 1160 with fill in flash.

Problem solver ...

Having a few problems and need a little advice? Here are a few common solutions to get you on your way

Q. The flash on my subject is properly exposed, but the background is very dark.

A. Basically, this means that the flash emitted is much stronger than the ambient light. If you're using one of the semi-auto modes, such as Aperture Priority or Shutter Priority, the camera is correctly exposing for the strong flash: however, very little ambient light is entering the lens, In order to rectify this, you can try increasing the ISO to help balance the ambient and flash light, or utilizing a slower shutter speed to allow more ambient light into the lens,

Q. My background is very bright and my subject is underexposed.

A. This means that not enough flash is lighting your subject, If you're using one of the automatic priority modes and it still isn't exposing proper1y, try checking your camera's metering mode and switch to Spot metering, This will allow your camera to correct", meter and calculate flash exposure from your subject. If you're shooting manually, try increasing the flash compensation on the speed light. or increasing the shutter speed and decreasing the ISO to allow less ambient light into the lens, If metered properly, one or a combination of these adjustments will rebalance the flash/ambient light,

sao FLASH PlACED

7 FEET FROM THE GROUND

580 FLASH PlACED

8 FEET FROM THE GROUNO

• FIERY DRESS

580 FLASH eoccseo ON THE BACKGROUND

I

2'

I

For this portrait I used two flashes. one behind the model bouncing light against the background and toward the back of the subject. I filled in

with a reflector to bounce light from behind to her face. I used another flash at camera right through a scrim. to achieve a high-key nortralt.

580 FLASH

8' FROM THE GROUND

"There's nothing like practical experience to learn"

.. in return. Get down to your

local park with them and make the experience a bit of fun. With toddlers,

it can be prudent to ensure a parent

is close by to keep them amused and more importantly, supervised. You'll

be surprised with the results. There's nothing like practical experience and the immediate feedback of the LCD to get you climbing up that learning curve,

If you're shooting moving subjects, then Shutter Priority will work best to help freeze your subjects, If they are more stationary, then Aperture Priority works well and aUows you more control over the depth of field. Don't be afraid to increase the sensitivity (ISO) to allow more ambient light into the frame or give you more flexibility for higher shutter speeds or smaller apertures,

You will notice that the more expensive speedlights wiU allow you

to rotate and move tile flash head up and down. This allows you to direct

the light elsewhere other than the subject themselves, which is exactly how bouncing light works. Many photographers will angle the speedlight up toward a white ceiling, which will bounce very soft flattering light down ontO the subject. Diffusers do a similar thing. These are attachments that clip to the flash head and help soften and shape the light as it leaves the flash. These can offer more control over where the light is placed and throw the light in more than one direction to create

flash heads also have a small built-in white plastic card into the flash head, which helps reflect some of the light forward when the flash is tilted upward, resulting in a softer flattering light for the subject.

TIL is an abbreviation for 'Through The Lens' and refers to exactly that - the camera's metering system that works on light passing through the lens. If you're using a DSLR, you should be familiar with TIL metering. TIL was developed in tile 80s and still forms the foundation for all modern flash systems. When you attach a TIL-compatible flash to your camera, the camera

should automatically work out the amount of light needed from the flash

to achieve a proper exposure based on tile shutter, aperture, and ISO settings you have programmed. Canon's ETfL-1I and Nikon's iTIL are developments of the original TIL. _

w.Iii

"The ORION For(e System allows me to mix

lights with flash or Just shoot with I

only. It gives me contant flash I

consistent color temperature; plus i most of our Bowens flash arressories like

MASTERCLASS ~ Light trails

"The landscape at night can provide incredible images bursting with illumination and movement"

»NEW LIFE

Deep valleys are superb locations for winding roads that are lifeless, until you breathe some piercing trails into the lold

Shot details: Canon EOS 500 with io-zzmm lens at lOmm and 18. 2105ec.ISO 100

It's common practice for people to pack up their gear after exhausting the last remnants of the golden hour and return home. Sunlight disappears, street lights come

on, and most people wind down for

the rest of the night; maybe relax in

front of the television, or have an early night's sleep. On the surface, there

seems little incentive to keep snapping away when the light is gone, yet the landscape at night can provide incredible images bursting with illumination and movement. It can be quite a challenging and rewarding experience, taking you

out of your comfort zone and putting

you in touch with your senses in ways daylight will never compare. Broken clouds form streaks in the moonlight,

tide tines become misty and ghost-like,

while light pollution transforms skies into apocalyptic-styled kaleidoscopes. If all this isn't enough, vehicle lights leave behind tales of their respective journeys, and with torch light, you're in command of your own light show. With so many hOLlIS of night at our disposal, it almost seems criminal not to exploit this golden opportunity.

One great aspect of shooting vehicle light trails is that they create the bulk

of the work by illuminating immediate surroundings with full headlights. You want the road to have a defined pattem and to have visible points of interest,

or even silhouettes of hills, trees and objects that may form pan of tile overall composition. At this point it is worth mentioning that a wet road will reflect most of the light thrown at it, so take care

~ LIGHT TUNNEL

This abandoned tunnel is the perfect blank canvas for mixing up light painting and light graffiti in the same shot Shot detaits: Canon EOS 50 Mark II with 16·35mm lens at 19mm and 15.6,1905ec, ISO 100

Light painting

Painting with light is an age-old technique 01 stepping out from behind the camera and using a torch to illuminate a scene or objects using brush-like strokes or gentle even movements. depending on the strength of the source 01 light. The faster you paint. the less light falls on the scene. By taping colored gels to the glass 01 torches and flash guns, you are in command 01 color schemes. This technique is a great way 01 mixing up light with darkness, adding eerie and vibrant effects to bring your nightscapes to life. Flash guns detached from the camera and used by hand give off incredible effects when employed inside abandoned buildings, illuminating interiors. doorways and windows. The effect leaves a clean and consistent impression, producing pin-sharp shadows and silhouettes. One common mistake when strobing or painting with light is to accidentally catch the Ilash glare in shot. Pick a spot to hide behind,like a thick tree tnunk or a large wall. When shining a torch from behind the camera, step to the side. This will ensure the tripod's shadow is not exposed in the foreground. Abandoned buildings and vehicles, graveyards and forests are perfect stomping grounds for light painting.

with exposure length - you will not want bright tarmac to wash out the strong lines leh by taillights. These red piercing trails will form the bedrock of your images and add the neon essence that will make the final image leap off the page.

Choosing a vantage point or location will influence your composition. Long winding roads make for superb snakes of light that cut through the landscape. Look for hairpin bends or unusual road patterns meandering through low valJeys or doubling up on themselves down

the sides of mountains. This may mean clambering up the side of a mountain in the dark, so take a torch with you. If hill climbing in the dark fills you with dread, then consider setting up somewhere

safe at ground level. Keep a watchful

eye on how different vehicles create ••

Think about. ..

Preparation is key to effective light painting

TORCHES. FLASH GUNS AND F1LTmS: light graffiti and light painting calls for a variety of torches and colored gels. Take a collection of torches of various strengths. Weak torches are ideal for fine detailed work and strong torches are superb for when you work quickly. or simply wish to illuminate objects in a flash. Pack a variety of colored gels or acetate for different colored effects. While there are bargains to be found online, candy wrappers are perfect for small torches. Take a pair of scissors to cut gels to shape. and clear tape to fix them over the heads of torches and flash guns. If you plan to paint using strobe effects. take a cheap flash gun you're not afraid to drop: it's dark out there and accidents can happen.

