DIGITAL ) st today hot ® SEE PAGE 30 UTDOORS UE are Ein E Ao? ws alee Orne Confessions See ei =} Format Convert Strobe & Sun Master outdoor Trane BCT e (Uoyj LANDSCAPE MASTERY Olympus Trailblazer Alex McClure uses Live Composite for breathtaking long-exposure images For more Information about the Olympus OM-D system, Visit [Link]/omd, OLYMPUS ‘ALEX MCCLURE IS A MASTER ‘OF OUTDOOR PHOTOGRAPHY, and is nightscapes are exceptionally Deut, He creates his fantastical vie ‘nd ncrecly deals imagas thanks tothe Live Composite mode found inthe Oympus (OM-D-series cameras. Custom Settings For Powerful Long Exposures ‘The cxstom setings fundin Ohmpus cameras Allow MeOuxe to ack capture te senor cf nature teu in-camera compesies— roucing images that ar autoatcaly created bythe camera wehat postprocessing The ‘same settngs alow ary Ohmpus shooter o reat ually power long expose scores. McClure stars by fing an eeent to draw the vewer attenensn arch, amouniab forevena cactus nthe foreground, He wes ‘manval focus ac his Ohmpus cameras Focus Pskng, a satng that splays the infor pars of an image wth acolo over the focused area, Using tis featur, he canquky ero cia fcus adjustments wih Ns ‘de angle M Zuko gal aes In most ng-exposur photographs, is to asy to ovetexpose right pars of he Image, but wh the Live Composite eatin ‘Olympus cameras, that thing of pst. Live Composite takes a srs of shots, utit ‘xy combines th porton ofthe image hat has changed, preventing exposure robles Live Composite allows photographers oessly capt fewer, sar rai and even ight antings wihout exposure cleultons or ae ander experimentation. ‘One the camara in Mana mode, photographers simply tun the shutter speed al tothe Live Compost sotigs scroon. Press te shut ease, andthe camera takes theft exposure, thon pressit again to begin Live Compost shooting, The camera vill pay animage every few seconds along vith ahistogam. Simpy st back and wat uri ‘he cameras done, and you have a beaut, repr exposed photograph ‘complete Photography System ‘To comploment the advanced cig techlogies inthe OM-D system, Obmaus flee an extensive ine of M Zuko Dita precision lenses. Comprised of 21 lenses ia al the system includes fve PRO meds, ‘ach together cover 95mm-equvalent focal ange of tm to 600m. For telephoto application, the M Zuiko Digital 14x Tee converter MO-14 extends the reach of the M Zuiko Digital ED 40-150mm #28 PRO a tho way toa 420mm equivalent. The MO=14 is ‘eo compatible wt the new M Zuko Dig ED 900mm 4.9 PRO for an extrema Sm ‘quivalnt elophoto perspective of 840mm‘oupled with customiza the world in vintage style. 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NV earoM seem Zeels bayphotoFeatures By Mark Eon PhotoPro 10 FIRST TAKES: AN INTERV WITH ELSA DORMANN After decades of creating remarkable large-format polar portraits, this legendary photographer ‘da for good and looks back on her caree By Do 44 DAYS IN THE LIFE OF A TRAVEL PH Ww hung up her dark {URCHILL ng the art of extreme wedding photography put this photographer atthe scene of Nepal's most deadly earthquake, GRAPHER Long days, hard work and the best office view anywhere — its what a travel photographer can When mest exp erveen te re the profesional pet per, they usualy Pictu the TV show version of the job—white a Sn tobe wth 2 sot bax or umbraa, ‘and a business-casual photographer capturing images of a smiling woman with faving a, (Thats only fa, when 1 picture doctors, 1 imagine them allookrg ke the hates on Grays Anatomy: Of course, studio work & the mainstay of photography photography how mary photograph followed closely by but what’ often overooked i make th ining Completely free from the white walls of a | Digital Photo Pro [Link] pect studio or, for that matter, ary walls at al The outdoor photographer is frequently the hardest working photographer. Walk into ‘any studio and after you admire the pristine quality of the white walls, youll notice crates of cables, slacks of stobes and mounts of modifies. There are outlets everwhere, fast Fi and quite often comfortable couches and fee machine for at aiectors to enjoy. Not only des easy access to he outdoor photographer lack basi tems, they have to lug whatever gear they need along with them, all while facing whatever nature want to throw at them. Rain? Check. Snow? Check. Wind? Check. Rain, snow and wind? Check again Inthisissue we take a look atthe techriques to make you @ master of shooting al fresco, {and some ofthe photographers today that are cling at captur cutdoor environment g images ina challengi Two great location lghtng pieces by ll lich provide instuction in techniques that every location photographer should know, ‘and a complete guide to the best lighting equipment for any remote locaton shooter. Find out ho to combine sunlight and strobe expert fr a perfect balanced Image, while YoU find out what strobes work best fo the jo. Ever wonder what it would be ke to run a Photography shot in some remote jungle orveldt? Rick Sammon, who has led courtless workshops on almast every back the curtain and continent, pulls whats keto be a photographer on safar Michael Clark, a longtime OSLR shooter, has spent large chunk of chang na ull recently rmediumformat setup. AS an fenture-spot pl f questions from socal media follawers and rapher he's poten ant colleagues alike as to his decision to step up his sensor siz. Clark explains why he's adding 2 madium format ny he thinks the ac fom to is weight and balk are ‘more than worth it ‘The workof Charlton Churchilis incredibly Unique: The unconventional wedding photo ding [photos—having brides and grooms floating frapher captures unconventional off on an leaberg ot rock cllmbin thelr nuptiais is alin a day's work. Churchill fas photographing a ceremony on MI Everest when the Nepalese earthquake curred, After much agonizing, the shoot ntinued, but not without a good bit of soul-searching, We find out wiv. Asaquick detour rom outdoor photography take a look at the work of legendary and 1 atist Elsa Dorfman, who has spent decades capturing. large-format 20°x24" Polaroid portraits of celebrities and lay pes ake, using one of only six such cameras, that sill exist, Dorfman, 5, and we take the opportunity ta sein Cambridge, labrate er work In studio o ina jungle, your photograpty Is unique and important, and this issue Is ful of information on how to streamline your 1k and improve Now, if Jr business operations 1s need me, Ill be on a glacier with location lighting gear, taking studio like Images in full sunlight with a medium format camera Davia Sc Cigtalpotopracom July/August 2016 15DigTAL =~] = = Ss JULYIAUGUST 2016 Vol. 14 No. 4 [Link] Contents Technique 34 STUDIO IN THE WILD Battery powered hts have really come into thet cnn, Here's a rundown of eat location gs that work even when yout frail Tet By Equipment 30 SONY G MASTER LENSES [New optics for the next generation of cameras 80 STEPPING UP TO MEDIUM FORMAT A biager platform opens up a werd of possibilities By Micha! Clark 58 BEHIND THE TECHNOLOGY PART 2 USB.C is about to change the way you connect a of your devices, but are you ready? By MolesaPerensen 60 STROBE AND SUN How to bring studios fghtng tothe outdoors Tent &Photyapty By W 6 | Digital Photo Pro [Link] 18 0 Subzrbe Or For Surin Qvestons Agape como: (B00) 537-4619 (USA) (615) 244-3273 (CANANT)Blackmagic The new Blackmagic Micro Cinema Camera is the first Super 16 digital film camera designed for remote use! ‘The Biackmagic Micro Cinema Camerais a miniaturized Super ‘6mm digital fm camera featuring a revolutionary expansion port with PWM and Bus inputs. You ean operate Micro Cinema Camera, Femotely and capture the action anywhere by using commonly ‘available mode! airplane remote contolles and video ansmitters!, Imagine adjusting focus, ks and zoom wirelessly! Micro Cinema, Cameras true digital fim quality with 13 stops of dynamic range, fan MFT lens mount and built in RAW and ProRes recarcing! Remote Camera Management Micro Cinema Camera isthe world's fis ation-cam style digital fim camera that ean be completely controlled using radio remote airplane contols! You even get HOMI and NTSC/PAL video out for remote ‘monitoring using wireless transmitters to se framing, plus overlays for adjusting setings lke start/stop, focus iis, audio and more! Designed for Action Micro Cinema Camera is the only digital flm camera designed specifically for captuting impossible action shots! Unlike regular ceameras, the controls are on the front so you can start recording when the camera smountedintight spots plus confimit’s recording Using the front record indicator light. Even your actors can startthe camera recording! [Link] True Digital Film Quality ‘The Super 16 sensor gives you fll 1080 HD up to 60fps with an Incredible 13 stops of dynamic range and an ISO up to 1600 50 you {an shoot in both bright and low light. Unlike other action-cams,, yougeta tue digital film camera with wide dynamic range or digital film quality results! Bullt In RAW & ProRes Recorder The builtin SD card recorder eaptures the wide dynamic range from the camera's sensor ito 12-bit RAW fies or when you need longer recording times, [Link] record ProRes files! Unike regular action: cams, ou get cinematic mages that are beyond broadcast qualty, 50 t's possible to use the shots in high ene feature films! Blackmagic Micro Cinema Camera Includes OaVinc Resolve 12 $995DIGITAL Photo?ro a Contents Ht sormware ucussa zag 28 AUTOMATE YOUR LIGHTING aerate ag PLANS WITH AN APP rescangonuan sset.a light 3D studio lets you plan and document oe _ “ “ complex lighting salutons wth te click ef auton yanasecger | By Theo Nias TECHNIQUE She Conse Mating 64 GOING RETRO. JUSTIN PATRICK ANTIQUING IN THE DIGITAL DARKROOM ‘ sonra Tako your porate down Memory Lane wth Sree fect sore ey and versal aftercare techniques O] feat & Photarapty By Jin C —— PAD MapavorMeDIA Departments usmnessonenarions EDITOR'S NOTE 16 DPP IN FOCUS 72 LOOKING FORWARD 22 For dt atone 20 al (ON THE COVER: Pio ty Charan Church 81 Digital Photo Pro [Link]e make maximum use of Canon’s latest “range of 4K cameras you need a CFast card Sas aU ener ein eke ae kek Mesa GUT WRENCHINGLY HIGH PERFORMANCE (oT e-8 PO aes Pa ert Oe aXe ce SanDisk Extreme PRO CFast 2.0 cards DMCA OR Cet ee ener oer] EE ear ec ied Un ema One i ee Cen tem Rc Ree] ENE a EU Reo Tory Re eS ae cae eeeFol RS T TA KE S Na a After decades of creating remarkable large-format polaroid portraits, this legendary photographer has hung up her dark slide for good and looks back on her career. ay mark coward aris ~~ photography By Esa Bortnam 10) Digital Photo Pro [Link] rot only because her pottats produced with a Polaroid 20x24 camera are lyrical but because this form of iterary expression has been integral to her career 2 from the Boston sub- Urbs to New York in 1959 with creams of being a writer fist and through an empkayment agency she landed a secretarial poston at Grove Press, One of her jobs was to arrange fs including omic realities came England, a circuitous path would lead her back to the who's-wha of postmodern poetry, only this time it would be with in hand, In 1980 she began shooting with the Polaroid 20124 camera, exposing an et ‘mated 4,000 sheets to date, wih subject ranging in age from 14 days to 94 years, and an eclectic group of sitters includ ing four brides, six pregnant women, five sets of identical twins, tree triplet, ns, one transvestite, fve rack and rol stars, two Pulitzer Prize winners, ‘ight people who knew they were clase to cath and a couple celebrating their 70th wedding anniversary. of the five orginal Fold inthe late In 2008, Polaroid announced it would ‘cease production ofall instant fim, Cor panies such as the Impossible Project, Mammeth Camera and the 20:24 Studio are keeping instant film ale and wel. Tey are the Mielnes that have kept photog hers such as Doriman focused on their work ater than scrambling forthe mata to expose their subject matter onto, To see ‘mere of er wot, vst elsadorfman oom by Pola:[Link] July/August 2016 111AN INTERVIEW WITH 12! Digital Photo Pro [Link][Link] July/August 2016 |13AN INTERVIEW WITH IT'S TIME FOR A NEW PERSPECTIVEWhen opportunity strikes With an unwavering love forthe game, prof Bruty travels the globe documenting the words greatest athlet Whether covering the bigg nent ia uty rales onthe professional grade EOS-1D X Mark ithi on aptre every de sit — na matter haw unpre {© 206 cnenUSA. Ie Als reseed Caron nd £0S we eget demas eStats andy aoe etre adr vatenas nate cotsINFOCUS [ert 1 Lighting ipm | Digital Eq! Hasselblad H6D Bul rom the ground up and utizing a Sony-designed CMOS sensy, the megaptel HGD-100e andthe 50 megapel H6D-50c bring expanded functionality and features tothe Hasselblad ln, Shutter speeds now range rm 60 minutes tw 1/2000th secand and 180 options have been nreased to 12800 HED- 100) and 640 (H-50e), WiFi comes standard withthe cameras and bath incarpurate USB 3.0 Type connector for peee transfer rtes One ofits dul card ots nw accommodates CFast cards; the others dedicated to SD cad, th cameras ae cumple with lenses, nd pheagraphers who need or vant, to shoot video withtheirmedum format cameras now have to othe ‘options besides the Pentax 6862, Te HSD-100 sats video upto A, while the 0-5 maxes out at ul HD. st Pre: $32,812 (H6D-100e; $26,004 (HD. 50) [pices are approximate] Contact: Hasselblad, [Link] Leica M-D (Typ 262) Te latest action to Lica’ series, the MLD Cyp 262), awa dia etures even mre than its Lica M yp 252 sibling While the later lacked video an Live View, Leica has done away with tho 100 altogether—placing it with an 80 cal. The analog fel of this camer even extends to que, shutter cocking stem and @ shor list af core exposure controls. ut, youl get the canvenience of igitl DNG fies from tis 24-megapie camera. ListPrice $8 599. Contact: Leica, us [Link]. Zeiss Batis 18mm for Sony E-Mount ‘The thidin the Zeiss Batis tn, the ew 18mm 128 lensis designed fr Sony mount cameras ad isthe widest angle Batis ns to date In adtion to autofocus and a special OLED distance and depth af fd pay, the Batis Bram afer a diagonal angular ld of 9 dgres and is dust and spray-esstan Wit the cap, the lens measures 37 inches and weighs about 0.76 pounds, ListPrice $1,499, Contact Zes, zis For the latest product news and in-depth coverage of new announcements, visit 161 Digital Photo Pro [Link]@ PortraitPro15 “Efficient and intuitive. This full-featured application excels at portrait retouching.” Digital Photo Pro Jan 2016 100% ‘money Back FAST AND EASY INTELLIGENT PORTRAIT SOFTWARE PortraltPro 15 is out now! 