HOT NEWS CANON’S 12.8MP Full-Frame DSLR
TeAM YYePG
WORLD’S LARGEST IMAGING MAGAZINE
NOVEMBER 2005
Digitally signed by TeAM YYePG DN: cn=TeAM YYePG, c=US, o=TeAM YYePG, ou=TeAM YYePG,
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DIGITAL
®
BIG DEAL $ 699
CD HUGE L 8MP EASY SUPERYWHERE SIZE GO-AN
+
W THE NPEUS OLYM 500 EL DIGITA SLR
PLUSAS:ONS YOU SMTIELTLER
10 REA HANDHELD OTOS NEED TATE PH S E L A E SOLD! RELL THAT $
CANON VS. EPSON VS. HP
WWW.POPPHOTO.COM U.S./FOR.$4.50CAN.$5.50 U.K. £3.25
$499 PRINTER SHOOT-OUT
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CONTENTS
NOVEMBER 2005 VOLUME 69, NO. 11 BIG DEAL, SMALL CAMERA:: The compact new 8MP Olympus Evolt E-500 has a more conventional look than its flat-top predecessor. At $699 for the body—$899 with two lenses—it’s a lot of bang for your buck. k
FE ATURES
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Canon vs. Epson vs. HP
Shoot your house to sell
Peter Kolonia
So, You Want To Be A White House Photographer? The presidency at f/8 Teresa Ha The Great $499 Printer Shoot-Out Canon vs. Epson vs. HP (and a Kodak, too) Michael J. McNamara Light Heavyweights Yes, you still need a handheld meter Dan Richards
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Printer Shoot-Out ▲ “Photographers start your inkjets!” We put three top largeformat printers through their paces in both color and b&w.
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HOW-TO 29
Nature Great water shots made easy Tim Fitzharris
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Travel Pennsylvania’s wild side
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Digital Toolbox x Get the juicy details Debbie Grossmaan
49 73 99
Cheat Sheet Prep for prints Debbie Grossmaan You Can Do It! Love that blur!Bryan F. Peterso on Tips & Tricks Readers share their secrets
TES T S/RE VIE WS ▲
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Olympus Evolt E–500 Well-suited Michael J. McNamara
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Canon EOS 5D Full frame and 12.8MP! Michael J. McNamara
58 60 62 64 64 66 68 70 71
Pentax *ist DL L Basic instincts
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t Follow the meter: Who needs a lightmeter?
Dan Richards Philip Ryan
Sony Cyber-shot DSC-T5
PLUS 9 15 18 23 44 128 144 159
Let Snapshots Just Out Your Best Shot The Fix Time Exposure Tech Support What’s Up With…
JVC GZ-MC500U video/still camera Philip Ryan Tamrac 5261 CyberPro Flyer bag Peter Kolonia Calumet Travelite Portrait kit
Philip Ryan
Corel Paint Shop Pro X
Debbie Grossman
Sunpak PZ40X II flash
Peter Kolonia
Tokina 100mm Macro f/2.8 AT-X Pro D
Editorial Beware of pirates! SLR R Buying advice Showcase An-My Lê
@ WEB SITE EXCLUSIVES www.POPPHOTO.com
VIRTUAL TOOLBOX Download files and follow along with Debbie Grossman’s Photoshop tutorial in “Digital Toolbox.” FREEBIES GALORE Great stuff we’re giving away. POP PHOTO NEWSLETTER R Get in on the giveaways and previews of upcoming issues. This special e-mail report is free!
Sigma 17–35mm f/2.8–4 EX AF
THE FORUMS Good ideas, good advice, and thousands of photo-minded people.
DEPAR TMENT S 13 38 160
The Great
John Owens Herbert Keppler Debbie Grossman
COVER: The Olympus Evolt E-500 gets the full-glamour treatment by Greg Neumaier and his Hasselblad 555 ELD with a 120mm macro lens and Phase One H 20 digital back. The cameras are lit by Bowens Quad X lights.