SAFETY: With careful planning and location scouting, your night should be hassle-free. If the opportunity presents itself. check out a location by day: doing so will allow you to scout a site for various vantage points, and to weed out any areas to avoid like potholes, loose rocks and private land. When shooting traffic trails, set up away from the road side. Large vehicles can create a voluminous amount of wind which could cause camera shake, or even an injury to you. Be cautious about using flash guns and torches by the road; oncoming drivers may respond or react unpredictably as a result oltheir use.

LOCATION: Take a mobile phone. fully charged and with credit. Tell someone where you are going and state what time you expect to return. just in case there's no phone signal. Check the weather forecast before you head out, and always take a small torch, which is handy for checking camera settings and finding your way back across challenging terrain.

~ NEON SHACK

This shack has been painted with torchlight outside and flash gun inside. A large torch is used to illuminate the forest

Shot details: Canon EOS 50 Mark II with

MASTERCLASS. Light trails

Light graffiti

In basic terms, light graffiti or light drawing is very much like treating torches as you would a pen or paintbrush, and Instead of painting and writing on a solid surface, the technique is applied to mid-air, The camera is left open to expose your creation, with the final result ending up WITh the sensor reconding the light trail left behind from all your torch play, Naturally, the main challenge with writing in rrud-ar is that you are working in a three-dimensional space With no imprint or trace to guide you, so you need your wits and some measure of spatial awareness.

Light graffiti is something that's relatively easy to grasp, Cast your mind back to bonfire night when you swirled sparklers around in the air - that's how easy it is to begin WITh, Unlike light painting where you illuminate a scene, you will be pointing the torch directly in front of the lens, The camera settings you need are similar to capturing traffic light trails, Using the cable release, start the exposure and walk into shot althis stage your torch will be switched off. If IT helps, use the camera's timer to allow you time to get into position and compose yourself. When you are ready, tum on the torch and start creating, Just to get you warmed up and in the mood, tiry a simple shape like a circle, Once done, turn off the torch, retum to the camera and unlock the cable release, Check the LCD to view the end result Once you are confident, move on to writing a INOrd, remembering to wrrte backwards. like writing while lookingina mirror. Howfaryoutakethis depends on your creative mood and imagination, Most importantly, laugh at your mistakes and have fun,

Lenses P.Jrt 3:

SpecialiSt lenses

Modern zooms are very versatile, but there are some jobs where only a specialist lens will do. Read on as DPP explains

Sooner or later, most DSLR owners will accumulate a telephoto zoom. a super-wide-angle zoom. and

maybe a couple of other lenses. But If you specialize In a particular type of photography. you may find that these everyday lenses aren't able to do what you want. You may have to dig deep and invest In one of a number of highly specrauzed lenses that are designed to do lust one thing. but in a way which no other lens can. In this issue we look at some of these specialized lenses. Including fisheyes. oerspective control (shift) lenses, macro lenses, 'fast' primes and super-telephotos.

We'll start with fisheyes. which are super-wide-angle enses which make no attempt "to correct circular cstornon. They're often used to create cnsonennog and surreal special effects, though they do have scientific applications too, such as measuring cloud cover in

meteorology. Some have an angle of view of 180 degrees, making them Ideal for trus kind of work.

Fisheye lenses have a fixed focal length, and they

come in two types: "full-frame' and 'circular: In this context. 'full-frame' does not mean that the lens fits a full-frame camera (though you can get full-frame versus APS-C 'digital' fisheyes), Instead, it means that the Image formed by the lens fills the sensor area. The degree of curvature

of the image increases toward the edges, but you stili

get a rectangular image. Circular fisheyes on the other hand are different. Their angle of view is even wider. and they no longer fill the frame, producmg a circular image

in the center Instead. Tlus obviously limits their appeal photographically, but they still have uses

Generally. f1sheye lenses take over where super-wideangle lenses leave off, though there is sometimes some

crossover. Canon, for example. makes a conventional 14mm super-wide-angle 'rectilinear' lens (in other words, it reproduces straight edges as straight), but it also makes a 15mm fish eye, However, at this point. the usual close relationship between focal length and angle of view breaks down, Canon's 15mm fisheye offers a 180-degree angle of View, while its 14mm wide-angle offers only a 114-degree angle of view, So while the focal length gives you an accurate picture of a standard wide-angle's angle of view, the same rules don't apply to frsheyes.

'Shift' or 'perspective' control lenses are usually Wide-angie lenses, though sometimes the focal length is slightly longer. They have a particular modification, though, which makes them unique. They have two lens 'movements: whereby the lens can be shifted relative to the camera body (up/down, left/right), or tilted at an

This picture was taken with a Sigma 4.5mm circular fisheye. They can be a lot of fun, but they're pretty expensive for a lens you may only use once in a while

angle. These two lens movements are designed with architectural and studio photography In mind. where precise control over perspective IS essential

The 'shiff movement is designed for those occasions where you have to photograph a tall building. but at the same time you have to avoid converging verticals. or 'keystoning. With a conventional lens. this IS impossible - you have to tilt the camera upwards to get all of the

building in. and this is what produces the distortion.

With a shift lens. you position the camera honzontany. then shift the lens upwards relative to the camera body. This bnngs the top of the building Into view Without the need to tilt the camera and therefore Without introducing perspective distortion. This technique has been around for many. many years: on old-fashioned large-format view cameras. it was called 'rising front

The effect of the tilt mechanism IS more complicated lt's used when you need to photograph a flat object at an angle to the camera. Normally. this would produce problems with depth of field. especially at shorter shooting distances. and it may not be possible to stop down far enough to get the whole of the sucject sharp. But by tilting the lens. you alter the geometry of the planes of focus. and rts possible to get the whole of

the subject sharp without small lens apertures. These tilt movements use the 'Scheirrptlug Principle: which may be familiar to studio photographers working with large-format cameras. but which can't be used With conventional DSLRs unless you have a lens like trus.

Macro lenses are designed, of course. for macro photography. But there IS some disagreement and misunderstanding about ths term. Many telephoto lenses and compact cameras have a so-called 'macro' feature which IS nothing of the sort. True macro photography IS where the subject is reproduced at the same size on the sensor as rt IS In real life. or. In other words. at a reproduction ratio of 11. By contrast. so-called 'macro' zooms may not get closer than 3:1 or 4:1. This is certainly a lot closer than most lenses. but not 'macro' in the correct sense.

There are two things which distinguish a macro lens.

The nrst is this ultra-close focusing ability. The second is an optical design which maintains high levels of definition even when the subject is very close to the camera (conventional lenses are optimized for much longer focusing distances). Macro lenses always have a fixed focal length. and sometimes quite a modest maximum aperture too. such as f2.8 or f3.5. though some are

faster. A Wide maximum aperture is seldom necessary, since macro shots are almost Invariably taken with a tripod. The depth of field at these distances is too shallow for handheld photography because even the slightest movement Will send the suoiect out of focus. Indeed. most macro shots are taken at very small lens apertures to maximize what little depth of field there is »

Macro tips USE A MACRO LENS

Many zoom lenses advertise a 'macro' feature. tx. to achieve the 1:1 reproduction ratio that the won actually means, you need a specialist lens like thi Tamron 60mm f2. Only a macro lens will offer til< close-focusing ability and optical quality requir ec

USE A TRIPOD

A tripod is essential for real macro wor1<, to eliminate risk of camera movement. It's not necessarily camera shake that's the problem. but the fact that the tiniest movement from the photographer can send the subject out of focus.

DEPTH OF FIELD

The one thing you need to know about depth of field with macro shots is that there isn't any! If you shoot subjects at an angte, you're unlikely t( be able to make them come out sharp all the wa from front to back, even at the minimum apertu

COMPOSITION

The secret to getting the whole subject sharp at these distances is to make sure it's perpendicul to the camera. It restricts your compositional options rather, but it's what you need for techni subjects like this where every detail is crucial.