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Designed foruse on {ul-rame cameras, the metal-bodid Twist 6 ffs @ mm focal length anda 12 ade, 125-22 aperture for utimate contol oe the amount of backround swirl The esis available in Canon EF Nikon Fand Say € mounts or separately fr use with Lensbaby Optic Swap System-compatible lenses il ship in May an snow valable for pe-ode Price: $280 $180 (Optic Swap Stem made, Contact: Lensbaby [Link] For the latest product news and in-depth coverage of new announcements, visit. 18) Digital Photo Pro [Link]aa s)ao00sil> iE RE PAVE Wie The carbon fiber version features 100% carbon fiber legs that ensure great lightness, transportability and rigidity. Attractive premium Italian design and finishing also available in four ein 2 aluminum colors: red, green, grey, ake yo : acuta | 3 ae ern Pere ot Ea Available at all Manfrotto authorized dealers including: ! zers HUinit’s OmiswestCameras | Dig! 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Also announced, ew neo fi ideo monopods that feature a full ‘hid base with three retacable fet wil be available this summer ListPrice frm $300 (Wy Vide ts TBD (i video monopod). Contact: Manfot,manfttous 201 Digital Photo Pro [Link] Benro MoveUp Travel Jibs >> The test travel bs rom Bera are availabe in thee additonal sie including the MoveUp 8, MoveUp 15 and the Moep 2, whic suppt upto 176, 33, ‘and 44 pounds, respectively Designed fr creating smonth ideo footage, these ‘versatile ibs include a 75mm Bowl Mount forthe Movelp 8 and 100mm Bow! oun forte two larger madel, a addtion toa telescoping leveling arm, weight telescoping all th bs are bundled with several accesories ick bar ad ling case, ListPrice stating at $749, Contac: Beno, [Link], >> For the latest product news and in-depth coverage of new announcements, visit [Link]/newswireTIPA AWARD oO WHITE WALL “Best Photo Lab Worldwide” Gallery Quality. Custom Made in Germany. 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MU aT al moron laa las oleic] ely mom Cone [ Monaco MU ace) Cemcnseut ciara ae hneke-ctialsteicteke i iatais [Oy 10 Berm Mchiemic eel (ok Kola lola ie PRCT Kol Valet) d Reg Rolla Cenolcn Biss See ee OM Cen ea a ; 2 cease (009107 42WIBTHSTNYC | 800.223.2500 | [Link]DPPinFocus ‘=: The Trade ighting uh 1 Digit: Manfrotto Advanced Rear Backpack Wit its then-i-ane design, this backpack, with its movable ‘amera compartment and space fra laptop, easily transitions from camera backpack to laptop pack to daypack The backpack accommodates a pro DSLR ba with tri of ses, including @ 70-200mm 128 Bete yet, it’ designed to mest standard cary- ‘om requirements an, fr secu, the camera compartments tipper faces your back when wearing the pack. ipod can be packed inside and, of couse, it comes with arin cover List Pie: $160, Contact: Manto, manfatous Pelican Air Pelican cass ate the go-to transport fo professionals but often mean a compromise between weight and protection. 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For the latest product news and in-depth coverage of new announcements, visit—_— FACE 2016 ANNUAL PHOTO CONTEST Visit [Link]/photo-contests/the-face to get started. COU a Rud Doe!A software Automate Your Lighting Plans With A Unique App [Link] 3D studio lets you plan and document complex lighting solutions with the click of a button oy tear waitas Proparation, or tc of planing, can make or break aphota shot, Forvunately, there are soft ware applications to assist in produc- tion planning and to help ensure successful shoot. One of these applic tions, [Link] 3D Studio (th typo, it’s really spelled that way), is an excellent tool for planning and prep- ping studio lighting and has a host of ‘options to simulate multiple setups right on your computer. You ean print out a lighting diagram (much more efficient and easy to understand than a hand-drawn sketch) for your crew and/or clients. Ir’s also a great tool for lighting workshops and education, since you can quickly and easily demo setups without using a white board (and provide bonus files of the layouts for your students, if you'd like). When renting studios, pre-planning will save some time and money because you'll be good to go when you get there. But where I think seta light 3D Sta- dio really proves its worth is when you want to explore options that might not be part of your standard go-tobucket of lighting scenarios. his real-time studio lighting simu lation software, which is cross-platform compatible, is equipped with a full range of virtual tooks—from room sizes shapes, wall coors lash heads, modifi cers and reflectors to models, props, lenses and camera specificationssettings. The software is available in two edi- tions: Basie and Premium. ‘The main difference between the two lies in the number of options and flexibility when designing studio and lighting layouts. I tested the Premium Edition, which allows for Jjustable and stor- able spaces and unlimited numbers of Flash heads, to name some of the main advantages. 28: Digital Photo Pro [Link] setalight 30 allows photographers to auciton and document any number of lighting scenarios. I tested the software on a two-year- old MacBook Air, with SGB of RAM, but please check wwwelixxiercom to confirm minimum specifications and recommended graphies cards Setting up Elixxier, the software developer, offers 4 wealth of helpful videos but, for the ‘most part, setalight 3D is intuitive and easy to use. Td suy zest checking out some of the video tutorials, accessible from Help in the menu bar and on the website or skimming through the man- ual to identify some of the icons and get the lay of the land. However, you can probably get started with setalight 3D. as soon as you've downloaded it, When the sofiware is launched, the welcome sercen offers several options start a new project or open an already existing one, You can also select to begin with a small, medium or large room, which you can then customize from within the sofiware and saveasa preset. The room preset will then appea option on the welcome screen next time you start the program, Custom options for the room include width, length and height dimensions as well as ceiling, wall and floor colors. The UL is clean and fairly simple to navigate and even on my standard MacBook Air, the software is respon: sive. However, if you find that your system gets a little bogged down, you can adjust the quality settings to speed things up while building the setup— you may pay a penalty, though, and lose some finer lighting details (such as reflections) in preview. At the same time, you can up the quality and resol. tion for the rendered images, to ensure 2 realistic simulation. Features and Options In addition to setting up the phys cal space, setalight 3D Studio offers virtual male and female models, with selectable attributes. The basic female and male models, allowing forthe most and have certain set atributes. Regardless of type, you can adjust their posi- tion and size within the set, change styling, hair color, poses and more And, like everything else you work fon, you can save your final selections asa preset and retrieve them later on. This is especially helpful if you have a standard list of poses you like to use with your porteait shoots For lighting, there are a variety of tools including a beauty dish, studio strobes, speedlights, octabanks and modifiers. Once you've selected a light type, you can further refine the light by selecting the power of aflashhead (Ws) and/or adding or changing modifiers such as grids, You can even design and adda custom flashhead and speedlight. The lights can be positioned within the space, with real-time updates of how the light ‘The prop selection is pretty meager at this time—a couch, chair, table and some white forms (cones, boxes, balls, will affect the model can be exported to share with assistants or elents, multi solutions are eaty to simulate before a single light has been unpacked. etc). While the boxes are perfect to use as apple boxes for standing or sit- ting, we'd like to see more options in the props department. It seems that Elixxier offers free updates on a fairly regular basis, so maybe the prop sec tion will be expanded. With drop-down menus, setting up the virtual camera to match your own is ‘ery simple, Choose the sensor size/crop factor (including full-frame, 15x, L6x and 2x crop), aspect ratio, lens, shutter SO and aperture. You can man- speed, ually choose the focus point and lock in the target so that the camera is pointed at the subject regardless of where you position the vital camera Moving and adjusting gear and models is drag-and-drop simple, whether you're working in the main screen of the small overhead view in the sidebar. A. preview window gives you a closer look within the studio ONLY SUNBOUNCE GIVES Peltier anaes OSU mcs Hi REFLECT with the new Sun Mover Tight-Fit Screen__eg wes The new Tight-Fit Screen is for anyone already using the Sun- Mover Silver, Zebra or Translucent 2/3 by Sunbounce. The Tight-Fit Screen allows the photographer to transform their 2-in-1 Sun- Mover into a 3-in-1 in no time at all. The tension of the Sun-Mover is not compromised, and the new sskin pulls over the Sun-Mover fitting snuggly, offering additional colors and patterns at a great cost and space savings. Sun Mover Tight-Fit Screens are available in 2IG-2AG SILVER, ZIG-ZAG GOLD and BLACK-HOLE. [Link] [Link]/sbdppG MASTER LENSES... 30) Digital Photo Pro digtalphotopTTS ONLY NATURAL that a camera platform as new as the Sony's a7 series vould be perceived as being a little bit short on lenses, When the first a7 shipped just a few years ago, you could count the number of lenses designed for its full-frame sensor on one hand— previous to the a7, Sony’s lenses were designed for their smaller APS. sor-equipped NEX and 6000 cameras or their DSLR bodies. Many potential early-adopters were scared off due to the scarcity of lens choices and speculation about Sony’s lens roadmap, which makes sense ‘when you think about the massive lens arsenals that companies like Canon and Nikon have. In the three years since Sony rolled out the first a7, they've worked very hard to combat both the impression that they have too few lenses and the problem that at first they actully dd have too few. Sony's been pursuing a very aggressive develop- ‘ment path for optics, and in several of our ‘recent press events they've mentioned that 2540 percent oftheir imaging rev enue has come from lens sales, (OF eourse that seems obvious when you conside each new convert tothe platform is likely tobuy more than one lens) ‘Thanks to ther relationship with Zeiss, Sony quickly released not only lenses designed by Sony but also a number of excellent lenses in partnership with Zeiss. “Zeiss in turn, released the Batis line, series of lenses only available in the Sony E-Mount. Thanks to their aggressive push, there are now more than 40 native Sony and third-party lenses available. Last February though, Sony stepped up the lens game when they announced two new lenses in what they're calling their “G Master” seriesand they're designed, in part, for cameras that aren't even available yet, cameras with much higher resolution sensors than are on the market today ‘The three new G Master lenses are the FE 24-70mm F28 GM, the FE. 85mm F28 GM and the 70-200mm F2.8 GM OSS, While I've had time to pl extended all three lenses, I've spe with the 85mm and the 24-70mm a they've among the best lenses I've tested, in the full-frame market. First, though, Jet’ Iook at why Sony's new lens category isa big deal for S Most companies manufacturers are building lenses to some degree around the original needs of film in terms of the way that light travels through the lens. “That's because both film and ‘most of yesterday and today’s digital” sensors can only resolve so much infor- mation, If you've ever used a cheap copying machine, you've seen this at play—the lower the quality of the copier the fewer fine details show up on your paper. That’s because low-end Fe 85mm F286M copiers are limited in how detail they can discern, and limited in how they reproduce that detail. Without getting bogged down in opti- cal science, one of the primary ways to measure the resolving power of a lens (how much detail it can capture) is inthe number of line pairs per millimeter the Jensean capture ‘The line-pair-per-millimeter measure- ‘ment literally describes how many inl- vidual “lines” could fit in a millimeter (with a space between them) and be seen individual lines. A 50 line pair per mie Timeter lens can resolve more detail than fone tha is measured at 30 line pairs per millimeter, and soon. Today's lenses are mostly designed to resolve between 10 and 30 line pairs per millimeter, because today’s sensors don't have enough pixels on them to bene efit from a higher resolution lens. If you increase the resolution of the lens, but there aren't enough individual pixels on the sensor to tell the difference between them, the resulting image doesn’t get any benefit from a lens with more detail ‘The Sony a7RIT, though, isin clas of cameras such asthe Nikon D810 and the Canon SDS that have very high resolu ONLY SUNBOUNCE GIVES Poe easter iam OE UU mm onLs 8 DIFFUSE Bright noon day sun, the enemy fof outdoor image makers - no more with Sun-Swatter! Built on Sunbounce's high quality light weight aluminum frames, Sun- Swatter is an overhead handheld diffusion system for the exacting image maker. With 4 different diffusion options and 4 available sizes, Sun-Swatter gives you beautiful overhead light any time ‘of day without the weight of heavy frames or additional stands and sandbags! [Link]/sbdpp‘The resolution ofthe 65MM F2.8 GM is 0 good that it's able to pick out the tiny imperfections inthe model's