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= COVER STORY
© GETTY IMAGES (LCD SCREEN SHOT ON COVER); © RICO POON AND GETTY IMAGES (PRINTERS); © BJÖRG MAGNEA (HOUSE); © TIM FITZHARRIS (NATURE)
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> S H A R E YO U R T I P S , E X P E R I E N C E S , Q U E S T I O N S , A N D C O M M E N T S W I T H O U R E D I T O R S
LETTERS READ ’EM & WEEP Gimme the darkroom!
Kodachrome: Keepin’ the fake
In his September 2005 “Editorial,” John Owens looks at the death of the darkroom and how Kodak is leaving the black-and-white paper business. But I haven’t seen any b&w inkjet prints that would cause me to give up on my Zone VI enlarger with its Variable Contrast head and Ilford Multigrade paper. As for permanence, it doesn’t require a Ph.D. in chemistry to process a fiber-based print to archival standards. Andrew Gillis Ithaca, NY
Debbie Grossman’s “Digital Toolbox” on making “Virtual Velvia” (August 2005) was right on! I’ve looked for a way to tweak my digital photos to simulate the color saturation and richness of film. Now, how about “Virtual Kodachrome?” Jack Lynskey Glassport, PA
Myth-busters
©JESPER PEDERSEN (3)
Thought you’d like to see what I did with the instructions for “lemon fi zz” in February 2005’s “You Can Do It!” (Shot with a Canon EOS 20D.) Even though I’m on the other side of the earth, I read POP PHOTO, and love it...except for the ads, which remind me that I’m paying too much for my gear. Here in Denmark, cameras cost around 15 percent more than in the States; lenses, about 40 percent more. Jesper Pedersen, Roskilde, Denmark
Most of the griping about how “digital is overrated” comes from film shooters who appear to be very concerned with maintaining their aura of superiority. I say, “Get over it!” In many areas of life, advances in technology have allowed the “mere masses” to enjoy a greater degree of perfection. Because of digital cameras, more people than ever are taking pictures, enjoying taking pictures, and getting better-than-average pictures, too. Myth and mystery of getting good pictures? BUSTED! Ellen Q. Dodson Minford, OH POP PHOTO/NOVEMBER 2005
We put your question to a poll at www. POPPHOTO.com. Here’s what more than 2,700 respondents told us about the state of digital camera users’ manuals: Easy to understand and helpful: 31% OK: 46% Dense and difficult: 16% I dunno. I’ve never read it: 8%
Hyperfoul-up formula Kodachrome colors are famous for their saturation, though not as juiced as Velvia’s, of course. Try bumping up Photoshop’s Channel Mixer settings to between 120 and 130 percent (instead of 144 percent for Velvia). Then, to recreate Kodachrome’s weaker yellows, desaturate those, using the Hue/Saturation tool in your image-editing software.
I’d long wondered how to determine hyperfocal distance at different apertures. Then, I opened the September 2005 issue, and there was the answer in “Go Figure!” by Jason Schneider. But I tried the formula, and it didn’t work. I think Jason made a mistake in his math. Jack Berman via e-mail
Manual labor As a veteran film photographer, I’ve been satisfied with a variety of cameras. But—prodded by POP PHO TO —I recently delved into digital imaging. The result: I now have an HP Photosmart 945 with a 149-page user’s manual. I’m afraid the manual will be worn out before I figure out how to use the camera. Are othercamera user manuals like this? Robert Haage Montclair, CA WWW.POPPHOTO.COM
You’re right, Jack. “I misplaced the decimal point,” says Jason Schneider. “The correct formula for hyperfocal distance is to divide the square of the lens focal length in millimeters by (f-stop x .03), not 0.3.” Get in touch! Write us at Letters to the Editor, POPULAR PHOTOGRAPHY & IMAGING, 1633 Broadway, New York, NY 10019; or send an e-mail to
[email protected]. p 9
ADVE RTISE ME NT
Kansas
March 31- April 2, 2006
Receive a FREE copy of the mentorseries.com book with your registration
www.travelKS.com
WWW.MENTOR SERIES.COM P H O T O
T R E K
Photography by Michael C. Snell
Popular Photography & Imaging welcomes you to Kansas—Corridor of the Western Frontier!