Perspective control lenses Perspective control lenses like this Nikkor PC-E 24mm can do things that no other lens can

WIDE-ANGLE

Perspective control lenses tend to be wide-angles, as it's in confined areas that their controls are most likely to be needed

MANUALFOCUS---------

Manual focusing is particularly important with perspective control lenses if you're to make the most of the depth of field

MANUAL-------------EXPOSURE Autoexposure systems may start to behave erratically when you apply tilt-and-shift movements, so manual exposure is advisable

LARGO IMAQ£ ------------~ ... CIRCLE

A perspective control lens produces a larger image circle than other types, to allow for lens movement relative to the sensor

nLT CONTROl ------\\111\ Turning this knob tilts the lens relative to the camera body. This can be used to increase depth of field according to the Scheimpflug Principle'

LENS T1I.T ------------------~ Here. the lens has been tilted forward. You'd do this to increase the depth of field for subjects at an angle to the camera, for example a tabletop shot

l£NS SHIFT -----If you shift the lens vertically relative to the lens mount. you can take in tall buildings without having to tilt the camera

SHI" CONmOL-----C" Turning this knob shifts the lens laterally relative to the camera body. You can apply a sideways movement by turning the lens through 90 degrees

Even in an age of image stabilization and high 150s. you still can't beat a fast prime lens for optical quality. This was taken with a Canon 85mm fl.2, which is a perfect portrait lens on a full-frame SLR or a super-fast short-medium telephoto on an APS-C camera.

Spotthe difference! The depth of field in

the shot above was achieved using the tilt mechanism

of a perspective control lens.

Specialist lenses

"Telephoto lenses and compacts have a so-called 'macro' feature, which is nothing of the sort"

.. Macro lenses come in vanous focal engths. The longer the focal length. the ~urther back you can move the camera from the subject. The depth of field

,"11 be shallower because of the longer focal length. but there will be less risk of casting a shadow over the subject with

:he camera or of disturbing timid subjects. Longer focal length lenses are typically more expensive.

Fast pnme lenses are staging something of a comeback, There are a couple of reasons for choosing cnrne lenses over zooms. and we touched on a couple last month. Prime lenses are optically Simpler :han zooms and usually show little or no distortion

or chromatic aberration. They also have much wider maximum apertures. often as wide as fl.4 or even fL2

Fast lenses have significant advantages. They let

y'QU shoot in lower light levels without risking camera shake with slow shutter speeds. and they also produce attractive shallow depth of field effects This can be especially ettective for portrait photography. and Canon's 85mm fl2 lens is a perfect example.

An 85mm lens is considered the perfect 'portrait' lens because it lets you get far enough away to produce oleasing facial perspectives but can stili be used within :he average-sized room. With an APS-C format SLR. the equivalent would be something like a 50mm fl4. Fast ormes come in a range of other focal lengths. from :anon's 24mm fl4. for example. up to 400mm f2.8 super-telephotos

People often get fast prime lenses for low-light shooting and shallow depth of field and then discover tile other advantages of prime lenses: they make you use .our feet rather than relying on a zoom ring and. in the orocess, you get to explore your subject from many more angles and may quite possibly come up with a better oicture.

We mentioned super-telephoto lenses earlier on.

and these are another highly specialized type of optic. ::::onsumer telephoto lenses are comparatively modest in Size. yet if you watch any televised sporting event you' II see that the photographers standing on the Sidelines use -iuge lenses many times larger. The size is a result of two .rungs, focal length and maximum aperture

First. many sporting events take place in the center of 3 pitch which is so far from the sidelines that you need extreme focal lengths to fill the frame with the action. ~OOmm (or its equivalent) is a pretty modest focal length -Dr this kind of subject. and 600mm and 800mm lenses ore often necessary. The focal length alone makes for a noge lens.

The other point is that photographers also need the

. :dest possible maximum aperture. Many consumer :elephotos have a maximum aperture of f6.3 at their ongest zoom setting. but this is pretty feeble. especially - poor light. Professional super-telephotos typically have a maximum aperture of f4 or even f2.8. and it's only the ery longest where the aperture may drop to f5.6.

When you combine long focal lengths with Wide

Now that's a telephoto! Canon's 800mm f5.6 is a fantastic piece of kit - as reflected in the price of almost half a million pesos.

apertures. you get the huge (and expensive) lenses used by professional sports photographers. That's not to S<Jy you cant get good results With much cheaper 'consumer' lenses. but it IS more difficult. Super-telephotos may

also incorporate Image stabilization mechanisms to cut camera shake. but maintaining a high shutter speed

IS stili Important - image stabihzers only cut camera movement. they con't stop subject movement.

The latest DSLRs demonstrate much better high ISO performance than early models. so it might be argued that the need for these big and expensive fast telephotos IS reduced. The counter-argument is that they now let photographers shoot in even darker. poorer conditions. You can never have too much of a good thing:

Professionals almost always use prime lenses rather than zooms. There are professional telephoto zooms.

but they don't match the maximum aperture of primes or their focal range. Pro zooms tend to stop at 400mm. where primes go up to 600mm and 800mm or beyond. if you use a teleconverter.

Teleconverters (Canon calls them 'Extenders) fit between the lens and the camera body and magnify

the image. effectively increasing the focal length of the lens. They are extremely convenrent and. for professional sports and wildlife photographers. very handy things to keep In the gadget bag. However. they do have a couple of disadvantages: one theoretical and one practical. The theoretical disadvantage IS that the image quality is likely to suffer. If only slightly. The results produced from a top-quality teleconverter can be very good Indeed. but they're unlikely to be qurte as sharp as the lens would produce on its own.

The other disadvantage of teleconverters IS that they cut the tens's effective light-gathering power in proportion to their magnification. Teleconverters come In two main types. With a l.4x magnification and a 2x magnification (though there are other sizes). A l.4x teleconverfer multiplies the lens' effective focal length by 1.4. but reduces ItS aperture value by 1 stop. A 2x teleconverter multiplies the focal length by 2. but comes with a 2-stop penalty. Teleconverters are worth having. then. for those who do a lot of long- range photography. but probably only for occasional or emergency uses. If you shoot lots of photos at long range. you're better off With a lens of that focal length.

Get to gnps with the different types of lenses there are out there. and youre sure to find the perfect one for you and your style of photography.

0"

Type troubles

Q I have recently upgraded from Photoshop CS to Photos hop CS4, which IS fantastic, but to my dismay my favorite command has disappeared, I use the Group with Previous command a lot In my post-processing workflow, In CS4,I can't find it under the Layer options and the shortcut (Control-G) doesn't work either. Why have they taken this feature

place your photograph on a layer above thrs, Now. with the photograph layer selected, lust go to Layer>Create Clipping Mask (which used to be called Group with Previous) and your photograph will appear in the word you have typed in the layer below. Simple I

Panoramic panic

A Don't panic, Adobe hasn't taken your beloved Photoshop feature away - It's simply been renamed to 'Create Clipping Mask: This was introduced in Photoshop CS2 and now also appears

In Photoshop Elements 8. The feature

stili does the same lob of combining two layers and does this using a chppmg group,

We love this feature for combining our favonte photographs into text outlines. Simply write your text on a layer and

Photoshop's Create Clipping Mask feature is demonstrated here by combining an original image of a flower (below) with a text layer

9 I'd love to start taking my panoramic photography a bit more seriously

a would like to find out more about panoramic heads, Are they worth the Investment. and how do I actua Ily use one? I don't want to weigh my kit bag down with unnecessary bits of kit. but I

do want to start capturing Images to sell thiS year. so your advice would

be much appreciated,

these problems,

When using a panoramic head. it's a good Idea to calibrate your lens, To do this, attach your camera and set two markers a meter in front of each other. When moving your camera from fight to left, these markers should line up perfectly

If they don't. adjust the slider until they do. Seewww.nodalninja.com fora great range of panoramic heads

A Honestly, you can get by without one, as many photographers prove. However. a panoramic head does offer optimum control over your shots and as we all know with panoramics. accuracy is everything. For far-reaching landscapes, you rarely get any major errors where things don't match up (these are called 'parallax errors) However, if you plan

to photograph closer subiects or there are obiects in the foreground then paraUax errors are more common and

a panoramic head would help atieviate

Create duotone prints

Q I love recreating traditional photo effects in Photos hop and many of my shots end up sepia-toned or cross-processed as a result of my experimenting. I would love to know a quick and easy method for creating a duotone effeet in Photoshop. Any tips?