skin, and each individual eyelash tion sensors, and for these cameras (and for future cameras with higher resolution sensors) having a lens with more resolv ing power means having more detail in the final in ge. Sony is building the G- Master lens series with a minimum resolution of 50 line pairs per millimeter, which is use ful not just for the a7R Il, but clearly designed for a future range of with incredibly high-resolution sensors. “That means that Sony G Master lenses lesigned today will provide outstanding performance (relative to lens with 10 or 30 line pars per millimeter, al ese being equal) if and when sensors hit 50, 60 or 100 megapixels ‘The company also has been taking great pains to emphasize the quality of the images possible with the G Master lenses, especially their emphasis on both sharpness and bokeh—the term for back- ‘ground defocus blur. The aerival of the G Master lenses also signals to Sony shooters, and poten tial customers alike that they're building lenses as part ofa long term plan to stay committed to the professional market — why build factories and produetion kines with high stand don't exist yet unless you're planning to be in the game for the long hat While the two lenses are very diffe ent—the 24-70 is an all-around dail shooter and the 85mm isa full-on portrait superstar—they both have similar quali- ties. The builel on the lenses feels much better than anything else forthe Sony sys tem, and their size is much more equiva lent toa DSLR lens “The fit and finish on the lenses is excel- rds for cameras that lent with no cheap-feeling switches. The 200m ringon the 24-70mm is smooth and «easy to operate and the manual focus rings ‘on both feels good to use. The aperture ring on the 85mm is a particularly nice touch—with portrait shooting I often prefer setting the aperture with the hand holding the lens as opposed to the rear cial, but the lens can be set to “A” and camera controlsthen change the aperture. ‘321 Digital Photo Pro. [Link] ‘The 85mm is not a particularly fast- focusing lens, at buton par with mos large portrait lenses. ‘Image Quality JOmm G Master lens brings to ony platform the same level ofimage gual oom range scan be foun on Nikon oF Canon plat forms, ‘That's important, asthe availabilty of 2 versatile 200m in several of our test, this essen is key for most working pros. I don’t know a lot of photographers that live without this stable zoom lens. Images from the lens are, as expected, excel- lent. Sharpness is superb Fromedge toedge,images are vibrant and handle con- trast well and there is minimal distortion and vignetting on the wide end of the lens. Chromati aberration is nearly non- existent, even on very high contrast ar ‘The 85mm notches up thisimage qual- ity even farther. Thanks to the Sony a7 bility todo eye detect AF, its possible to shoot portraits with tislens fully open and have tack-sharp and eyelashes. Anyone that's ever tried to shoot portraits with a 14 lensat 14 knows how many shots it takes to usualy nail the focus of the eyes, but the com- bination ofthis Iensand the eye detection makes for incred- ibly sharp images with great bokeh, Thave a collection of all- time SLR-style lenses in my head, which favorite FE 24-70mm F2.8 6Mincludes the Canon 50mm {7.2L, Nikon's current 24mm {/14, the 85mm, {14 AL-s Nikon lens I owned when started shooting, Canon's 300mm f22,8L, and a few others, The Sony G Master ‘85mm lens has joined the ranks of those lenses as one of my favorite pieces of glass ever Conclusions: For professional Sony shooters, the FE, 24mm-70mm £728 CM and, to a lesser extent, the FE 85MM GM are must- have lenses. The 24 hmm (finally) gives the system much-needed versatility and an all-around excellent workhorse that not only doesn't lack in image quality, it hasit in spades. ‘The 85mm isn't for everyone—there aren'ta lot of wildlife photographers that are going to go for this focal length—but portraits shooters on the Sony platform row have a lens that meets or exceeds the offerings from the competition OF course, the professional-quality lenses also carry a professional level price, with the 24-70mm available (on preorder, as of this writing) for around $2200 and the 85mm (also on pre-order) for around $1800, on par with the simi lar focal-length offerings from Nikon and Canon, If nothing else, the Sony G Master lenses show that the company is seri ously thinking aboutthe future of digital photography and theie offerings. That means that people who are hesitant about making a switeh based on con- cerns about Sony's long-term dedication to the brand should be comforted by the existence of a series of lenses designed to be best in class for years—or decades— tocome.P You can follow David Schloss on Twiter and Instagram @davidjschos. PRO TOOLS : PRO LIGHT ONLY SUNBOUNCE GIVES YOU COMPLETE CONTROL Os Uy Mec Sunbounce gives you the best control over natural light, and now the wind too! Our unique Wind- Killer fabric reduces the wind by 75%, giving camera operators and wind-swept models relief from being blown away Our Black Hole material provides ‘an opaque fabric for absorbing light, or has the versatility to block or reflect. Available in Black J Silver and Black / Soft-White fabrics!Ls ae SET eo) eu 8 CSE LOO UC Ea ET OMSL CCIE De ant to bring studio light ing control into the great outdoors? You can, with a wide array of battery-pow ered location lighting tools. From small flashes to hig! strobes and LEDs, there’s a wealth of power tudio-style great options for bringing lighting to the most remote locations. ‘Strobes When you think about going on loca tion with strobes, the most obvious choice is to find the lightest and most compact battery-powered option available, Gener: ally speaking, that means hot-shoe mount: able strobes, The least expensive hot-shoe strobes are also, unfortunately, less power- fil, Compact flashes measure output with a guide number; the higher the number, the more powerful the flash. (There's a 341 Digital Photo Pro [Link] handy formula, too, to help calculate hhow much Tight a flash ren dis. puts out at tance of aperture: umber = tance at ISO 100.) A less powerful flash, with a stop x dis- guide number of, say 110, would require open ing up a stop, to 11, when used at the same distance and flash zooming can happen automati- cally. Thisisa huge advantage:all the parts not only play nicely together, but those auto adjustments can make life easier for photographers The top-of-the-line Speedlite inthe Canon universe is the #OOEX-RT. Bui in wireless radio communication makes connecting multiple remote flashes a snap, and increases range and triggering. accuracy, especi “line of sight” infrared-t ‘The 6OOEX-RT has a guide number of 197 ( expanded zoom range (from 20-200mm), ly compared to previous ered flashes. ith the flash zoomed to 200mm), 18 custom functions and seven personal functions, and a filter holder for attaching. gels for color correction, Estimated Street Price: $469, [Link] Nikon shooters set their sights on the company’s flagship SB-5000 AP Speedlight, which offers wireless optical and radio con trol for enhanced connectivity up to 98 feet ‘without requiring a line of sight from unit ounit, With the optional WR-A1O wireless emote adapter, photographers can control up to six groups (containing as many as 18 flashes each) for some very complex lighting setups. Wedding photographers and fast shooters will appreciate the heat-shedding. design and internal cooling system that prevents the flash from over- heating even when deliver 100 Full power flashes in rapid control, DS and D500 users can adjust the flash’ setting straight from the camera’ mena, The flash’s guide number at 200mm is 180, Estimated Street Price: $5%, [Link] Metz makes its Mecablitz 6AAF-1 compact fash in versions dedicated to Canon, Nikon, Sony, Olympus, Panasonic and Pentax camera systems, and filly inte- and ISO, Nikon's Speedlight grates its communications. and These small flashes almost now ofters radio» TTL, functionality. with cach based conte alwaysoffer dedicated commu nication with a specific camera system as well as TTL automatic out put control. Because the camera, lens and flash—and even other brand-spe- cific dedicated lashes—are in constant communication, exposure adjustments manufacturer's branded flashes. The O4AF-1 is powerful, with a ‘whopping guide number of 210, and con venient, with its integeated backlit touch- screen display. Fast recycling time, a syne socket, a USB connection for firmware updates and four individual programThe Broncolor Move 1200L isa powerul, portable sytem, settings make this flash ideal for serious shooters who want total control. Estimated Sureet Price: $479, mevzs. One option that must be considered when working with multiple off-camera flashes is how to trigger them. The brand new PocketWizard Plus IV radio teans- ceiver is an ideal option for speedlight shooters who want to maintain on "TTL control while sill being able to trig- ger remote flashes manuully(It also works well with big trabes, too.) When working outdoors with strobe, eal there's one measue that’s the en ‘of most professional shooters: power. The higher output of stadio-style strobe systems, whether ina pack-and-head format or inl vidual monoblocs,is invaluable for photog raphers who want the option of using their flash to balancing with or override bright sunlight. Ittakes lot of light to overpower bright sunlight, so how better to find that power than by taking. larger, more power: ful strobe system out on location? ‘There are two ways to accomplish this. ‘The first sto choose an integrated strobe- ystem, such as the Broncolor, and-battery Profoto and Elinehrom products listed below. The other approach is to choose a stand-alone battery pack/inverter, which will provide enough power to run tradi tional AC-powered strobes but without the need for AC power nearby. First, let's look at the integrated systems. Broncolor’s Move 1200L. is a battery- powered 1200 wattsecond pack that moves from studio to remote locations in a snap. Designed to work with Broncolor MobiLED heads (which use low-power LEDs as model lamps) the Move 12001 provides 230 full power flashes on a single charge, or a whopping 50,000 flashes on its lowest output setting. The Move 12001, provides incredible color accuracy within 50 degrees Kelvin from flash to flash and across the entire 9stop output range. Switched to Speed Mode, the color aeeu- racy slightly leases, but the lash dura tion shortenstoas asta 1/20,000th ofa sec: ‘ond, unparalleled for freezing fast-moving ction. The downside ofthis kitisits pric configured with a pack and two heads, the Move 12001 is as expensi used cars, Estimated Street Pric [Link] Profoto makesa variety of battery-pow ered strobes including the 1000ws Pro B4 pack and the 500ws BI monolight. It also rakes the BatPac 120V,a battery for pow cring DI monolights or Acute 2 generator packs. But the most portable strobe option the company manufactures isthe compact 2250 Air. “This battery $8,000, powered flash can be used or off, and is based on the Pro- foto Air TTL system, which use camera remote to provide total TTL con- trol t Canon and Nikon cameras. Hybrid mode begins with a TTL measurement, then switches automatically to manual control toallow the photographer to make any creative adhustments they desire. Estimated Street Price for tworlight kit: $2699, [Link], MetalPrints NEW! Easy Web Ordering! ~ 6 25% OFF Your First Order! ‘Get 25% off your first order with Bay Photo Lab! For instructions pow to redeem this special of orm at bayph icant Learn more at [Link]/metalprintschrom’s Ranger Quadra Hybrid AS RX is a 400w battery-hased strobe system built for working in the out- doors. The type of battery affixed to the Quadea Hybrid can be changed depend- 1g on the working environment; for normal day-to-day use, the Lithium Ion pack will provide more flashes per charge and lighter overall weight, but in low tempera. tures (which compromise the function of Li-ion bat: teries) photographers can swith to Elinchsom’s Lead-Gel batteries. A. built-in EL Skyport receiver can be used t0 trigger the strobes, as well as to remotely adjust model lamps and flash ‘output. Estimated Street Versatile Price for one-light kit lnehvome with lead-gel battery. Price ust Hybrid $899, [Link] ‘The Dynalite XP-800 is a pure sine wave inverter. That’ a fancy term for a battery with associated ciecuitey that inverts the battery's direct current (DC) into the smooth and consistent alterna ing current (AC) that sensitive electron ies require. S want to plug a high-power flash into.a battery a pure sine wave inverter i key The XP-800 is strong enough to power any 80x moonlight oF strobe pack. Its another piece to carry on the road, but it’s also significantly less expensive than most equally high-power battery/ pack combo units. Estimated Street Price: $719, [Link] o for photographers who Dynaite XP-800 provides power to go. ‘36 | Digital Photo Pro [Link] ‘Turn any AC-powered monolight into a remote location light via the Photoge- nie ION Li-ion pure sine wave inverter. ‘The compact pack is designed to clamp toa light stand below a monolight and provide 300 full-power flashes from a 1,000 monolight. ‘The LED indies tor provides information on remaining charge, and replacement batteries are just $150, an affordable way to double the lifespan of a given source, Estimated Street Price: $369, [Link] Power up to 3200s of flash units (with, the model lights off) using the Paul C. Buff Vagabond Lithium Extreme, or VLX . Weigh- ing just six pounds, this turned cles a 640ws flash in 2 see conds, comes with a. three hour rapid charger and the entire rig clamps to any light stand. The VLX battery is approved for airline travel worldwide as well Estimated Street Price: $399, paulebuffcom Constant Lights “Ten years ago, prior to the la convergence of photo and video, a roundup such as this would have been limited to strobes. But these days no only are photographers more intereste inconstant light sources that can be use for video too, but technological innov tion has made the light-emitting dic an ideal high-output, low-energy light source. While