ADVE RTISE ME NT
Brimming with history and remarkably unchanged, this land bears the well-worn tracks left behind by the thousands of wagons that traveled here in search of the Great Frontier. Against the boundless Kansas sky, buffalo graze upon the open prairie and the scent of wildflowers fills the air. In March 2006, POPULAR PHOTOGRAPHY & IMAGING Magazine and its team of world-renowned photographers will experience the great frontier lands of Kansas. Join in the adventure and build your travel photo-graphy skills with the help of our location and production team, who have prepared an itinerary packed with unforgettable photo–making opportunities. Head to the prairie with POPULAR PHOTOGRAPHY & IMAGING and mentors Reed Hoffmann and Chip Simons, take a step back in time, and experience the simple beauty of Kansas! Capture the quiet beauty of the open range at the Tallgrass Prairie National Preserve, the only national park dedicated to preserving the unique natural and cultural history of the prairie ecosystem. Along with the POPULAR PHOTOGRAPHY & IMAGING team, you’ll photograph the charming and historical Spring Hill Ranch, built from limestone in 1881. For an afternoon excursion, take an authentic covered wagon trip through the American Tallgrass Prairie. POPULAR PHOTOGRAPHY & IMAGING has arranged f or a professional model shoot, complete with models dressed in traditional Western costumes. Our mentors will arrange an array of opportunities for you to improve your portrait-making skills while enjoying the picturesque setting.
Workshop fee $695* *includes, transportation to shooting locations, daily lecture series, presentations and digital review sessions.
For more information call Michelle Cast Toll Free 1.888.676.6468 or email at
[email protected] or register online at WWW.MENTOR SERIES.COM WWW.AMERICANPHOTOMAG.COM CIRCLE #29 ON READER SERVICE CARD
Spring is also the ideal time to experience a traditional Prairie Burn. Each spring, cattle ranchers burn their fields in order to promote the growth of new grass. A practice originating with the Native Americans, prairie burns are still used to maintain the prairie environment for the buffalo. Once the fire has quieted, the earth is covered with black ash and glowing embers; an exciting spectacle and a once-in-a-lifetime chance to practice your skills with two pro-photographers at your side. Our production team has arranged a wide variety of sights and scenery to diversify your portfolio and provide for an exciting adventure on the open range! At the Quivira National Wildlife Refuge, over three hundred species of birds have been recorded, providing an opportunity to photograph waterfowl, shorebirds, songbirds, and possibly a rare golden or bald eagle! In fact, annually, this refuge hosts nearly half of all the migrating American shorebird population. Our trek continues to Wichita, where you’ll capture the city’s culture and history set against the beautiful, winding Arkansas River. Experience the vibrant nightlife of “the River City” while listening to a local Bluegrass band or sampling the famous elderberry wine. Step back in time with POPULAR PHOTOGRAPHY & IMAGING Magazine and join us in the Land of the Pioneers. Sharpen your photography skills while experiencing the legends of the Great Frontier, during our American photo-journey to Kansas!
Scheduled to Appear limited to 20 students per instructor
REED HOFFMANN USA Today, New York Times
CHIP SIMONS Time, Newsweek
Come to Kansas and try out all of the latest equipment from Nikon! From film SLRs and Nikon's incomparablelenses, to digital SLRs and the Coolpix line of Digital Cameras—you'll capture Kansas as never before.