A Duotone effects are based on a traditional printing process that uses two inks. The tones In a Grayscale image are selected and assigned various color values. To recreate this yourself, choose two colors and apply one to the highlights in your photo and the other to the shadows. This effect works best when using an image that's packed with a good tonal range. So ensure there are lots of lovely shadows. midtones. and highlights for your new colors to cling to,

FAKE A TRADITIONAL EFFECT

1 Go Grayscale

First up, let's strip the photograph back to Grayscale by going to Image> Mode>Grayscale. You will be left with

a black-and-white image. Now go to Image>Mode>Duotone and a dialog box will appear.

2 Think about the inks

Inthe Type box. pick Duotone. To view your progress, ensure you have the Preview option checked. Double-click in the Ink 1 box and use the Color picker to choose a hue for your shadows. Do the same for Ink 2, but for the highlights,

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Projector for phOtographers

g .1 have just gone freelance this year and have. managed to get quite a few wedding bookings already. As part of my service I Invite couples to come and view their ding photos at my office on my computer, This is not ideal. as we end up rather squashed around my modest-sized screen, Ideally I'd like a projector to play the Images and give my wedding clients a real wow factor. Any recommendations?

3 Curve it

This technique allows you to alter the appearance of shadow and highlight tones separately using Curves. You can do this by moving the line in the Curves box or entering numerical values in the boxes on the right. Click OK,

4 Save and print

Save and then pick a good-quality paper to print on. We recommend a good archival matte paper, as it's long-lasting and looks close to how the traditional effect would have been printed. See www. harman-inkjet.com for a range of options.

A Projectors are becoming an Increasingly common purchase for photographers, as they give you the option of where to display your Images and also offer a rather spectacular view of your photographs. HD-ready models. Blu-ray devices, and even pocket devices abound, proving that blurry rnages and noisy projector machines are

a thing of the past. If you're starting off, we recommend the Canon LV-7275, priced

at Php 58.195.00, The LV-7275 features a l.2x zoom lens that ensures clear image projection regardless of space constraints. Adjusting aspect ratios IS easy via an Intuitive tabbed menu screen interface. and With a clever screen color correction function, the prcjector compensates for venues that do

not have proper projection screens. Moreover. the

projector supports a native XGA (1024 x 768) resolution: sports a DVI-I interface: and come With budt-in 7W speakers, among many other special features. For more information visit www.canon.com.phor

call (+632) 884-9000.

Creative cutouts

On the web

You'llllndall the files you need to complete this Morial atwww. digttalphotographef .com.phl fswell/cutouts.zip

DPP shows you how to cut out a model simply and seamlessly with Photoshop

Removing an image from its background IS one of the most common uses of Photoshop There are many different techniques/tools which can

be used for this: the Magic Wand tool. Marquee selection tools, Channels and the Eraser/ Background Eraser tool. The most accurate one however IS the Pen tool.

Some people fear the Pen tool, but It really IS simple and easy once the baSICS have been learned. You lust need to be patient to start and after some practice you

will speed up and never look at another tool again. The Pen tool creates a Path which can be saved and then turned into a selection. When drawmg. anchor points Will be placed every time you click the mouse. These pomts are hnked and then form the path which can be saved to create a selection. Once a selection has been made active. the background can be erased,

In this tutonal we'll not only show you how to cut out the model. but also how to get the hair correct once removed from the background. A few handy tips Will

be revealed to perfect hair cutouts involving the Clone

"We'll show you how to cut out

the model and get the hair correct"

1 Set up your tool With your image open. select the Pen tool from the side tool bar. In the top toolbar, make sure you are clicked onto the Paths option and the Pen tool. Next. zoom into your image so that you can see all of the details clearly.

4 Finish your anchor point You'll see on our second point some lines, which can be matted to change the direction/angle of the line. If the line you have drawn isn't correct. move these lines to alter it. To finish this line, ready to carry on your path. just Alt·click onto the Anchor point.

2 Cut out begins We are going to cut out as closely as

we can around the model. Don't worry if some of the background is showing around the hair sections. as we'll edit this out later on. Click onto the edge of the arm to make your first anchor point.

5 Smooth lines By Alt-clicking onto the anchor point. the next part of the line will continue on the path you want it to. If you don't finish off the line then it will veer off in an unwanted direction. You will get into the habit of finishing off points as you draw.

Stamp tool and Blur tool. The techniques and tools explained here can be transferred onto any Image you wish to cut out. $0 feel free to use the Image provided at www.digitalphotographer.com.ph/issue321 cutouts.zip or use one of your own.

Once the model rs removed. clean Or new backgrounds can be added simply, easily transforming a photo. One thing that lets down a lot of Photoshop editing work IS the lack of skill when working on hair, It IS tricky and patience is needed. but It can be done qUickly when you have the correct know-how.

Once you have the model on your chosen backdrop. don't forget to color correct your Image and make any retouching that is needed. Let's begin by operung up the Image you have chosen to work With in Photoshop. I!!lI

3 The lesson begins To draw along a straight line. dick and place your second anchor point further along the arm. To angle your line. click and hold the mouse button. Holding the mouse button down. move the line around and it will arch. When in the correct position. release the mouse.

6 Keep on drawing Keep moving along the arm, making as many anchor points as necessary. You can never use too many and when first starting out you will use more. Remember we will tidy the hair later, so if it looks a bit messy right now it's okay.

7 Finish off the path When you've drawn around your model to finish the path. end on the first anchor point made to seal the shape. Now go to the Path palette and click on the arrow in the top-right of the palette. Select Save Path.

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10 Work on the hair Press the eye icon next to your background to make it invisible. Select the Smudge tool (R).ln the top bar select a small brush (between 1 and 3) and 100% strength. Start at the top of the hair and pull the hair outwards.

8 Cut out the rest There is some background area between the model's arm and head, so click onto the saved path thumbnail and zoom back into your model. Draw this shape as you did before and finish the shape off. This has now been added to your path. Save your image

9 Remove from the background In your Paths palette Cmd/Ctrl-click onto the paths thumbnail to make it an active selection. Once that's done, click onto your Layers palette and press Cmd/Ctrl+ J to lift your selection onto a new layer.

U Convincing hair appears Keep making your original layer visible for a guide to work from. Work your

way around the hair, increasing and decreasing the brush size. Not every strand of hair needs to be recreated, so use sparingly.

13 Cover up Alt-click on a clean patch of hair and paint over the hair where the background is still visible. Using a low opacity allows the hair to blend seamlessly. Keep working on these areas until the background is no longer showing.

Use ENERGIZER LITHIUM BATTERIES

for FAST RECYCLING TIME on multiple strobes so you'll never miss that PERFECT SHOT!