most LED panels won't easily overpower the sun, for many natural lighting situations, augment: ing ambience with an LED opens up creative lighting options for photo and video appl One of the leading names in LED arrays is Litepanels. The company’s Ix1-foot square panels all but defined a whole new gente of location lighting Because the panel-type sources are not entirely specular, the unmodified output falls somewhere between a_ parabolic reflector and an umbrella, The chal- lenge with any source made up of sev eral hundred individual diodes, though, is thar it can be difficult to cut the light with a flag and create a hard-edged shadow. Still, these efficient light sources are beloved on photo and video sets for their relative brightness, compact form factor and very low heat. The newest, mos affordable panel in the Litepanels lineup is the; available in tung- sten, daylight and options, these LED panels are capable of being powered by an Anton Bauer battery pack, a common power source for profes adjustable “bi-color sional video cameras and accessories. For those familiar with the original LitePan- els Ixl, the Astra puts out four times the Tight i size, and at a much lower cost. Estimated Street Price of bi-color unit. Price $1350, [Link] Arti is a name quite familiar to video ixture that’s effectively the same shooters. ‘The company made its name producing tungsten hot lights for film and television proiction, but these days i’ the new LED Sky Panel series of lights that are garnering attention from still photog r Ar Skane, cinema-qality ligt raphers as well, Available in two sizes, the S6-C isa 1x2" panel, while the $30-C is more portable 12x14” size. Both models ‘offer fully tunable color temperatures feom 2,800k to 10,000, both are capable of run- ning on battery power and both deliver brighter output than a 1000eate tungsten soft light. Estimated Street Price: $30 $4,000 and S60-C $5,600, [Link] Speaking of popular video lights, Kino Flo is known primarily as a maker of fluorescent light fixtures, which are them- selves more efficient than many constant light sources. But Kino Flo also manufac tures an LED light panel similae in size toits popular Diva fluorescent fixture. Mea- suring 24x14” the Celeb 201 isa fully dim mabl of 2700k to 6500k output. Best of all, it and variable color fixture capable uses only 100 watts to deliver the appear ance of $00 wats of output. That means itcan be used with a 24-vole DC buttery, JR sold separately. Estimated Street Price: $2529, [Link] Not all portable constant lights are LEDs. The k5600 Evolution 200 is a more energy-efficient FIMI light source ‘The HMI style of daylight-balanced hot light has been a favorite of cinematoy phers for ages thanks to its daylight bal ance and high-output relative to energy hungry tungsten sources. Some models have built-in Fresnel lenses that make lighting effects such as emulating natural sunlight possible Energy HM gts om Available in multiple configurations, the Evolution line is more energy effi the addition of K5000s AC/DC bal- ballast can be configured to accept an cient than other HMI lights, but it stil last and a third-party battery is esen- Anton Bauer battery ora 30v battery belt relies on AC power. To make it truly tial. Owing to its history as a popular Estimated Street Price for Joker 200 and capable of illuminating a remote location, motion picture source, the AC/DC AC/DChallast:$2399,[Link] Se ae m2) aN aes Omens BOOO Ww»er2ecamnosestination wedding photographers can run intoall sorts of fsues from inclement weather to gear mal functions. But pros prepare, bined with technical prowess and creativity, makes for great photography. Still, nothing could pre pare Charleton Churchill for the tragic events of April 25, 2015, in Nepal and its neighboring countries. The Northern California-based photographer was trekking which, when com: in the Himalayas to document a Coloraclo couple that was about to be married in one of the most dramatic loca tions on Earth when a 7.8 magnitude earthquake struck. Digital Photo Pro: How did you end up in Nepal to do a wedding shoot? Carleton Churchill: We were trying to go to Everest Base Camp. Ihad been planning to photograph a wedding there fora few years. This one couple, Jen and Erik, were avid hikers from Colorado who did the fourteeners quite often as well as other mountains and loved my work and were excited by the idea. We clicked immediately. They wanted to go witha trekking outfit that sleptat Base Camp so we teamed up with a group from Mountain Madness ‘The concept of doing a wedding shoot in the Hima layas came from my intial idea to climb Me, Everest in 2011. [had to drop that after breaking my tailbone com- ing down Mt. Hood in 2009. But I thought the ideal tunique Base Camp with Everest in the background. ilventure-wedding shoot would be at Everest What equipment did you bring with you? CC: Minimal gear since we were trekking in. I had the Nikon 810 and Nikon 750 bodies. I left the 24-120mm lens on the Nikon 750 ost ofthe time for documentary shots. [also carried the 35mm, 50mm and 85mm primes. I left che 70-200mm £28 at home. The Nikon 750 is a really popular camera gs because it has a great dynamic range even up to ISO 10,000. Its great in extremely low light. With the Nikon 810, [ don' like the noise at high ISOs. I also packed in the powerful Profoto B2 for the bright snow for weddl conditions long with a Profoto OCF 2’ Octa Softbox and an umbrella justin case I wanted to get some soft light: ing for night shots with the newlyweds at Base Camp. But the forces of nature got in the way of those plans. €C: We were in Namche Bazaar on the Himalaya ‘Trail when the earthquake struck, 38) Digital Photo Pro [Link]Practicing the art of extreme wedding photography put this photographer at the scene of Nepal's most deadly earthquaKe. oy uu eva sans >> Phtapapy by cat hrc ‘[Link] July/August 2016 |39The town is located on the side of a hill. I sprinted out of the hotel to an open area, which wasn’t very open but good enough to get a pan. ‘oramic view of my surroundings so I could jump ‘or run if I needed. The trekking group had about 20 customers plus the leaders and 36 Sherpa and 26 yak. Everyone was OK physically. The group leadership made the decision that it was best for everyone's safety to hike back to Lukla trail opened back up, then fly to Kathmandu hen the rather than continue to Everest Base Camp. At first Jen and Erik didn’t want to get marvid because of the trauma and tragedy all around us, but after some discussion the idea to turn tragedy into triumph or rather, rubble into redemption, ‘emerged. The guide suggested a monastery about a quarter ofa mile off the main Everest Tail between Namche andl the airport at Lukla. Since the wed ding couple dda rin asmoreof an elopement—everybonly became part ofthe wed dling group, an extended family. They were ll clap. any guests—it ping, cheering and crying, It was very emotional. 40 | Digital Photo Pro [Link] How did you document the wedding? CC: I had! no idea what was going to happen at the wedding. .nobody did. We were in a tiny room with everyone crammed in like sardines. I couldn’t move. Two windows were pushing harsh light in our direction, with Jen and Erik sitting in the center of those two windows. It became a challenge to photograph them, even with the Nikon D750 since no flash was allowed in the monastery, and there was no artificial lighting or electricity, Because it was pretty dark inside I took off the 24-120mm lens and used the 50mm f1.4 on one camera body and the 85min 1 the exposures I needed [Link] the other to, Since it wasa midday wedding, and lighting is always challenging, the Profoto really helped for the exterior shots. I just used the bare flash since we were short on time. I asked one of the Sher pas to hold my B2 and aim it at them, Without that strobe it would have just been a white sky, so nbient light down to get T needed to bring the am some detailWhere are some of the other exotic locations you've worked in? Cc: Last November [ traveled to Alaska, We hiked in a snowstorm toan ice eave with a couple for their engagement session. It was seven miles round trip with a short window of light. We cap. tured some icy-blue cave images, as well as some epic blizzard style shots. BHLDN provided an amazing dress and accessories, We had a makeup! haar stylist hiking in with us as well. It was a per- sonal project I planned within three weeks. I told myself, get out and shoot something brave and What goes into the decision-making in terms of a location? CC: I share with couples my background and style of photography. They tell me where they've been and what they desire I challenge my couples with locationsand say something like, “Why not?” A couple I talked with last week told me about tually hiked t0 their trip to Denali, where I've the summit and led a team. They had flown into base camp. I said it would be awesome to do their engagement session there. They said, “Really ‘That's where the “Why not?” comes i, Some of these more exotic shoots I've done as an investment to catapult my adventure wed- ding photography niche. I do many weddings all around Yosemite and Lake Tahoe, places like that, Sometimes we'll shoot the wedding on Sun. day, then on Monday well go hiki might take them to Half Dome or another cliff depending on their skill evel. One has 4,000-foot drop. Pretty epic. But I'l keep most couples to the wilderness and away from danger. Safety is my "utmost concern for anyone. If they're bit clumsy or awkward in their posture or biking I'm goin togauge what’ssafe for them. I don't mess around, How did you get the shot of the couple on the beach in Kauai withthe stars? CC: It was an cight second shot at midnight after the reception. [told them I had this vision in my head and to trust me. They were tired, but agreed. They loved the end result, We drovean hour to the location and I took around eight photos and we were finished, I first tried it with the flash facing them but it was too strong, so T ended up experimenting, firing off the flash fou times in that eight seconds facing up and slightly backwards, which brought in just enough light. I was at 4000 ISO. Tuse a lot of fil light for weddings using the Profoto BI and B2 for family photos and cre ative couple shots. For outdoor shoots, ll some- times use a bare flash, an Octabank, an OCF 2” Geta Softbox, or a Profoto Beauty Dish. If 'm in the wilderness I'm carrying the Profoto B2 as it’s only 3 % pounds and very powerful with HS capability. I'm at a wedding in town Tl use the more powerful BI. An assistant usually holds it. During the reception I'l use Speed hts, I just started using the Ma which is magnetic, It pops on really quick and Mod setup, gives a bigger spread. I'm still experimenting with it, but so far [like it [Link] July/August 2016 141te deep ine wider What are your typical settings for indoor reception shots? get more ambient light, [always carry two cam. cas, At the reception, one is with a fixed 35mm, and one with an 85mm (or 70-200 if 1 want to remain anonymous). Fl use the 16-35mm if T want get in closer and include more. I shoot both fairly wide open. If it’s first dance, Pl have an assistant holding a light on the other side of the room to get some backlight or I'l set up three oF four Speedlights. Other times, is justa Speedlight ‘on my camera, I'm always changing it todo something different at each wedding. What's your price range for weddings? (C¢ I start at $4,000 for smaller weddings around 42 Digital Photo Pro. [Link] Ce: It changes often, but usually I start at 1600 ISO and go up to 5000 ISO on my Nikon shoot around 1/125th usually, or down to 1/0th to iy area, and couples can expect to pay around $14,000 for my upper end packages. I shoot around , plus engagement sessions 40 weddings in a y and many other add-on sessions. ready nearly booked up for this year. Tahoe and » lar locations for destination weddings. How did you get into photography and then focus in on weddings as a specialty? (CC: | was training to climb Mt. Everest and got {nto photography because I wanted to be able 10 skilfully photograph the mountain as [climbed it, I did a lot of photography on Denali in 2007 and 2008, In 2008 I also shot a few weddings with a friend and then threw myself into it full force. I started getting phone calls and it quickly evolved into a thriving business and I started shooting everywhere. My love for the outdoors and wed dling photography isthe perfect marriage.What were you planning to do as a career up until that point? CC: I was involved in working with high school and junior high students, trying to make an impact with teens through our local church T have been involved with campus life and youth groups since the end of high school. My wife is an amazing second grade teacher and I have three beautiful girls. I still have the idea of starting an outdoor program for teen: in my area. [ had a challenging upbringing as 2 teen and there were people around me who helped me so I want to give back. As for the outdoors, my dad is a huge wilderness man— fishing, hunting, backpacking, camping and hiking. He dea, T went to college I decided to take on moun- taineering, hiking high-altitude T've climbed quite a few Shasta, Mt. Hood, Baker, Denali, to name a few. Yosemite is 2.5 hours away from me, so mountains: Rainer, ve done the 17-mile round trip hike to Half Dome over 40 times You recently received the 2016 Sony Impact ‘Award at the WPPI in Las Vegas for your work in the Himalayas, (CC: The award was for giving back tothe Nep: alese people through photography. The Sher: pas on our team lost their homes, but instead of going back to their villages they stayed with us. A father showed me around the villages where homes were crushed and I was able to capture their story and be a voice for them back here in the States, As a group we raised $90,000 through, 4 gofundme account set up through Mountain, Madlness. The money will be used to help rebuild homes destroyed in the earthquake, We felt it was important to help the local Nepalese people. 