EDITORIAL
BY JOHN OWENS
Beware Of Pirates They can rob you with the click of a mouse
POP PHOTO/NOVEMBER 2005
ing sites such as webshots.com or the Yahoo!-owned www.flickr.com, I couldn’t find any discussion of copyright—except in the fine print of “Terms of Use.” Adding a visible watermark with your name and copyright makes an image clumsy for thieves to use. Go to many pros’ or stock agencies’ sites to see these watermarks in action. Some image-editing programs have a watermark feature. If yours doesn’t, just write on the image with the common transparent text feature. In October 2005’s “Digital Directions,” Michael J. McNamara explored invisible watermarks that make it impossible to print a pirated image. But how can you prevent its use as a low-res image on a web site?
There’s no telling how many of the photos that appear on commercial web sites and in their countless e-mail blasts have been snatched from unwitting photographers. Here, too, high-tech watermarks can come to the rescue. For instance, software company Digimarc Corporation (www.digig marc.com) sells a $499-per-year package called MyPictureMarc that takes watermarking to an amazing level. Not only can you put visible watermarks on your images, you can also apply digital watermarks, secret codes embedded into the images. These codes link the images to your contact information for those who want to buy usage rights, and also register them in Digimarc tracking software, which prowls the web looking for sites that are using your coded images. WWW.POPPHOTO.COM
Stock-photo giant Corbis is a customer, and, says Digimarc, turns up 50 unauthorized uses on web sites per month. When you catch the pirates, you can hit them with a lawsuit. Mere copyright notice gives you legal standing (see my November 2004 column, “Judgment Daze”). And if you’ve registered your copyright with the Copyright Office, you can nail the thieves for your legal fees as well as “statutory damages.” How does $150,000 per photo sound? For details on registering your images, go to www.copyright.gov py g g v. While Robinson didn’t have a registered UK copyright, he did have a case. And it didn’t take much legal work to get the travel company to own up to the mistake. “They cannot explain how the photo got into their archives and got used without someone realizing that they had not obtained details about the photographer or permission to use it,” says Robinson. “But the manager I negotiated with admitted that there was no excuse for it being used, and accepted liability.” The company paid Robinson $2,000. After legal fees, he had enough for a Canon EOS 20D. But chances are, this is just a onein-a-million happy ending. p © BRIAN L. ROBINSON
BROWSING THROUGH HIS E-MAIL recently, Brian L. Robinson saw a message from a travel company. Typical junk e-mail, he figured, and prepared to delete it. But it was for discount airfare from the U.K. to Australia, and as an expat Aussie teaching in London, Robinson, on a whim, double-clicked to open the message. Beside the ad copy was a photo of the Sydney Opera House. Nice photo, Robinson thought, and did a double-take. He’d seen that photo before. In fact, he’d taken it. “Because of the unique coloring of the photo, the cloud patterns, and the waves on the harbor, there wasn’t a moment’s doubt that it was mine,” says Robinson. Where did they get it? Robinson isn’t a pro, just an enthusiast. Like thousands of others around the world, he posts low-resolution versions of his images on a photo-sharing web site. Robinson uses www. webshots.com, and shows pictures from his travels at community.weby shots.com/user/ozzieblr. Some are quite good, others mere snapshots. And they’re all low-res, about 72 dpi. (As a point of reference, images printed in POP PHOTO have to be at least 300 dpi.) But low-res is fine for web and e-mail use, and there’s no telling how many of the photos that appear on commercial web sites and in their countless e-mail blasts have been snatched from unwitting photographers. “Copyright infringement is rampant,” says Joel A. Siegel, a Manhattan attorney who represents photographers in such cases. “And most people aren’t even aware that their work has been stolen.” The first step in security is to put would-be thieves on notice. That is, post a copyright notice alongside every photo you e-mail or upload. Still, as Siegel points out, “People steal stuff.” And on popular photo-shar-