Create atmospheric portraits

DPP shows you how to use Photoshop to create fantasy masterpieces

Have you ever wanted to get that little bit more from your Images? Wanted to change the feel of your photos completely? In this issue we'll be showing you how you can get these results easily with Photos hop,

We've made a dramatic transformation with these Images, but you don't have togo Into as much detail as we have, The techniques shown In this tutorial will allow you to unleash your creative powers on all of your photos, Whether you wish to just alter the color to shift the mood in your Image or create a fantasy scene like we have, this tutorial IS for you,

Changing the atmosphere within your images IS easier than you may think, The adjustment layers in Photoshop can't be beaten for their limitless editing uses, There

IS one suitable for every occasion imaginable. In this example, we have used a Hue/Saturation layer to shift the color spectrum, then a Bnghtness/Contrast layer to add some definition and mood, Lastly, a Levels layer was used at the top of the Layers palette to tie the Images together and add that final boost. If you want to go back and edit any of your adjustment layers to add more to your Image, simply double-click on the thumbnail and the palette will reappear,

We have composited several Images together here: the model and the forest plus a wood texture layer, which can all be downloaded from www.digitalphotographer.com_ ph/issue3Vportraits.zip. These effects are achievable by using one suitable start image though. so don't get bogged down by overcorrobcanrg your image If you're

new to Photoshop As your creativity and confidence grow, you can add even more textures, images and sparkly brush marks to your composition,

lighting IS important when it comes to altering atmosphere In Images, The lighter the Image. the more carefree and happy It will be, Alternatively. if you want a more darker, mystical feel like our image. use shadows and lighting sparrngly,

Let's begin our tutonal by opening up the images provided and then we can reveal all of the secrets to creating a fantasy atmospheric composite, _

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1 Extend the canvas Click on the model image, go to Image>Canvas size. extend the canvas to the right to 2Scm and hit OK. Select the Crop tool and crop in so the left-hand edge is closer to the arm. This leaves us with more room on the right to play with.

3 Build your layers To finish the selection,just make your last point end where you started. When the selection is active, you can then press Command/ Control+ J to create a new layer with just the model selection on it.

4 Create the basics Once that's done, you can now click onto your tree photo and drag and drop it onto the model image. Go to Edits-Free Transform. Keeping hold of the Shift key to keep perspective, make the image larger to lit.

2 Separate the model from her backdrop Select the Magnetic Lasso tool from the side tool bar. Zoom into your image and begin tracing around the edge of the model. This tool will allow you to get a reasonably smooth edge quickly.

5 Seamless blending Add a mask to the tree layer by clicking the icon at the base of the Layers palette, Select a large soft brush with the Background/Foreground colors set to Black/White. Paint onto the mask thumbnail to mask away the left edge, blending the layers behind the model.

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6 Now the magic begins At the base of the Layers palette there is an Adjustment Layer menu. From this list. select Hue/Saturation. We need to dull down the image to begin with, so use the settings +21. -51. -25. Next select a Brightness/Contrast adjustment layer.

7 Keep tweaking To boost the contrast, use the settings 14, +24. Create a new layer and place it under the model layer. Select a dark brown color and a large soft-edged brush. Create a vignette effect around the edges by smoothly painting onto your new layer.

9 Golden centralUght Select the Ellipse tool and pick a light yellow. Once drawn, Ctrl-click onto this shape layer and select Rasterize Shape. Go to Filter>Blur>Gaussian Blur and select a Radius of 250. Set the blend mode to Luminosity and an Opacity of 80%.

10 Levels needed Add a Levels adjustment layer to the top of the palette. Move the right white slider into the middle to lighten it all up. Drag the wood texture image into your main composition. Edits-Free Transform and rotate it to layover the model's arm.

"Lighting is important when it comes to altering atmosphere in your images"

12 Final shadow for depth Set this layer to Overlay

and add a mask again. Paint away some of the cloud texture from the edges. Add a new layer under the model, and with a large soft brush (dark brown color) paint over the top half of your image. adding final shadows and depth.

13 Add a burst of color Create a new layer at the top of the palette and fill it with a bright orange. Set the layer's blend mode to Soft Light and 70% Opacity. Add a layer mask yet again and paint over the model so that she stands out tram the background.

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8 Set the tone Set this layer's Opacity to 80% and choose the blend mode Multiply from the drop-down menu in the Layers palette. Create a new layer above the model layer. Select a lighter brown and paint down the lett side only: set this to Multiply.

n Elements of interest The wood is just an extra area of interest. Set the layer's blend mode to Overlay and 80% Opacity. Add a mask and paint areas not on the arm. Add a new layer under the model. pick a dark brown as your foreground color and go to Filter>Render>Clouds.

Basic guide to:

Dodge7Burn tool

DPP shows you how to add lighting effects quickly and easily with these Photoshop tools

The Dodge and Burn tools are two Photoshop features found under the

same tool set In the side toolbar. Often forgotten and ignored by Photos hop users. they are rather useful for areas within an image that need a quick lighting/tonal fix.

The Dodge tool lightens up areas and the Burn tool darkens pixels. Options for both tools lay in the top toolbar and both can be used like the Brush tool. Allowing you to use a brush means that you can paint over areas with greater control.

In the top option bar you can select the type of brush you want to use and the Range. which allows you to pick what tonal value you wish to alter in you: photo. The Exposure setting determines the strength of the tool. Keeping this value at a lower percentage allows you to gradually build up the toors effect one stroke at a

2 Bum tool darkens In the top toolbar set the Exposure to 30% and select a large soft brush. Use the tool like

a brush and paint over the areas which need darkening. Build up slowly. referring to your original layer to check your progress as you go along.

3 Dodge tool lightens Use the Dodge tool for adding highlights. keeping the exposure low. Zoom in and whitl the eyes and teeth, then increase the brush size and add some highlights to the cheek and arm. Zoom out and see . you r:eed to add any more depth or highlights elsewhere.

DIGIPRINT

PHOTO STORYBOOK

A photobook mode for the new kind of storyteller.

fldigiprint

DIANA GRACE SAMSON

WORI{SHOPS, LIVE JUDGING, AND ALL NIGHT PARTYING

SATURDAY 111 AM FULLY BOOKED

JULY 3 2010 BONIFACIO HIGH STREET, TAGUIG CITY

PHOTOGRAPHY CLASSES AVAILABLE FROM 12NN - 6PM

. DPP ID SERVES AS ENTRY PASS. CHECK !:XT PAGE FOR INSTRUCTIONS.

_ ~ _ _ I ~_ ••• ~_ ~-:i1 ~1"a.DI IC:::·

Digital Photographer Philippines' 4th Anniversary

Saturday, July 3 2010

Fully Booked, Bonifacio High Street

1 1:00AM

12:00NN - 6:00PM 7:00PM

8:00PM onwards

Registration Classes

Live Judging Party

Featuring classes in every classroom of every floor in Fully Booked on: - Fashion photography

- Travel photography

- Portraiture photography

- Beauty photography

- Flash photography

- Wedding photography

- and many more

Plus enjoy a live beauty shoot at Bonifacio High Street!

You also don't want to miss our infamous LIVE JUDGING event.

Watch a live critique of photos by our discerning and highly amusing panel of judges.

Pre-reqister online. Look for updated schedules and list of lecturers and topics at www.digitalphotographer.com.ph

Entrance is FREE with the purchase of DPP. You must tear out the forms, fill them out, and take it with you to the event.

INSTRUCTIONS

~ e 10 below will serve as your entry pass. Please attach a lxl photograph and fill out your name on the given space. Bring the 10 together with the survey on the righ portion when you go to the venue. Lanyards with plastic cases for the 10 will De distributed upon submission of the survey. No 10, no entry.