0 To see more of Charleton ‘[Link] urchill’s work visit [Link] July/August 2016 | 43avel becomes a strategy for accumulating photog 1a photographer who has traveled [Link] 100 countries, I relate to these two quotes, Over the past 40 ars Thave had wonderful trips that ba fielded a high percentage of and I have had trips that werealmost total blowouts, where I was sicker than a de 44 Digital Photo Pro [Link] thought I was going to die, came home ith only twoor three good shots, but told my stories with a smile and good laugh (in the safety of reminiscence), Td like to share what it’s like to be a travel photographer, in the hope that it will prepare you for this exciting, reward: ing, challenging, frustrating and would- not-change-itforthe-world career. To illustrate my points, [Il share with you some of my travel photographs. But firs a quick tip: travel photographers need to specializing” their specialty That is, the travel photographer needs to do ital: people, wildlife, action, land: scapes, seascapes, HDR, tography rent, street pho: and morePo Text Photography By Rick Sammon Basically, my days of being a travel pho- tographer are divided into three segments: pre-trip planning, working. on site, pos trip work. Let’ take look at what I do on those days,and what you may do if you are in my shoes—or sandals or hiking boots But first, I, like most of my travel pho- tographer friends, put a lot of pressure on ourselves to come back with meaning: ful photographs. I feel the pressure before [Link] July/August 2016 | 45I could give oe tip for shooting on st this is "Work wth the best guide you can i.” A good guide wl be the least expensive pat of ti, and can pay off bigtime with great photographs ght: My guide, Simon Stns, helped me get this shot ofa ianessand her cubs by puting me inthe best possible pasion for a bachit photograph and during a trip, on each and every trip, because I just don't know what’ going to happen. The pietures are the main objce- tive. Sure, traveling can be geet fun and quite rewarding, but I feel that if I don’t get the shots, I've failed. Even though that has never happened inall my travel, I still feel the pressure. So my advice is this: if you want to succeed, take your work very, very seriously. Pre-Trp Planning ‘The HDR photograph that opens this article illustrates one of the most impor- tant aspects of being a travel photoge pher: planning. In planning my Route 66 tri found many photographs on Google of the Blue Swallow Motel in Tucum- cari, NM. I wanted something differ- eat, perhaps a bit more creative. Using Photo Sundial, sun/shadow finder app, 1 determined where and when the sun would rise on the east-west-running 46 | Digital Photo Pro [Link] street on the days I'd be there. Planning paid off, and I got the shot [envisioned before I left New York Planning involveschecking everything, so you have fewer unpleasant surprises on site. I check the weather, permits, travel advisories with the USS. State Depart- ment, medications with the Center for Disease Control, carry-on restrictions, size of overhead compartments, and local customs and religions. This planning takes months, and is essential toa successful travel shoot. In planning my trip to Myanmar, I knew that I was going to be photograph- ing in many Buddhist temples, and that swearing shoes isa: no-no, So, I traveled swith slip-on shoes. Sue, that's smal tip, butif had worn my Lace-up hiking boots, it would have slowed me down before and after each temple visit, and believe me, I visited alot of temples. ‘When I know I will be shooting in and around water, pack my NEOS (flexible, lightweight and waterproof boots that slip, ‘on over my shoes or hiking boots). NEOS fold down almost flat, so you can keep them inan outer pouch of a backpack, ‘Travel photographers must be pre- pared with the right clothing, from head to toe. Remember, there is no such thing, asa bad day for photography, unless you are not dressed to handle the elements. Planning, of course, also involves the photo gear you will need. When I go fon an African photo safari I pack long lenses and test new lenses at a 200 before eave home. When I do a road trip like Route 66, where there are many wide- angle lens possibilities, there is no need for super telephoto lenses. Planning the type ‘of pictures you like to take will help you pack and travel wisely and lightly, when it ‘comes [Link], lenses and accessories. Speaking of accessories, in planning my travels [try to envision the accesories Il red to tell my story. In Iceland, for exam- ple, I wanted to tell the story of the waves‘crashing on the ice ona black beach, To tell that story, I needed a sturdy tripod” ball head combination (Really Right Stuff) and a ND filter (Tiffen). Don't leave home without the accessories you rnced to tell your story. When [travel by air, carry on all my photo gear—except for my tripod. even hhand-carry my ball head for my tripod. 1 figure if my bag (o tripod) goes missing, Tecan buy a tripod and use my top-of-the- line ball head. Td like to go back to medications, because the las thing you want to do is to get sick. When I go to East Africa and India, for example, I take malaria medi- cation, Lalso make sure my typhoid, yel- low fever and tetanusshotsare up to date. street food. F only eat in and restaurants, [also use hand sanitizer before each meal. The ‘one time I got violently sick was when I ‘was on a ship eating food from a buffet line and did not use the hand sanitizer before Late. Evidently, the guests, using the same utensils, spread a virus from person to person, Talo apply sunsercen and inset repel- lent religiously when required “There is one more thing I do before trip: exercise daily. L want toe in the best shape possible, because a healthy teavel photographer is a happy travel photographer. ‘Working on Site IF I could give one tip for shooting on sit, thsi it: "Work with the best guide you can find.” A good guide will be the least expensive part of a trip, and ‘can pay off big time with great pho- tographs. My guide, Simon Sitienei, helped me get this shot ofa lioness and her cubs by putting me, while tracking these animals on the Masia Mara for about a half-hour, in the best possible position for a backlit photograph. My second tip: You can sleep when you are dead, You must get up early and stay out late to capture the best light of day, as I did at sunrise while exploring ‘Mt. Rainier in Washington state. One thing you can't dois process your pietures when you are dead. That's why T never go to sleep without selecting the best pictures from a days shoot, no mat- ter how tired Lam. And speaking of my pictures, [always save my pietures on two 500GB hard drives, 0 I never lose an image: ‘When it comes o specifies fo the life ofa travel photographer,” no day is the same, except that I work my butt off each and every day. I hit the ground running, setting up my gear and photo ‘graphing as soon as possible. My days begin before sunrise and end after sunset. During the midday hours T download and nap. Often I say to myself, “It’s not easy having fun. It’s a lot of hard work!” Post Tip Work ‘When I get back home, there is more work to be done. The first thing I do is back up my images on two more hard drives, one that’s in my house and one [Link] July/August 2016 |47In planing my Route 65 tp | fund many photographs on Google ofthe Blue Swallow Motel in Tucumcari, New Mesice | wanted something dierent, perhaps 2 bit more creative, Using Photo Sundial, a sunshadow fer app, | there, Planning paid of, an | gt the sot tat | had envisioned before | let New York, that’s in my office. I don’t want to lose aan image, like this image of Carmargue horses that I worked so hard to ge. Over the next few days I process my images (on my calibrated monitor) and then back up those images. then I get to work sharing my images ‘on social media and selecting images for my books, magazine articles and slide presentations ‘The next step: planning the next trip. ‘The downside of being a travel photog- rapher Again, I would not trade being a travel photographer for the world. For exam- ple, seeing and photographing a sight like these Mongolia soldiers reenseting a Genghis Khan charge, was an awe inspiring experience. However, there are downsides to being a travel photographer: Traveling—Traveling to places like India can take 32 hours or more, including. 10-hour plane ride, You can 4B | Digital Photo Pro. [Link] watch so many movies and eat so many meals. TSA pre-check and global entry easy the pain, and I strongly sug gest that travel photographers enroll in these programs. Jetlag—Jetlag can be bad. On sit often wake upat 2 oF 3 a.m. and toss id turn until itis time to meet my guide, which may be several hours away. In planning my trips I consider jetlg, because it takes a few days to get accus- tomed to a different time zone at the beginning of a trip, as well as when a trip is over. Coming back from India, for ‘example it took me more than a week to get back to normal, Seasickness—There are two states to being seasick: Stage one, you feel as though you are going to die, two, you wish you were dead. If you are prone to seasickness, ask your doc- tor about medications that can help you avoid both stages lerined where and wen the sun would rise onthe easUwestrnning set on the days be Food poisoning —Happened to me 1d T hope it never happens agi Again, choose your food wisely. Homesickness—Yes, even after all these years of travel I still get homesick. Every trip I take is one day too long. Bad weather—Yes, you can plan for good weather, but it’s not guaranteed Being rained out for even a day can be frustrating, To end on a pesitive note, all the trials and tribulations of being a teavel photog- rapher are worth it, especially when you geta knockout photograph ike this image ingon the Maasai Mara What's more, as a travel photogra- pher you may experience different cul tures,asI did while exploring the Royal Kingdom of Bhutan. Ie’ the people that make traveling the most wonder- ful experience for me: Want to get started asa travel photog rapher? Travel close to home and make ‘of two lions mPanning, of course, also ivelves panning the photo gear you wll need. When Igo pack lang ew lnses at 2200 before [eave tome. When | o a rad tip ke Route 66, where tere are may wide-angle sbi, thee is no need fo super telephot lenses, Planning the type of pictures you keto take wil hep you pack and el wisely and lightly when eames to travellike images, as illustrated here by this picture I took of a Buddhist temple, which i about five minutes from my home in Croton-on-Hudson, N.Y. back to the same place again and again, Shoot from different angles and with if- ferent lenses. Try to tll a different story on each of your visits, Most ofall, have fun! ow Rick Sammon is long-time friend of thi ‘magazine, Visit with [Link] Gy trove along Nort Carolinas Ble Ridge 1 rose quiet inthe east. ABvaysr at 200 avert the uniqueslau 1 Ee Beene eM tN U eM RU Of UU osMichael Clark is an internationally published adventure sports, travel and landscape photographer, who has tradition. ally shot in the 35mm format, but has an interesting perspec tive about the role and possibilities of shooting medium format digital photography. For full diclosure, while Clark is spon: sored by a number of companies, including Nikon, he is not sponsored by any medium format company, and he “paid for the camera [in this article] in ful.” Ava long-time, established DSLR shooter, he recently shared his thoughts about purchas ing a new medium format system on his blog, and we asked shim to share those shoughts.~ Ed. NO MATTER HOW COMPLEX ally, they're just tools, They're ally just black boxes with a lens in the front and an imag. cameras may be technol surface in the back. There are some cameras that have more bells and whistles than others, but in the end it is the photographer who chooses the correct tool to realize their personal vision Over the st year, I have been testing out a wide variety all the way up tothe top-end medium format digital cameras. DSLRs of cameras from the latest mirrorless offerings are very mature imaging machines, and it will take some serious innovation to improve upon their already phenom- cenal image quality and their amazing array of Features. Recently I’ve shifted a portion of my photographic work to medium format digital, inspired by some medium for ‘mat digital cameras that [ tried out, There isa tangible dif ference in how you shoot when working with a medium, format camera, which isn't to say the images produced using medium format cameras are better than those cre ated with DSLRs, but the workflow is different. Back in the film days, I owned and used a number of different medium format rigs including the Mamiya 7II,a Hasselblad 503CW and the ‘Aaron Miler clinbing on the Mamiya RZ.67. The Hassel- Crystal Clear Arete (5.12e) _blad 503CW wasa gorgeous, in Diablo Canyon near Santa _clegant camera and shooting, Fe, New Mexico. Ths image was shot with an 1,100 Watt seconds strobe mounted high fon an adjacent clit above my with it was such a pleasure, not unlike my current Has. selblad. The viewfinder was shooting position. sHooTing large. I INFO: Hasselblad H5D 50c could take a walk around WiFi, HoD 24mm lens, F7.1. the image inside that view at 180th second at ISO 800 finder, Regardless of how [Link] July/August 2016 151Sandy Hil einbing the outside structure of Elie Statioe in ‘Albuquerque, New Mexico. ‘SHOOTING INFO: Hasselblad HSD '50e WiFi, HE 50-110mm lens, (011 at 17250 second at 80 100, Elintrom 18400 Strobe fun it was to shoot with, scanning film in the digi tal age became a royal pain and I stopped shooting with it because of that one issue. Afier a few years with it just sitting in the closet, I decided to sell it since I wasn’t using it. To this day, the only camera I regret having sold is that Hasselblad 503CW. ‘At the end of 2015, I decided to purchase a Hasselblad HSD 50e WiFi, This was no small decision. While tes ing out various medium format cameras, I had month of nearly sleepless nights mulling over the optionsand my own. reasoning for even considering such an expensive purchase. I puta small note about that purchase