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HOLD IT Isn’t it annoying when you want to shift your graduated neutral-density filter higher up on the frame, but your screw-on filter won’t let you do it? Thankfully, rectangular filters make this possible. And if you’re shopping for adjustable filters, check out Cokin’s new Z-PRO series. The Z-PRO filter holder ($46 street) attaches to an adapter ring screwed into the threads on the front of the lens. It’s completely modular, so it can be used with the 1.6mm-thick filters favored by photographers, or the 4mm-thick filters suited to video. To avoid vignetting on wider-angle lenses, you can mount the holder backwards (with the adapter ring in the first filter slot), and place the filter where the adapter ring normally sits. (OmegaSatter; www.cokin.com; 410-374-3250)
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JUST OUT
’PUTER PORTER Looking for a bag for your 17-inch Apple PowerBook? Photo backpacks are nice, but most can’t handle more than a 15inch laptop. RoadWired’s new Skooba satchel ($68 street) is here to save the day! It protects laptops up to 17 inches with square air pockets that reportedly provide more protection than regular foam padding. The main compartment has enough room for your computer, a DSLR body, and a couple of lenses. (You’ll probably want to cover them with a camera or lens wrap if they’re all placed together.) The front pouch holds chargers, wires, and other gear. And a slim, zippered pouch on the back is perfect for a copy of POP PHOTO. Rounding off the package is a mesh pouch for a water bottle and attachment points for RoadWired’s Rivet Micro-Clips, which can hold a compact camera or cell phone. Skooba satchels come in black with pink or blue trim, gray with orange trim, olive with red trim (pictured), or tan with black trim. (Tenba/RoadWired; www.roadwired.com; 914-347-3300)
SUN SCREEN Though LCD screens on cameras keep getting better, they the still can’t stand up to sunlight. Sure, you can cup your hand over the back of your camera. Or you can buy a real screen cover, such as Delkin Devices’ eFilm Pop-Up Shade. These rugged plastic covers come sized and shaped to fit most DSLRs and many compacts. For cameras such as Nikon’s D70s, the shades fit the slots for the camera’s clip-on screen cover. Own a Canon EOS 20D (shown), or other camera without a clip-on cover? The shades attach to the camera’s viewfinder cover, or stick to the body with an adhesive pad. eFilm Pop-Up Shades are available now direct from Delkin and from photo retailers at prices ranging from $24.95 to $44.95 (list) depending on camera model. See Delkin’s web site for a full list. (Delkin Devices; www.delkin.com; 800-637-8087)
WARM IT UP Do your portraits look a bit cold? You can adjust the color or in Photoshop after you shoot. But a custom white balance helps to get it right in the he camera. With ExpoImaging’s new ExpoCap, you can make a slightly warmed custom white balance in a snap. Just place the cap on the front of your lens, and follow the directions in your camera’s manual to create a custom white balance. It takes only a couple of minutes, and can save you lots of image editing. The ExpoCap is available now in 58mm ($50 street), 67mm ($60), and 77mm ($70) sizes. (ExpoImaging Inc.; www.expoimaging.net p g g ; 408-778-2040) 20
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> S H O W U S W H AT YO U ’ V E G O T ! T H E S E R E A D E R S D I D .
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ST PLACE
POP PHOTO/NOVEMBER 2005
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YOUR BEST SHOT
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ND PLACE DRIVER’S SIDE REFLECTION:
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RD PLACE PURRTY IN PURPLE:
While packing up his car for a photo expedition, Leslie Karniszewski of Toronto noticed early-morning sunlight streaming through the dewcovered driver’s side window. After mounting his camera on a tripod and finding the composition uninspiring, Karniszewski set the camera’s timer and quickly positioned himself in the front seat for this winning self-portrait. Tech info: Leica R3 and 180mm f/2.8 Leica lens. Exposure, unrecorded; film, Kodachrome 25. Scanned using a Minolta DiMAGE Scan Elite; image cropped using Adobe Photoshop CS.