- € survey serves as your registration form. Please fill it out completely in

order to enter the premises immediately and select a workshop to participate

n. each participant may attend a maximum of three workshops. You may also dcwnload a copy of this form from http://www.digitalphotographer.com.ph/ [)pPUnleashedRegForm.pdf, however the ID can only be retrieved from DPP Issue 32 Edge of Light).

e information you provide will be kept confidential.

Survey form

Full name:. _

How long have you been shooting? _

Preferred genre(s) of photography: _

Do you own a DSLR camera? What gear do you use? oNo

DYes. I use:

oCanon (Model(s):. --'

oNikon (Model(s): ---'

oSony (Model(s): ~

oOlympus (Model(s): ~

o Panasonic (Model(s): _

oRicoh (Model(s): _

OOthers (Model(s): --'

Do you own a point-and-shoot? ONo

DYes. I use:

OCanon (Model(s):. _

oNikon (Model(s): _

oSony (Model(s): ~

oOlympus (Model(s): ~

o Panasonic (Model(s).: _J

ORicoh (Model(s).: --'

OOthers (Model(s).: --'

How many lenses do you own? __ What types of lenses do you use?

OTelephoto (Brand(s): _

OPrime(Brand(s): -'

oZoom (Brand(s): _

oWide angle (Brand(s): ~

o Medium telephoto (Brand(s): ~

o Long telephoto (Brand(s): _

o Macro (Brand(s): _

o Super wideangle (Brand(s): ~

o Super telephoto (Brand(s).: _

oFish eye (Brand(s):. ~

o Others (Type(s) & brand(s).: _'

What other accessories do you use?

o Tripod

o Monopod

o Filters

o Studio lights

o Speed lights

o Umbrellas

o Soft box DReflectors OSlaves

o Flash meters

o Multimedia Storage Drive / Viewer

oOthers: _

How much is your gear worth? o Below Php100K

oPhp IOOK-1SOK

oPhp 1SOK-2S0K

o Php 2S0K-SOOK

o Php SOOK-1 M

o Above Php 1 M

Go Pro

The Movie and The Momen1

HIGH SEAS

Anders Overgaard's photographs leap off the page with his trademark cinematic sheen and narrative sense.

In Sean John's "I AM KING" fragrance ads, he takes Diddy on a high octane, high seas adventure.

The Movie and The Moment

In a DPP exclusive, the always cinematic Anders Overgaard tells us about photography, his creative process, and the P. Diddy experience

They're ads for a new line of scents but they might as well be stills from the latest Bond flick, albeit with P. Diddy dishing out the proverbial license to kill. Before you can say "shaken not stirred," Diddy explodes out of Sean John's new "I AM KING" fragrance ads on a jel-ski and in a strapping Sean John suit.

Of course, as anyone conscious in the last decade and a half knows, Sean "P. Diddy" Combs is not an international man of mystery. He's a lot of thingsrapper, actor, designer, businessman-just not James Bond.

Such is the magic of Danish photographer Anders Overgaard. Fresh and simmering with vitality, Overgaard's photographs leap off the page with his

.. .. ..

sprawling narrative in every rnomeru-the Warhol Estate is the last scene in a heanwarming family movie; Connie Nielsen is the hard-living rocker pulling herself together for the morning-after. In his photographs, life is active, engaged and frequently larger-than-life,

"We shot with film, using the Pentax 6x7 and used film/hmi lighting throughout most of the shoot," Overgaard says of the Sean John shoot. "We worked the light as though we were shooting a movie, creating a cinematic, yet realistic feel."

It helped that the model was more than willing to take on the role of international man of mystery, "Diddy really loved being on the jetski,"

- - _. - -

GO PRO ~ Career guide

DIDDYTHE~ KING

Overgaard's "I AM KING" shoot with Sean John founder Diddy was a true meeting of the minds.

The collaboration of ideas made the session interesting for the photographer and his enthusiastic subject.

PORTRAIT~~ SESSION

Overgaard got into photography after

seeing several portraits of the Masai people.

Today, he uses his distinct rapport with his subjects in capturing the moment.

~~ driving really fast and wild."

The uncanny ability to engage the model, of course, he picked up [rom mentor Bruce Weber. In 1990, Overgaard moved to New York and worked with the legendary Bruce Weber. For

five years, he traveled with Weber on shoots and assignments. Working side-by-side with the master shaped Overgaard's high standards and commitment to getting the best images.

"My influence with Bruce was about how to work with people," he says. "I feel like my photography work is very different from Bruce, but maybe the process is the same ... Keep shooting and find interest in whatever you shoal. One of the things I learned from Bruce is that he is really interested in whatever he shoots-from clouds, to dogs, to celebrities."

It was interest and curiosity that got Overgaard started in photography in the first place. At age 10, when his architect father returned from a trip to Kenya with several portraits of the Masai people, the young Anders Overgaard felt the first bite of Ole photography bug. The portraits began his love affair with shooting, and stimulated his desire to lake pictures all over the world.

"My true love of photography is the magic formula of a Pentax 6x7 with Tri x black and white film," he says. "I moved to digital because there is a lot of freedom to shoot freely and creatively,

From "photographing friends and girlfriends," Overgaard 15 now an increasingly in-demand photographer, with his work gracing the pages of publica lions like Harper's Bazaar, Vanil) Fair, Vogue, GQ, and Interview. On top of that, he's also taken photographs for companies like Estee Lauder, Saks Fifth Aven... Gap, aurica, Ralph Lauren, and Tiffany.

Working with big-name clients is a challenge for a lot of photographers. With commercial demands and too many corporate fingers in the pot, it is sometimes difficult to get the creative process going. Overgaard, however, suggests embrartrz the collaborative nature of the project, "All of the ingredients are carefully put together between the photographer and the agency," he says. "II'S a big collaboration."

For the Searl John shoot, Overgaard did just that. "It was grez working with Diddy. He had a lot of ideas, and thai is pari oi ::reason this job was so inreresting. We ended up working with 101 of artistic people on this job, and they all had something IQ contribute, creatively."

Perhaps this is the secret to Overgaard's success. Despite a defined aesthetic and signature style, he constantly experimentand is not afraid of collaboration. "On the shoot day," he says. "we create the moment."

Canon EOS-lD Mark IV

REVIEW ~ Cameras

PRICE: PhP 249,995 (Body only)

With a revamped AF system and a new sensor, can Canon's latest pro model keep up with the competition? DPP finds out

Building on the heritage established by its prestigious

line of predecessors. the latest full-frame DSLR from Canon

is a complex beast. equipped

with the most comprehensive up-to-the-minute technologies that we've ever witnessed in an [OS camera.

There's not much that's changed on the surface of the :J ·.lark IV -It'S stili got the lightweight magnesium alloy

assrs seen on Its previous Incarnations. which makes

• ,-,o"slngly easy to shoo with all day long. and the "'-:-rectly contoured ergonomic gnp and weather-sealed .ontrols thai orovoe both comfort and practicality for

· .... e professional user. Some subtle enhancements have teen made to the operation of the controls. based on 'eedback gathered from ID Mark III users. Buttons

-J:. protrude more from the camera body to make It ';35 er to find them. and they require less pressure to :epress them fully. speeding up the cameras operation

;;hlly. Underneath Its tough extenor however. the ID

, ~3r~ IV packs In an Incredible assortment of Impressive .~ +noiogres that take the handling and Image quality of

- . .c:_ camera to a whole new level.