in my Winter News. letter and within hours of sending it out, I received several calls asking why I purchased such an expensive camera and what it does that my DSLRs can’ Many people also asked if I was planning to use this cam- cra for my adventure sports photography. For those sports in which the athletes are not moving haphazardly or I can 521 Digital Photo Pro [Link] predict where they are going to be, I will certainly shoot with medium format when itis appropriate, But, for sports like whitewater kayaking, BASE Jumping or surfing, where I need wicked-fast autofocus, I will choose the much more advanced autofocus built into my DSLRs. I will admit that the top 1/800th second shutter speed of the H5D is somewhat limiting when it comes to stopping. fast-paced action. The new H6D and Phase One XF, which 000th second and 1/4,000th, second respectively will do a bit better in this respect. T need to emphasize that just because have a medium, format system, that won't make it my main go-to camera for everything I photograph. As an adventure sports pho- tographer, full-frame DSLRs are supremely versatile and for a significant portion of my action photography they are the cameras of choice, 35mm DSLRs ate lighter, e have top shutter speeds of shoot with and have a wide array of advanced features, including lightning-fast autofocus. For situations in which medium format can work, and will help to create unique mages, then that will be the tool of choice. All I have doneby purchasing a medium format digital camera is to add another tool to the camera bag. While testing out cameras over the last year there were several factors that made me seriously consider a medium format digital camera system. First, whether you are shoot- ing on medium format film or digital, the larger image format gives a different look to the images. In part, this is because there is significantly less depth of field than with 35mm DSLRs. That shallow depth of field, created by the larger sensor of a medium format camera, helps isolate the subject when shooting portraits or any time you are using large aperture. This is not to be understated, Medium for- mat has a certain look that is quite different. I realize that only a small percentage of clients will be able to see that difference, but for those that can (or even if they c it makes the viewer look at the image just that much longer then it makes the anol Cori ring BMX atthe image more successful. As Tash Pit loca dit jump bike Tam already working with Pa in Santa Fe, New Mexico. For this image sed the fat flash syne speeds al the way up to 1/8008 second to stop the motion ofthe BMX rider quisition is another tool 1 sHoOTING INFO: Hasselblad 450 can use to Keep those clients 50 Wii, HCD 24ne len, 16 and find others like them. st VB00th second at 80 800, Elncrom £18400 Strobe discerning clients who are looking for the best image quality possible, this newAnother factor is ima 5 MP sensor ali quality. Ie use quality. My Nik ady has phenomenal resolution and overall n D810, with its a Mbit sensor, which is amazing, but even it can’t match the 16-bit ims Hasselblad and Phase One cameras. T ence bets roduced by both the understand the differ sen 16-bit versus 14-bit Michael Clack navigating a narrow path in Kasha Katuwe Tent Rocks National Monument neat Chochit New Mexico, SHOOTING INFO: Hasselblad HSD 50e Wi oD 28m lens, F/12 a5 second a $0 100 ensors requires a bit of math. A 14-bit an record up to 16,384 colors px hich means a total of 4.39 x 1012 pos sible channel A 16-bit sen: record up to 65,536 colors per chan: ‘omes out to 2.81 x 1014 That means a 16-bit apture 64 times a 14-bit sensor. That is difference. In terms of the final a 16-bit bth transitions than nel, which possible color censor can ideall many colors as imag: nnsor shows many more tones and smoother tonal an image captured with a H4-bit sor. This is especially noticeable with por which is why pretty much all of the top portrait photographers work with medium format digital camera Having made quite a few prints of im: Hasselblad, I can see the smoother tonal transitions and a film-like quality to the final images that I don’t get mm DSL Historically, m shot with the jtal cameras used CCD of usable ISO ium format di sensors, which were quite limiting in term: By contrast, the nev choice Sony CMOS sensors in the latest crop of medium format cameras offer unparalleledlow noise at high ISOs. This fact, above and beyond any of the other specs, is the main reason that medium format can work for me as an adventure photogeapher, because it makes these new CMOS medium format cameras more usable in a wider range of scenarios than ever before. In my testing, ISO 6400 on the HISD 50C has similar amounts of noise as my Nikon D810 at ISO 1000, which is just amazing. That makes the medium format CMOS sensors incredibly versatile when shooting handheld without a tei- pod in less than ideal ight. I don't hesitate to crank up the ISO when needed and when appropriate Aside from the look of the image file and the extra color information, working with a medium format camera is much slower process than shooting with 35mm DSLRs. The larger format forces you to be more intentional and thought ful when shooting, and because ofthis toften resutsin higher «quality images. Many medium format shooters work tethered toa computer all the time. Asan adventure photographer this isn't always possible for me but when I can shoot tethered I will. Even if can’t shoot tethered the WiFi capabilities ofthe latest medium format cam fas mean that I can use an iPad or my iPhone to check exposure and focus in the field, ‘The WiFi options also allow art directors on set to follow alongas I shoot, which invaluable on major assign: iments. They can even rank the images on an iPad as we ereate them, which helps speed up the digital workflow. ‘On the technical side, because many medium format cam- eras use leaf shutters (a.k.a, central shutters) built into the lenses, they can syne with strobes at higher shutter speeds than 35mm DSLRs. The latest Hasselblad cameras can syne up to 1/2,000th second and Phase One cameras can sync up to 1/1,600th second, And these cameras can sync at these high shutter speeds without having to play any games with the flash using High Speed Syne (HSS) or Hi-Syne (HS). That means that we can use strobes with fast flash dura tions and use the entire burst of light emitted by the flash ‘[Link] July/August 2016 | 55‘The high shutter speed flash syncs also allow us to control the brightness or darkness of the background when shoot ing outdoors. It also means less light output (less Wat Seconds) will be needed to get the same effect as I would get with 35mm DSLRs using Hi-Syne. The higher flash ne speeds offers an alternative method to using Hi-Syne or High Speed Syne, which in some instances might be critical to getting the image. Lastly, there are the lenses. When viewing a digital medium format image shot with a wide depth of field, the image is tack-sharp from corner to corner. With the Hasselblad lenses, the corners are very nearly as sharp as the center of the image. 561 Digital Photo Pro [Link] ‘This is a massive difference from 35mm lenses, which are amazingly good these days but still no match for a top-end Hasselblad, Schneider-Kreuznach or Leica medium format lens. Even the best of the best 35mm lenses like the Zeiss Otus lenses, are no match for medium format glass Of course, medium format cameras come with a premium price tag. This is partly due to the economies of producing a large CMOS sensor and also due to the number of eam- eras produced and sold. The economies of purchasing a medium format camera for most pro photographers is not unlike buying a new cat. Infact, the process for me was very rnuch like buying a new car. Not everyone will need or want such a camera. As with anything else, whether or not digital medium format will work for you and your work is a dif- ficult question, Luckily, there are options ata variety of price points right now that make this a great time to consider a digital medium format system. oPHM HATES THE AMERICAN LANDSCAPE ~ bayphoto Visit [Link]/tal2016 for complete contest detailsTEE WOLDG SB-C IS ABOUT TO CHANGE THE WAY Y Rede PobR Device Say Ng ‘LAST MONTH WE LOOKED AT HOW CHANGES TO STORAGE CARDS ARE GOING TO SPEED UP DIGITAL ‘CAMERA PERFORMANCE DRAMATICALLY-IF ANYONE WILL ACTUALLY BUY THE CARDS. THIS MONTH, ‘WELOOK AT USB-C, THE NEW STANDARD DEBUTED BY APPLE ON ITS MACBOOK PORTABLE COMPUTER. Pine YOU READY? 'SB-C is sort of a panacea for con- [ses tombiing son such as USB 3, Thunderbolt and :monitor connections into a single cable. ‘That's important because If you're on a quest to achieve maximum speed, the typeof memory you're putting into your camera won't be your only concern in your computing chain. You'll want to be sure you have gear that has the fastest interconnects possible. “Toachieve that, you'll wanta computer with the new USB ‘Type-C connector that runs both USB 311 or Thunderbolt 3. But before you open your wallet for «new ig, you need to understand how these technologies can most benefit you. For starters, the new technologies rep- resent a mouthful of new terms. And all of these technologies now go over the same connector, a shift from the past chen we'd have each device matched to «port. For example, traditionally a USB. device used the USB “spec” and it had its ‘own corresponding port; the same held true for Thunderbolt, DisplayPort and FireWire devices. ‘Those one-to-one paradigms are blown to bits thanks to key innovation ‘5B | Digital Photo Pro. [Link] of the USB ‘Type-C connector: The spec for USB Type-C allows for other technol- ‘gies to step in and use the Type-C con- rector so long as their respective standards _groups get together with the keepersof the USB spec, the USB Implementers Forum. Already, Intel’s Thunderbolt 3 uses Type- as does DisplayPort (used by monitors) and MHL (used to connect mobile devices like phones and tablets). ‘The possibilities are endless, and poten- tially endlessly confounding. Previously you could just glance at a computer and kknow what connectivity it supported by simply looking at the ports, but that’s no longer the case with a USB ‘Type-C port. ‘The Type-C port might handle multiple standards—ineluding the ‘older USB 3.0spee—with- ‘out being clearly labeled as such. The USBF influence only goes. so far: The organization has the power to rec- ‘ommend best practices and suggest proper labeling, bat whether device “manufactur- cers choose to do CONNECT remains to be seen, So far, we've seen a mixed bag, with USB Type-C ports on laptops lacking clarity on what, exactly, the port supports Meet the Type-C Its a standing joke: Which way do you plug in the USB cable? That's because the typical USB cable could only be inserted ‘one way, and it was rarely clear which was the proper way to insert the able. ‘The USB ‘Type-C connector elimi- nates this headache, Like Apple's Light- ning adapter, the Type-C connector is reversible and interchangeable. ‘That ‘means you can insert the connector no matter which way you hold it, and the cable has the same connector on both sides, sono more confusion there, cither. ‘The connector is distinctive: smaller and more oval than a micro-USB con- rector, for example. USB 3:1 Explained With the introduction of the USB 31 speci- fication in. July 2013, SuperSpeed USB 10 USB-C combines several important technologies for storage and display into its brand new connector.Gbps became the overarching standard, and the existing USB 30 standard was absorbed under that as simply Super- Speed USB. One big change to the spec lies in the amount of power that can be carried ‘over the USB connector. With USB. 3.1, USB becomes a primary source of power, supporting up to 100W of power delivery with voltage, currentand direc- tion all negotiated via the eable. By sup- porting up to 100W, devices will be able tocharge more rapidly than before. That means a Type-C connector can even charge a laptop. Since power can travel over USB Type- cables, it’s all the more important to ake sure cables are certified by the USBAE, which means they've been tested and should be manufactured to match the spec. Beware of cheap cables that carry no certification; these cables could fry your device. “The mix-an Fh approach allows for much flexibility on the part of device manufacturers, and. potential for con- fusion among consumers. Notes Jeff Ravencraft president of the USB-IF,"A ‘company can choose a mix of what goes over the Type-C connector. USB 3.1 is possible, without doing the other two" — namely, the power delivery or Thunder- bolt over the Type-C connector. Ultimately, the new USB “is about USB becoming.a single cable solution for delivering audio, video, power and data for every platform conceivable, all over ‘one connection,” says Ravencratt Thunderbolt 3 ‘The latest iteration of Intel's Thunder- bolt technology also encompasses the best of the next-gen USB. Thunderbolt 3 supports USB 3.1 Gen 2, and Thunderbolt at up to 40. Gbps ‘Thunderbolt 3 is still a rarity on laptops and PCs, because itrequiresanextra chip to add a [Link]- © port. That extra chip in turn adds ‘extra cost. If you're using a laptop with, a Thunderbolt 3-enabled USB Type-C. connector, you won't need to do anything to switch among func- tions Justplug in your device, and the experience is seamless from the user perspective, “It’sa superset Its running on the USB port, but it supports so much more,” says Jason Zille, director of ‘Thunderbolt product marketing at Intel. “If you're running Thunderbolt ‘mode, you have the fastest and most versitile mode physically running on the same USB-C connector, and it uses the negotiation mechanisms to negotiate the spee protocol and the power man- agement.” Like the USB -IF, Intel has itsown cable certification program. Data transfer, backup How can you reap the speed! benefits of USB 3.1 and Thunderbolt 3? Surpris- ingly, the answer is less clear than you ‘ight think, and it involves moving data tohard drives, nt off of memory cards A standard USB 30 memory card reader should be capable of reading most of