On a visit to Omaha’s Henry Doorly Zoo, Lauralee Huyck of Wayne, Nebraska, found a domestic cat to be the unlikely model for her most stunning photo of the day. She was photographing a display of flowers when this mixed-breed shorthair farm cat strolled into her frame and posed. Tech info: Canon EOS 300D Digital Rebel and 70–200mm f/2.8L Canon lens. Exposure, 1/1600 sec at f/2.8; ISO 100. Cropped and sharpened in Adobe Elements 3. 24
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POP PHOTO/NOVEMBER 2005
YOUR BEST SHOT
O ANGLES OF PUFFY:
HONORABLE MENTION WHITEWASH: Wandering through a local park on a sunny day this past spring, Bob Gates of Jamesville, New York, was entranced by the sight of this worker painting the bottom of the community pool in anticipation of summer. Gates climbed a lifeguard’s chair at the poolside to take about 10 shots of the painter and his shadow, including this winner. Tech info: Canon EOS 10D and 24–70mm f/2.8L Canon lens. Exposure, 1/750 sec at f/6.7. Adjusted levels using Adobe Photoshop CS. “Your Best Shot” Entry Rules: To enter, send prints, transparencies, or CD-ROM to “Your Best Shot,” POPULAR PHOTOGRAPHY & IMAGING, P.O. Box 1247, Teaneck, NJ 07666, y @g com. or e-mail your best shots to yourbestshot@gmail. Prizes are as follows: First Place, $300; Second Place, $200; Third Place, $100; Honorable Mention, $50. Up to five entries per month, in either print, slide, or digital format. Submission size for digital images: 50K–75K recommended, 100K maximum, JPEG format only; if accepted for publication, a 3MP or higher (9MB file size) image will be required. Photos not chosen may be selected for “The Fix” feature. Include your address, phone number, and e-mail, plus any pertinent technical information (camera, lens, exposure, film, filters, software). Submission grants POPULAR PHOTOGRAPHY & IMAGING the right to publish selected photographs and descriptions in print, electronic, and other media, and for promotional and advertising use. You represent that your photographs are original and of your own creation, publication of the material will not violate the rights of any kind of third party, and you have provided all necessary permissions and releases. Due to the large number of entries, we cannot return your photos unless they are accompanied by a self-addressed, stamped envelope. All material will be handled with reasonable care; however, the publisher assumes no responsibility for the return or safety of submitted photos. Please allow 8 to 12 weeks for a response.
THE RULES
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CIRCLE #16 ON READER SERVICE CARD
NATURE
1
2
LOWER YELLOWSTONE FALLS, YELLOWSTONE NATIONAL PARK, WYOMING To hold down contrast, use soft light to capture the full range of color and detail in flowing water scenes. Here, the even-but-weak illumination of twilight reveals the dark canyon as well as the bright foam. Pentax 645NII , 80–160mm f/4.5 Pentax lens on tripod. Exposure, 1 sec at f/22 through a Singh-Ray 2-stop split hardedge ND filter and a Singh-Ray polarizing filter; film, Fujichrome Velvia 50.
GO WITH THE FLOW POP PHOTO/NOVEMBER 2005
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NATURE
VISIT TIM’S WEB SITE AT WWW.TIMFITZHARRIS.COM
ZUMA BEACH, MALIBU, CALIFORNIA Stay on the diagonal, but don’t allow the stream to flow into the corners. Pentax 645NII, 35mm f/3.5 Pentax lens on tripod. Exposure, 4 sec at f/16 through a Singh-Ray 2-stop split hard-edge ND filter and a Singh-Ray polarizing filter; film, Fujichrome Velvia 50.
tral-density filter to reduce brightness, or change to a lower ISO film or digital setting.