:" the heart of the Mark IV IS Its brand new 16.lMP -"S·H CMOS sensor. offering high-resolutron Images. _ e View full HD movie recording and zm Impressive

- - sensitive range. Measunng 219mm x 18.6mm.

- -2 sensor Isn't 'full frame' and so hasa crop factor of

-"_ compared to the roughly 1.6x crop of lower-end

- -: -Cvsized Canon DSLR sensors While some may

,_estlon Canon's Wisdom (particularly given the pnce). 'a ler file sizes. coupled With advanced processing -~:hnologles are what enable the Mark IVto perform so

-u-urably In the field.

Use this to navigate the menus and options on the rear 3" LCD

Rotate to scroll through menus and images

in playback

This shows key shooting information in conjunction with the main top-panel LCD

Press this and rotate the front Command dial to alter the Exposure mode

Press this and rotate the front Command dial to alter the ISO sensitivity

These allow easy operation of the camera when shooting in vertical format

Press this and rotate the front Command dial or Quick Control dial to alter each item in tum

Displays key shooting information to keep you up to date. at a glance

"The ID Mark IV packs in an incredible assortment of impressive technologies that take it to a new level"

In place of the dual DIGIC 3 processors offered by the previous Mark III. the Mark IV,s equ.pped With the latest OIGIC 4 processing engines, designed to handle the huge data files generated by ItS 16.lMP sensor, This processing powerhouse allows the Mark IV to generate 14-blt Images, as well as offer advanced nose reduction for images shot at high ISOs .

Other big changes Include a whole new 45-polnt

AF system, equipped Wltl139 cross-type AF points for supemr accuracy, Including when shooting With lenses With a maxnnurn aperture of f2.8 or faster. Compare tms to the 19 cross-typeAF points In the Mark III's system, and It'S a huge Improvement. But there's more to ths new system than iust adding more AF points: Cacon states that AF detection precision has also been enhanced by adding two lines to some If ItS f5.6 sensors, as well as new spot AF functionality that the Mark III lacked.

This Spot AF feature lets users customize the area In which the AF system Wlil hunt for a subiect. increasing the accuracy of tracking moving targets and subiects placed In complicated settings With background/foreground detail that could potentially confuse the AF system. This IS

combined With new frrmware that Incorporates AI Servo

II AF, used to calculate predictive focus. Testing ths With some flighty buds - moving qUickly and unpredictably throughout the frame and often being obscured by trees and branches - proved lust how responsive hiS aspect

of the Mark IV's feature set IS. We went home With far more 'keepers: accurately focused action shots, with

few missed opporturutres that could be put down to inaccurate subiect tracking. AF performance In low light IS also excellent. thanks to Canon's new low-rose AF

unit. Where other cameras would struggle, resulting In frustrating lens 'hunting: the Mark IV proved Itself capable of obtaining a near-Instantaneous lock, even In the dimmest conditions.

Another headline feature boasted by the Mark IV IS

the ability to shoot full HO 1080p movies at up to 30fps. While tbrs feature is - In no uncertain terms - a huge achievement. particularly for a camera With a larger sensor, It'S not Immediately the most accessible attribute If you've not digested the camera's manual. The Mark IV has no dedicated MOVie button, rather you must access It via the somewhat anonymous FEL button on top of

the camera, In contrast to pressing the SET button In

the center of the Quick Control dial. as on the 50 Mark

II, Once you've figured thiS out, he posrtionmg of ths control makes It farrly simple to SWitch to shooting movies rather than stills, but It'S not as easy to work With as the aforementioned controls we've seen on previous models

The camera's three-Inch LCD makes for cnsp. clean viewing while recordmg movies, and results Viewed on an HOTV screen are excellent.

Manual exposure control, as well as more video recording sizes and frame rates. are newly avadable WIth the lD Mark IV, and movies benefit from the camera's auto lighting optirmzer and peripheral Illumination correction features too, Users can also apply different picture styles to their movies. Just as they can With ther stills. helping to create a unique look In-camera. Sound recording IS stili only via a mono microphone. but you can connect an external rmc for stereo sound, and the integra rrnc benefits from measures Canon has Implemented to reduce the amount of operational noise it picks up from the camera, It doesn't eliminate it entirely, but it does make a difference, ••

us at Dilariuason@diIlitaIDhoto2raDher.Com.ph. You can also upload your own reader reviews to our website's forum page

REVIEW ~ Cameras

"The Mark IV keeps up with the latest achievements put forward by its main rival, the Nikon D3S"

~~ There IS a limit to Canon's breakthroughs In the field of OSLR movie functionality: the Mark IV doesn't offer full-time AF. and manually triggered AF while recording can be a little sluggish. but these are factors affecting all current movie-enabled OSLRs in this price bracket. and something that will surely evolve as the technology Improves further.

The Mark IV also boasts an expanded ISO sensitivrty range In companson to its predecessor. which enables the Canon user to keep shooting in darker conditions than ever before. In place of the Mark IlI"s ISO 100-3200 range. the Mark IV keeps up with the latest achievements put forward by Its main rival. the Nikon 03S. offenng a native range covering ISO 100-12800. expandable to include ISO 102400. as well as an Auto mode. Images at the lower end of this scale are very CriSP and clean. With perfectly usable results being produced throughout the cameras native range. The top native setting (ISO 12800) does present images with a fair degree of noise. but it's film-grain like and far more palatable than a lot of the results seen on previous model's top settings (if not as clean as the 03S·s). As you'd expect. there IS some loss

of definition and color saturation at this level. but on the whole. the camera's noise reduction methods produce images that still contain plenty 01 detail. Canon is keen

to point out the applications of this high-quality low-light imaging capability. covenng everything from low-light

Nikon D3S

Park Cameras price: PhP 266.211 (body only)

Web: www.columbiadigital.net

Tel: (02) 632-0892

The first Nikon FX camera to offer HD movie recording, the D3S also sports a 12.JMP FX (full-frame) sensor. EXPEED Image-processing engine, 51-point AF system and an ISO range spanning 200 to 12800.

SonyA900

Park Cameras price: PhP 189.999

A 24.6MP full-frame sensor headlines this camera's feature set. along with a magnesium alloy chassis, weather-sealed body, brightviewfinderofferinglOO% coverage and a continuous shooting rate of Sfps,

sports photography in stadiums and swirnrrung pools to dimly-lit fashion show dressmg rooms. wedding venues and twilight cityscapes. for example.

The 10 Mark IV is capable of shooting at the same continuous rate of IOfps as its predecessor. but the way in which the new camera handles its image files has improved. alowmg the Mark IV to keep going for up to 121 JPEGs or 28 RAW files before it needs a break.

The Mark IV's Live View functionality has been enhanced too. Whereas Mark III users were only able to focus manually with this feature activated. Mark IV Owners have the benefit of quick AF. manual and face detection AF. improving the way in which this feature operates no end. Shooting in Live View mode is now a seamless expenence. with a highly responsive AF system and crystal clear. detailed LCD (920.000 dots in comparison to the Mark lll's 230.000) making for Incredibly easy and responsive operation.

Image Quality-wise. the Mark IV also benefrts from features that serve to enhance ItS already excellent capabilities Canon's auto lighting optimizer does as the name suggests - automatically adjusting the image in-camera to produce the best balance between bnghtness and contrast. Particularly useful when photographing high-contrast or backlit scenes. this feature IS of real benefit to purists or photographers who are pushed for time and don'twish to spend time editing their shots later. Irs a highly effective feature that means we are able to produce more even exposures straight out of the camera in adverse conditions. HighlightTone Pnonty IS as it was in the Mark III, and works to preserve the highlights In a scene that contains a lot of bright tones - Invaluable for that all-Important wedding

dress shot.