today’s memory cards at near maxi- mum speed—inchuding many of the XQD cards available. Only the CFast 2.03400x and 3500 eards can exceed the theoretical maximum of a USB 3.0 con- nection, This explains, in part, why we haven't seen a rush by manufacturers to update memory card readers to a USB ‘Type-C connector. “The lack of a dramatic speed advan- tage doesn’t mean we don’t need to see ‘Type-C card readers, though but if you want to use a card reader, you either need to get a port replicator that sup- ports USB Type-A or find a dongle that converts USB Type-A to USB Type-C. Where you'll see tangible perfor- ‘mance benefits is if you connect a USB 3.1 hard drive toa computer with USB 3.1 support, or if you connect a Thun- desbolt 3 hard drive to an appropriately equipped rig. For USB TypeC, G-Tech, LaCie and Toshiba all announced hard drives using the Type-C connector. However, Ps Apple's MacBook asthe fst aptop with USB, G-Tech and LaCie’ drives are USB 3.1, while the Toshiba is simply USB 3.0; and none have specs that appear to support USB Super- Speed 10 Gbps. Akitio announced its ‘Thunder3 Duo Pro, billed as the first Thunderbolt 3 dual-bay storage rig, due out in the first, quarter of this year. While we haven't tested this drive yet, the performance boost over Thunderbolt won't be up to a full 40 Gbps from the outset. For one thing, that speed outstrips the eapabili- ties of today’s hard drives and SSDs, For another, you'll see your biggest boost when daisy-chaining multiple drives together, as we saw with Thunderbolt in previous generations. Although the bandwidth for data is double what it had been with Thunder- bolt 2, "the available] connection of data will max at maybe 30gbps. If you had cone 4K display or two 1080p displays and some data running at the same time [over the same Thunderbolt 3 connee- tion], those are some examples” of where youl see a benefit, “Those examplesalone underscore just how carefully you'll need to read the fine print ofthe computers and the hard deives you purchase during this transi- tional period. Knowing your device sim- ply hasa USB Type-C port isn't enough to know at a glance exactly what that port, and that device, can do, oe ids [Link] July/August 2016 |59Ly HOW TO BRING STUDIO-STYLE LIGHTING TO THE OUTDOORStust because you're work- ing outdoors doesn't mean you can't take studio-style lighting control with you. Whether you're working in bright sunlight o at the cedges of the day, when it comes to mixing strobe with sunlight there are three fundamental approaches: flash as fill, flash as bal- anced key or flash overpowering the sun. For a guide to the essential light- ing gear for outdoor photography, see Location Lighting, page 34 All Flash Atits most basic level, combining strobe with sunlight most frequently happens by using a flash asa fil ight. On-cam- crais the ideal placement for a fil lash, because from there it can subtly fill in any shadows that are visible to the lens, ‘without creating new shadows. ‘A fine place to start with fill lash is to take advantage of TT ing and let the flash automatically detect correct output. TTL stands for ‘Through The Lens and refers to any flash that uses the camera's internal metering to set exposure. Combin- ing this technique with lash exposure compensation is an easy and effective way to work outdoors with on-camera flash in situations where the pace is fast and distances from camera to sub- ject are constantly changing. In “run and gun” situations like that, I find a manual flash setting can be a hindrance, because no doubt I'l forget tochange the power between a close-up and wide shot made moments apart. With the flash on TTL auto, you don't have to remember to adjust the output. Better still, in bright daylight, smart flashes assume you want to use them solely asa fill, so they automatically dial back the output. ‘The challenge, of course, with auto anything is that sometimes the camera and flash work together to produce a fill light that is either too much or too little. This is especially true with scenes that appear particularly light or dark. One ‘workaround here is to use the camera's Flash Exposure Lock feature, To use it, simply aim the center point at an area of average brightness in the scenes fee, for instance, in an otherwise dark environ- ment, With the center point on the aver- age area, press the Flash Exposure Lock button to fre a test flash that the camera reads. Then recompose and fire away. “The flash’s exposure will be hased on the precise area of the scene you choose— immensely helpful when the center of interes isof-center. This isa great technique to make the ‘Aso balanced with natural daylight Subt overexposng the ambient background most of automatic flash exposure, but still, there's only one way to ensure pre~ cision with the amount of fil light, and thats to go manual and dial it in precisely from shot to shot. This becomes a cha lenge when you're on the move and one shot may be sx fet from a front-lit sub- ject while the next may be 10 feet from a sideclt subject. But with a stationary subject and a constant distance between flash and subject, you € put and fine-tune it shot by shot. If you havea handheld flash meter, you're one step ahead of the game. With it, you dial in a manual out- ps to make the strobe exposure lok more natural to. As the background gets dake, the stobe becomes more obvious. [Link] July/August 2016 161‘can manually meter the flash’s output to balance it precisely with the sun- light key. For instance, with the basic daylight exposure of 1/125 at {16 at 1SO 100, [ike to start with a fill ash exposure about ahalf-stop to a full stop underexposed, metering for about f/1. ‘Then I simply add or subtract flash as needed based on the results 'm seeing ‘on my LCD. Strobe as key, balanced with the sun “Torusea flash asa key light, rather than just a subtle fil that brings up shadow tiple light sources. Which you did— you just got one of them for fre. With the subject in shade (or, at least, the part of the subject the camera is pointing at), the next step isto determine the appropriate ambient exposure, We know what the exposure for a brightly illuminated background will be on a normal sonny day. But with the sub- ject in shade, you've actually got abit of wiggle room for what is an “appropri ate” exposure for the background. Basie daylight exposure (I/ISO at (716) might be, aesthetically, bit darker than you're alternative is to use a flash with high- speed sync. Assuming you're not trying to shoot wide open on a sunny day, you may find the opportunity in lower light to open up slightly. Sunrise and sunset are both great times to combine flash with sun, not only because the natural light is beautiful but also because the lower light levels can be easier to work with. Whether at sunset or midday, adding strobe as a key is simply trial and error. [start with a no-flash ambient exposure to make sure the background looks as 1 Sunrise and sunset are both great times to combine flash with sun, not only because the Natural light is beautiful but also because the lower light levels can be easier to work with. tail, the process isthe same whether you're using an on-camera speedlight ‘ora big, off-camera strobe. The look, however, is vastly different. And since ‘on-camera flash is rarely ideal asa key light, by default I suggest using an off camera strobe asthe key. Since the goal is to balance flash with ambient light, but to ensure the flash is the key rather than the sunlight, you first have to ensure the sunlight isn’t strongly illuminating the subject. (IFitis, you're in fill fash territory; revert to the aforementioned approach.) To keep the bright ambient sunlight off the subject, the use of shade i required. That means at minimum a silk, placed between sub- ject and sunlight. Instead, you probably want stronger shade, This can be found (on location in a variety of ways—every- thing from trees to buildings to making your own witha black flag or ina pinch, a reflector between sun and subject. ‘Another great way to ereate shade on the subject and get a bonus hair light ‘out ofthe deal isto place the sun at the subject's back—ic, shoot into the sun, Not only will the backlit subject’ face then be in shadow, ready for illumina- tion via your strobe, but also the back~ light from the sun acts asa natural hair light, adding depth and dimension and making it look as thoigh you used mul- 62! Digital Photo Pro. [Link] hoping for. Instead, try opening up to £711 or £8 to bring up the background without, ideally, totaly illuminating the subject. Ofien, shade is about two stops darker than sunlight, so you've got about ‘that much room to work with. In the examples here, you can see that a “normal” daylight exposure in the background can be balanced nicely with a strobe as key. But just because it’s normal, isiteorreet? Not to mention the fact that at f/11 or even 1/8, a whole lot ‘of that background isn focus. To make the depth of field shallower, you've got to open up the aperture nearer to its maximum, whether that’s £/4, £2.8 or something even wider. ‘The problem, of course, is that as the aperture opens up the shutter speed rust increase to keep from overexpos- ing the scene. In general, if you're trying to open the aperture to 2.8 in daylight, you're ‘going to be increasing your shutter speed to somewhere in the neighbor- hood of 1K) of a second. This is no bueno, since your camera doesn’t syne that fast. (Well, your DSLR anyway. Some medium format digital shoot- cers have access to leaf shutters instead of the DSLR-style focal plane shutters, and leaf shutters can syne with flash at considerably faster shutter speeds.) The want it to, and that the subject isn’t too exposed by the ambience. Next, I dial in the strobe power until it matches the ambient exposure. In practice, this means firing off a shot and checking the back of the LCD. Alternatively, 1 could use my handheld flash meter, and I do find that I'm more consistent when I take that extra step. But gener- ally speaking, the “what you see is what you get” approach from looking at the LCD is pretty darn effective. Bearing in mind that the shutter speed! doesn’taffect the strobe exposure, the choices for modifying the strobe as key light boil down to turning up or down the power, or adjusting the aper- ture accordingly. When you adjust the aperture, though, the ambient exposure changes too. Since the flash fires way faster than even the relatively short duration of a 1/125th shutter speed, changing the shutter speed doesn't affect the lash. The burst of light is still contained entirely within the duration that the shutter is open. Another neat daylight (or low light) strobe effect is dragging the shutter With this technique, a subject in ambi- ent shadow with bright light behind will produce a silhouette to be ill nated by the strobe. With a slow shut ter speed of, say, 1/15th of a second,any subtle movement by the camera or the subject will create a slightly big- ger, slightly blurrier ambient silhouette Then when the flash fires, it makes a tack-sharp exposure on the previously shadowed subject. It combines ambient, strobe and move- ment, and can almost look as if the photographer has drawn a shadowed outline around the subject. Overpower the sun with strobe The principle outlined above—that shutter speed does not impact the flash exposure—is the linchpin of the third technique for combining strobe with daylight overpowering the sun, But still, you can overpower it with your strobe. It helps to havea really big strobe, but it’s doable Shutter speed may not affect strobe exposure, but it does affect ambient So if the correct ambient exposure for a given situation is, say Wl00th at A/11 at ISO 100, and you want to make the background two stops darker than normal, inerease the shutter speed to 1/200th and decrease the aperture to 1/16, Now all you need is a flash that’s powerful enough to provide you enough light for an f/16 exposure, All you're realwly doing with this technique is underexposing the ambi- ent, by as much as you see fit. With strobes added to the mix, you're then simply illuminating the subject with the strobe as you would in an otherwise darkened studio, and letting the shutter speed control the ambient, making it as dark as the situation will allow. Without resorting to faney high-tech flash settings (ie. high speed sync), the premiseissimple: witha powerful strobe youcan overpower the sun. I find that 1000-wart-second or 1200-watt-second strobe is typically enough, depending fon the distance from the subject and the coverage area. If you want your flash at a greater distance, a 2000ws pack will facilitate that. If you're pumping the strobe through diffusion, you've got to allow for the ct that you'll need even more power. This shot, for instance, was from a 1200ws Broncolor Move pack providing barely half that, albeit ‘onan overcast day where I only needed to get to f/11 to overpower the ambient. ‘The lower the ambience to begin with, the easier it is to overpower with your flash. The ultimate display of power in locking out the sun is the creation of a nearly black background in broad. With the subject in shade, daylight. To do this, one must first take care tocompose such that no bright blue sky is visible in the scene. (It's always a dead giveaway because it’s particularly difficult to make bright sky turn black.) ‘Then place the subject far from any background, and overpower th ent exposure by at least four stops, pref- erably more. That means f/16 becomes £722, 1/125th becomes 1/250th, ISO 100 becomes ISO 50 and we're still in need of a stop or two. A polarizer or ND nbi- filter can cut the ambient 4 so you can keep your shutter speeds under the sync speed and still block out 1 lot of light 0 get the ambient down, Stil, this is yet another hurdle for your strobe t0 overcome. A speedlight isn't likely going to cut it. A 1000ws strobe positioned fairly close to the subject and with minimal diffusion, however, can definitely get you there Whether you're overpowering the sun or balancing with it, one technique to consider is to position the flash at an ingle that approximates