3
ISOLATE THE FOAM:
4
ADD PUNCH WITH A POLARIZER: A polarizing
5
INCORPORATE ROCKS AND FOLIAGE: Set the scale
With blur-producing exposure times, foam and bubbles translate into silky shapes and streaming patterns that normally constitute the most attractive part of the scene. Isolate these attentiongrabbers with tight framing (via a zoom lens) and use them as framework for your composition.
filter eliminates reflections from wet terrain features, which increases color saturation. Also, it removes glare from water surfaces, which emphasizes the lighter tones of frothy areas through contrast.
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of the scene and emphasize its threedimensional qualities by including other natural elements at the scene, such as rocks, trees, shrubs, fallen leaves, or wildflowers.
6
CUE ON THE DIAGONALS:
Compose the scene so that frothy stretches move diagonally through the frame. But do not allow a narrow stream of foam to flow into the corner of the viewfinder, as this bisects the picture space and draws attention out of the composition.
7
SIMPLIFY THE DESIGN:
8
LOOK FOR THE S CURVE:
For scenic approaches, try to limit design elements to three subjects (e.g., cascade-treesrocks, or waves-sand-sky, or waterfall-leaves-rocks). Water winding in an S-shaped curve (or series of curves) WWW.POPPHOTO.COM
seldom fails to produce an attractive image, especially when captured at a blur-producing exposure time (see Flow Chart on the following page). ATTEND TO THE SKY: On overcast days, frame out any portion of the white sky, as it will drain attention from your main subject. At twilight, when colors are warm and rich, provide scale and depth by including the sky and horizon. Use a split neutral-density filter to restrain contrast.
9
10
GO BELOW THE FLOW:
Choose a tripod position that allows you to shoot upstream (from the base of a cascade or waterfall). This tilts the water course revealingly toward the camera, using depth-of-field more effectively and increasing the graphic appeal of terrain features. (continued on page 32) POP PHOTO/NOVEMBER 2005
NATURE
PU`UHONUA O HONAUNAU NATIONAL PARK, BIG ISLAND, HAWAII Keep it simple. Here, the scene has three main parts: ocean, sky, and rocks. Pentax 645NII, 45–85mm f/4.5 Pentax lens on tripod. Exposure, 8 sec at f/22 through a Singh-Ray 1-stop split hard-edge ND filter; film, Fujichrome Velvia 50.
LAUREL FALLS, GREAT SMOKY MOUNTAINS NATIONAL PARK, TENNESSEE Fill the frame with the foam! I used a zoom lens to isolate a tight grouping of diagonal cascades weaving through fallen leaves. Pentax 645NII, 80–160mm f/4.5 Pentax lens on tripod. Exposure, 2 sec at f/16 through a Singh-Ray Color Intensifier/ Polarizer; film, Fujichrome Velvia 50.
Get in the Flow
Blur-producing exposure times are a function of the speed of the flow coupled with the degree of subject magnification (more magnification = more blur). Experiment with a variety of shutter speeds to create the desired effect.
CASCADES AND WATERFALLS SHUTTER SPEED
CLOSE-UP VIEW
FULL FRAMING
DISTANT FRAMING
1/4 sec
Velvety Effect
Velvety Effect
As Viewed
1/30 sec
Velvety Effect
As Viewed
Frozen Action
1/125 sec
As Viewed
Frozen Action
Frozen Action
As Viewed
STREAMS AND RIVERS 1/2 sec
Silky Effect
Silky Effect
1/15 sec
Silky Effect
As Viewed
Frozen Action
1/60 sec
As Viewed
Frozen Action
Frozen Action
WAVES AND SURF 1 sec
Gauzy Effect
Gauzy Effect
As Viewed
1/8 sec
Gauzy Effect
As Viewed
Frozen Action
1/30 sec
As Viewed
Frozen Action
Frozen Action
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Be prepared to enter a stream or pool to get the precise magnification and camera angle needed for your composition. Quick-dry shorts and water sandals (I recommend Chaco sandals) are usually sufficient. In cold weather or alpine environments, insulated chest waders are a must. A padded photo vest or belt pouch is the best way to keep your equipment safe and accessible. Unless you test and prove otherwise, assume all rocks and logs are slippery and all bottoms are soft and deep. Use your folded tripod to probe deep spots and to steady yourself when crossing strong currents. p