Lens peripheral illumination correction is another feature that's new to the Mark IV. Equipped with data

for 29 Canon lenses already. users can add up to 40 using the supplied software. The result is that the camera IS equipped to correct vignetting issues before they encroach on your shots. Automatic editing occurs incamera when shooting jpegs. and you can edit Raw files later using the bundled software.

The EOS-lO Mark IV IS -In short - an excellent camera Its AF system IS so responsive it's staggering. and ItS lowlight shooting capability is very impressive. if not QUite class-leading. If you're a high-speed action photographer who needs a responsive tool that won't let you down. the Mark IV IS a fantastic prospect.

Comfortably placed on a sloping area on top of the rubberized grip

An integral portrait grip makes shooting in vertical format simple

WE WANT YOUR REVIEWS: Do vou agree or disagree with our reviewer's opinion on this piece of kit? Let us know vour thoughts bv e-rnailin

The mount supports EF lenses (excludes EF-S optics)

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Savelload settings on media Reglstl.""",basicsettiogs Oearagc.aml!rasettings Copyrightlnformatlon Sensordeaning

SETUP MENU: This is split across three yellow tabs. the third providing access to the camera's sensor cleaning feature, and the option to add your own custom copyright information.

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SENSOR CLEANING:

Here you can enable/ disable auto sensor cleaning on powering up/ down. You can activate the cleaning system directly. or lock up the mirror to clean by hand.

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FirmwareVer.I,0,6

EOS-I0 Mark IV

Model Canon EOS-IO Mark IV

Park Camera's price PhP249.995(bodyonly)

Web www.canon.com.ph

Phone (02) 884-9000

Megapixels effective)16.lMP

Max resolution 4896 x 3264

Sensor information 27.9mm x 18.6mm CMOS

lens data By lens

Bylens

30-1/8000,ec

A.loo-128oo.ex :102400

P.S.A.M

A. MS. P. S. CW

N/A

USB. AV, HDMI-mini.ext. mic

Approx.1l80g (no batt)

156 x 156.6 x 79.9mm

Batteries

Li-ion

Storage

CF 1/11 (UOMA). SO. SOHC

LCD

3"

Viewfinder

Fixed eye-level pentaprism

Features 96%

• Boasting a 16.1MP APS-H sensor, Live View. full HD movie recording, a highly responsive AF system and a superb level of user-customizable attributes

Build quality 98%

• Lightweight yet incredibly robust with weathersealed controls, you couldn't ask for more

Handling 96%

• Improved controls and clear. concise menus lead to excellent handling, however a dedicated Live View/Movie button would have helped

Quality of results 96%

• The full HO movie capability is currently unrivalled in terms of resolution. and the other technologies combine to produce excellent results

Value for money 89%

Imml950/o

A camera that

can't fail to impress, the EOS-lD Mark IV lays testament to Canon's digital imaging expertise

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c.Fnn:lmage/RasheXj)/Oisp CFnl:Autofocus1Driv! CFnIV:Opmtloo/Othm Ol!arall(ustomfunc. (Un) C.Fnsetting register/apply

CUSTOM MENU: This lets you get your teeth into the customizable options available. Each option unlocks pages of submenus that let you tweak and hone the camera's operation.

Nikon D3S

REVIEW ~ Cameras

Shot in the dark: DPP reviews the hotly anticipated new master of low-light photography

SRP: PhP266.211 (body only)

The Nikon 03 - with its pioneering

FX CMOS sensor and superb low-light shooting capabilities - was always going to be a tough act to follow. Nikon has taken its time. quietly working away to tweak and hone its flagship full-frame model to produce an even faster. fitter version: the new 035.

In the hand. Nikons latest pro model feels lust as "eighty and robust as we've come to expect from OSLRs of trus caliber: Irs not something youd want to heft around all day. every day without the proper weight training. but It IS Impressively solid. well-made and well-designed. The 03S IS marginally lighter than the older 03. weighing In at 1240g In companson to 1300g. but the dimensions stay exactly the same.

The Interface also remains very similar to that of the 03. with Just a few tweaks here and there that have Improved functionality even further and of course. accommodate the 03S's newest feature:

HO Video recording. New to the Interface IS a dedicated Live View button - as seen on the recently launched 0300S - which gives access to two Live View modes: tnpod and handheld. There's also a new QUiet Shutter Release mode (again seen previously on the 0300S). As the name suggests. ttus dampens down the noise generated every time you take a shot bY splitting the mirror

and shutter movement. which would otherwise occur Simultaneously.

a welcome feature for covert

candid photographers and Wildlife enthusiasts In particular. Rotate the self-locking release Mode dial to the left

of the camera's top plate to access ttus

Around the back. the 03S's ftxed eyeevel optical pentapnsm viewtmcer offers 100% coverage. O.7x magnification and has a built-In eyepiece shutter for occasions vnen you're shooting With the camera

n Live View mode or If you're taking long exposures. to prevent light leakage. As With

the 03. the viewfinder IS large. very bright and detailed. and there's plenty of Information displayed to keep you from having to take your eye away from It too often.

Nikon's LCOs never fall to Impress us: the clarity and detail they're capable of displaying IS breathtaking. The 03S's three-Inch LCD performs admirably In all manner of conditions. A Wide viewing angle and very effective anti-reflective coating make It highly usable. whether you're shoaling In Live View mode at odd angles. recording moves, or playmg back images.

Nikon's latest launch produces the same size Images as Its highly popular predecessor - the 03 - but

comes with a plethora of new features. plus plenty

of Improvements that could prove enough to tempt pro-level OSLR users to upgrade. The 03S allows users to shoot RAW files as well as JPEGs and TIFFs, With Fine,

Normal. and BaSIC quality settmgs available. Also on

offer are more low-res shooting options than the 03 had. gIVIng photographers a greater level of tlexibnty when taking ouick test shots before the main event. for example. You can even process RAW files m-camera, saving them

as JPEGs to save a lot of time In the digital darkroom and opening up a whole new level of functionality for deadllnednven sports. events. and news-related photographers

In particular. It also boasts an expanded ISO sensmvrty range and promises even better low-light performance than the 03's already class-leading capabilities - a

feature that we'll Investigate further shortly.

The 03S uses the same Multl-CAM3500 FX autofocus system as Its older Sibling. which IS as responsive as ever, easily finding a lock In all manner of lighting cond.uons. Including near darkness' As was the case with the 03,

metering IS very accurate, with few occasions gIVIng nse to the need for any Significant adlustment at the time

of shooting or when post-processing. Dynarruc range In Images - particularly RAW files - IS also very Impressive. With the potential to pull back a great deal of detail from even the deepest shadows.

Those With a preference to get things right In-camera have the option of activating the camera's highly effective O-Lightlng feature. Pnesent In vanous forms throughout Nlkon's OSLR range, the 03S offers the most sophisticated version of tlus feature, With the cnoce

of a range of strengths to be applied according to the situation: Auto. Extra High, High, Normal. or Low. Images are processed In-camera to ensure the most even possible exposure IS produced from a d,ff,cult-to-meter

high-contrast situanon, a IImesaving feature that ~~

"The D3S may not look all that different to its former incarnation, but the inside alterations are incredible"

Important shooting information is displayed here

Use this to quickly flip between the different AFmodes

Lets you quickly flip between different metering modes

Displays all of your current shooting settings, shots remaining. and battery level

Hold down the lock release and rotate this to select your desired drive mode

Press this while rotating the Command dial to select your desired exposure mode

Press and hold this button while rotating the Command dial to apply exposure compensation

This trio provides quick access to key settings

Press this to activate the camera's live View feature