what the sun is doing in the background, A low-angle sun from the lefi, for instance, may be normal exposure for this overcast day produces a dark subject anda normally ‘exposed bachgroun. Ths isthe prec sition in which to ad a strobe as key. ideally matched by a low-angle strobe from the same side, thus producing shadows on the subject that more natu: rally match the shadows in the ambient background, Taking that technique one step fur- ther, @ low (color temperature orange) gel looks a whole lot like golden sunset light. Inthe middle of the day, even, you can over power the sun to bring the ambience down, and then use an eye-lvel orange- zeled key to give the subject a golden slow and match the beautiful light that naturally occursat the magic hour, 0 gle strobe with a CTO [Link] July/August 2016 | 63Retro: ANTIQUING IN ThE DIGITAL DARKROOM TAKE YOUR PORTRAITURE DOWN MEMORY LANE WITH SOME EASY AND VERSATILE AFTER-CAPTURE TECHNIQUES. Text and Potgraph Jin oad 64 | Digital Photo Pro [Link]hotography has a collective past that is an enormous visual archive of techniques and ere ative processes. Every “look” from the Daguerre tothe Pol roid to the hyper-vivid colors of HDR photography are part of our shared language With this huge “swipe file” at our fin: sgectips, contemporary photographers seem drawn to revisiting historic imag- ing styles in their own work. Some photographers have returned to the photographic processes of the past from Ambrotypes to Agfacolor to the DeMaria-Lapierre Anastig but the world of digital after-capture nat lens— has given us modern alternatives. There is now an array of tools for eas ily reviving the distinctive, sometimes esoteric looks of photographic pro cessesin our shared past. In the next few pages we'll hit the refresh key on some provocative and nosta je image treat- mostly, though many work beautifully with tabletops and scenics as wel. Why Go Retro? Photographic antiques are fun to fe and to observe as you coax replica them to life in post-production, but there's also an implicit editorial sage when you link a subject to the past. With the right imag a retro treatment can add meaning to some- one’s likeness, as he or she assumes some fantasy role—maybe aided by a vintage setting, props, dated ward robe, hairstyle—that connects the per son in your viewfinder to history. I'l take a nuts and bolts look at some of these further on, but first, consider a few examples of how antiquing in the digital darkroom can be an effective, communicative tool in real-world shooting situations Antiquing in Post: Your Photographic Time Machine As a way of helping you into the world of after-capture antiquing, if you're not already there, the fol- lowing are, in detail, some of my personal favorite after-capture tech: niques for invoking the look of vin. tage portraiture. There are scores of others to explore, as you'll find, and experimentation will practically happen automatically. First, here’s a quick summary of the software tools T've mentioned above and demon strate below, all available as stand: alones or plug-ins to Photoshop and Lightroom! * Adobe Photoshop CS6 (some on C2014); * Google Nik Color Efex Pro and Analog Efex Pro2 ([Link]/nikcollection); * Alien Skin Exposure X (nttpu?[Link]; * ON-1Effects 10 ([Link]/appsletfects10); * Tiffen DFX4 ([Link]) [Link] July/August 2016 | 6566) Digital Photo Pro [Link] ie The original image, ready for mani The Dreaded Wet Plate: Wik Analog Efex ProsPhatoshop Wet Plate was one of the earliest and balkiest photo processes in. wide use during the 19th century. Glass plates, required coating, sensitization, expo sure and processing all within a 10-min ute time window. For this far less stress ful digital replica, the original image acquisition was made with the same lighting setup as the sequence above. I opened the shadows in Adobe Camera RAW to flatten the overall lighting for Romantic Cameo Portrait: NikColoréfex+Photoshopts6 A wistful portrait style, popular through the mid-20th century, shot a Westcott background using window light, and a white fill re camera left. After making color and exposure I adjustments in Photoshop, I imported the origi nal image into the Nik Color Efex 4 pl I selected the Lightened Vignette preset and ctor, adjusted the size, softness and opacity of the vignette, I then returned the image to PSCS6, and selected the pulldown, Filter—Blur—Iris Blue menu, [Image 4. D] Using this filter’s radial overlay tool as shown, I adjusted the blur size and opacity to suggest shallow depth of field, and reinforce the dreamy quality. Finally I rendered the image back into PS C86 for final i color and exposure tweaks, and saved toa folder Composing this shot like a Victoian-era portrait siting sets the stage for the final antiqued look.‘The resting image, after adjustment in Photoshop and Nik Analog Efex2, authenticity. Next, | imported the image into Nik Analog Efex2, selected the Wet Plate icon from the menu and opened the Wet Plate 9 preset. Illusory aetifacts from the original pro: cess and subsequent deterioration show well in this preset. [adjusted as needed in Analog Efex Lghtening selected areas in Photoshop makes a more pleasing inal image. Pro, then saved to PS for export. An option: with the image back in in Photoshop, you can lighten the eye color as I did here with Image— Adjustments—Selective Color or the Brush Tool. (Unnaturally pale eyes are sometimes seen in early B&W images). The Lighted Vignette effect sets the stage for this effect, which loks like it belongs in god locket. The final picture, to be hung ina vintage frame.Original image. Brightening the whites of your subject's eye is an easy editing step many people overlook, but i Patticularlyhelpul when antiquing images so the eyes look more natural (ONT Effects 10 provides a countless combination of fiers, effects and presets Adding 2 bit of blur simulates the sot focus of vintage lenses Channeling Old Hollywood: ON1 Effects 10+Photoshop CS6 T wanted to approach that sly lok of movie tui portraits from the 1920s and °30s, Profiles like tis one were popular poss inthe glamor shots ofthe period. Ieropped and slightly tied the original in Photoshop. The next step wast brighten the white of this model’seye,a feature typical ofthese porta. Idi this with thetmag Adjustments —Brightnes/Contrast toONI Effects 10, selecting the B&W preset called Flatiron, which immediately immerses the subject in the signature velvety aura of Old Hol: Iywood. The last step was to return the file to Photoshop and, pulldown menu. I now uploaded the ima, using the Filter—Blur—Gaussian Blur command, introduce a hint of the soft focus that was often—though not always— characteristic of Hollywood's so-called Golden Age Onward and Backward... These processes can be a useful addition to any serious pho tographer’s skill set. And, in this age of Big Digital, with pixel-driven technology powering relentlessly forward to who knows where, i's a refreshing break to turn your imag. backward and let history repeat itself fa Jim Corfield isa long-time commercial photographer, and The final image looks lke it advertises a starlet in the Golden Age of turiter. More of his work is on his website at [Link] ——Waliywood, 68 | Digital Photo Pro [Link](Cont fom page 29 but ean be switched to the n which I found was very helpful for set- ting focus points. There’s also a set list with all the current gear, props and models that makes it one-click simple to select an object to modify or remove, which is especially helpful when work- ing with complex lighting setups. Operation ‘There's more functionality than meets the eye with this software. You can dupli- cate objects, models and light shapers, for ‘example. And, for a more precise setup when you leave the virtual studio and ‘move into the real one, a dimensioning tool can be drawn between objects and models within the software so you'll know exact positioning to replicate the seene. And because this is 3D software, you can easily navigate the studio and even doa roundabout with the Orbit tool to make sure everything's in place before you finish up. During the shoot, you can take snap- shots each time you change a parameter ‘or position, These snapshots are shown in the timeline and allow you to get back to the image’s specific studio set. Ren- dering all images is one-click simple More importantly, you can choose an image from the timeline and export the set plan toa PDE. Youcan also add your ‘own notes and metadata to the set plan to have full information on hand when you're setting up in the studio. Bottom Line Although I didn’t touch on every single feature and function of this software, I think it easy to sce how useful [Link] 3D canbe whether you'rea studio lighting pro, someone who wants to move from the bases into more complex lighting con- figurations orn enthusiast just starting to experiment with studio lighting. With a diverse collection of lighting options—and the ability to add custom lights—the software should match up with even well-equipped studios. And, with theability to ereate your own mod- ls, most scenarios are covered, Elixxier may, however, want to add some child and teen model avatars to help out the family portrait photographers. There isan option for pregnant figures, sothe increasingly popular pregnaney genre is covered there. Fine art photogra- phers will appreciate the option for nude figures, too. There’s a 30-day free trial, so it’s easy to spend some time evaluating the software for your needs. But 1 think youl find that it’s well worth the price given the time and effort it will save you when you're on a shoot. And, the software is actually kind of fun to play with, so it might just boost your ere- c approach to lighting as well, List Price: $70 (Basic) $170 (Premium). Contact: lixxir,elimiercom OPP asec Pierre BIG IDEA, SMALL SPACE Freelance writer and photographer Theano Nikitas has been covering the ‘photo industry for more than 20 years. Her digital imaging reviews, features, tutorials and images have appeared in a riety of printand electronic publications cand books Peet large audiens eas ina small space. Coord CUE ares ee ete Hand-drawn Clipping Path Precise hand-drawn clipping-path, masking, outline service 6 years in service to the industry + Reliable quality + Low price » Fast turnaround time ‘[Link] July/August 2016 | 69The Professional's Source” Canon EOS-1D X Mark II DSLR Camera (eo Nikon D500 D Visit [Link] for the most current pricing (dee @) gs) fecomend sare ics BSIn |) 011N1=4 cers eens Verification=o Canon EF 16-35mm & 100-400mm Lens Oben BE-117 Ball Head hink Tank Rolling Bag Manfrotto Aluminum Tripod _InterfitS1 SOOWs HSS TTL Monolight Apple Mac Pro Desktop Computer SSiale/o0 stn VNR OORT ALOR) UALR =] Cao s : ° A Used Equipment at your fingertips and on display in our SuperStore. Cranetienhines = Ba TNS Tease TeBi Lookingforward The revolution will be photographs | The future of photograph’s so bright, | have to wear neutral density filters oy oaiaschess VeAars BEUAFALOF EMILY infact I've made my entire carcer out of it. Towe my fascination with gadgets and gear to my father, & commercial photograph with camera gear at an earl my father took me to a brand-new entity store—and bought me an Apple Ils computer. While he didn’t particularly like computers, he knew that they were who surrounded me age. In 1979, when I was nine, the computer going to come to rule the world, and he knew that understanding them would be a key to life in the Future He probably couldn't have predicted the convergence of computing and photography that is digital photography (and he definitely wouldn't have liked giving up film) bur it’s a logical progression and one that I embraced at its infancy, when I purchased an Apple QuickTake 100 camera, which I used at professional mountain bike races to capture live images and post, them tothis new thing called the World Wide Web. The shutter lag was o long that I had to send someone down the racecourse few hundred feet and havethem yell “now!” sothat I'd press the shutter release in time to catch one of the cyclists as they passed. ‘Today's technology blows my mind, especially when I look at, how far we've come. The amount of power and performance in 721 Digital Photo Pro [Link] today’s cameras and computers is stag the millions frame rates above a dozen images per second, hard drives made of solid-state memory ve told people recently that I think that the rate of develop ‘ment in photography is the highest it’s been since the switch from film to digital took place. There are xcellent cameras on the market now its hard these than ever befo ind in fa daysto buy dad ea As with all things technological, the pace is only going to pick up, and in our next issue we look at the coming trends in technology for the photographer. Drones, the stll/video convergence, gigabit Ethernet connections to the home or office, tablets more powerful than yesterday's mainframesand more. Isa look at where we are, where we're going and what ‘we might be able to doin the coming years. Ian exciting time for digital photography (and for technol ‘ogy in general), and I'm excited to play with the next round of advances, [can't wait to take pictures with my flying 3D cam- cera and send it to a client using my Internet implant so they can watch it on their holographic TV. Okay, maybe that's not tomorrow, but tech junkie can dream. owSIGMA ACCOMPLISHED. This large aperture F1.4 lens delivers total sharpness wide open and sets the new standard for optical performance in its class. 24mm F1.4 DG HSM Case, hood (LH830-03) included. USA d-Year Service Protection Update, adjust & personalize. Customization never thought possible, Sold separately ‘SIGMA Corporation of America| 18 Fleetwood Court | Ronkonkoma, NY 11779,U.S.A,|Tel:(631) 585-1144 | www [Link] Follow us on Twitter @sigma_photo and [Link]/sigmacorporationofamericaBring out the beauty ‘The new OCF Beauty Dishis a collapsible and more portable. version ofthe classic Profoto beauty dish, When it comes to bringing out the beauty of your subject, tis second to none, OProfoto Learn more: [Link]/offcameraflash The light shaping company