CIRCLE #20 ON READER SERVICE CARD
★
TRAVEL PENNSYLVANIA
Great nature photos right off the Interstate
THE
WILD WILD EAST POP PHOTO/NOVEMBER 2005
TRIPOD COUNTRY: For this scene at Sinnemahoning State Park, Mike Heater didn’t take any chances with an exposure of 1/60 sec on his handheld Nikon D70. He mounted the camera on a Manfrotto tripod and set his 19—35mm f/3.5—4.5 Tamron lens to 20mm and f/16. Later, he tweaked the hue of the evening sky in Adobe Photoshop. WWW.POPPHOTO.COM
YOSEMITE, YELLOWSTONE, KENAI Fjords, and...Pennsylvania?! Granted, it’s less well-known and not as grand, but the Keystone State is a great nature photography destination. And for those short on time and living near the east coast, it can be very convenient. As 65 photographers discovered this past June on a long weekend with the POP PHOTO Mentor Series workshop in the Pennsylvania Wilds, the north-central part of this state provides ample opportunities for any shooter to build an impressive nature portfolio. The region, which includes Allegheny National Forest, is packed with rolling mountains, rivers, waterfalls, and lakes. It’s also home to eagles, hawks, black bears, and herds of elk. And a 127-mile road, known as the Elk Scenic Drive, puts all of the area’s photographic highlights within easy reach. On the three-day Mentor Series workshop, the trekkers hit this trail with pros Jill Enfield, John Reddy, and Rick Sammon, who provided hands-on advice and instructional seminars. As with other Mentor Series trips to photographic hotspots around the world, the program was shooting-intensive, but geared to photographers of all levels. For more on the Mentor Series workshops, go to www.mentorseries.com, or contact Michelle M. Cast at mcast@ hfmus.com f ; 888-676-6468. To learn more about the Pennsylvania Wilds, go to www.visitPA.com. (continued on page 36) 35
★
TRAVEL PENNSYLVANIA
S DOWN AND OUTSTANDING: “At this location, nothing seemed to be happening,” says Scott Sherman, “but I followed mentor Rick Sammon’s advice to always look up, down, and back.” So Sherman got down on the dewy grass with his Canon EOS Digital Rebel and 10–22mm f/3.5–4.5 EF-S lens set to 10mm and a middle aperture. “I wound up with this exciting picture,” he says, “and grassstained pants.”
W HAWK EYE: The image stabilization on his 75–300mm Canon lens helped keep the shot sharp when Francis Sabatini zoomed in on this red-tailed hawk at Parker Dam State Park.
W HIGH TIMES: Joe Tecza climbed the fire tower with his Nikon D70 at Sinnemahoning State Park. “I was entranced by the view: mountain overlapping mountain,” he says. “And the sun was high enough so that nothing was in deep shadow.”
Juan Zumbado
p
W ON THE FLY: How do you control the highlights in a scene such as this one on the Clarion River? Juan Zumbado did it by manually determining the correct exposure on his Nikon D100. And, he says, he kept firing “until I got what I wanted.” POP PHOTO/NOVEMBER 2005
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SLR
BY HERBERT KEPPLER
The Decline & Fall of choosing a camera properly court of first and last resort. In this case only, you will be excused by me from further Internet baiting. Still, I’m always amazed at how poorly prepared many camera purchasers are before they enter their Konica Minolta Maxxum 7D: What an awful mess of controls. How will I ever learn to use them? You’ll learn, and use them with your camera at shooting position, too.
BLESSED ARE THE CITY OR suburban dwellers who can visit a well-stocked camera store and actually handle the DSLRs that ads and test reports praise so lavishly. Which camera has the brightest and highest magnification viewfinder? How much of each do you lose in a small, light, low-priced camera with a mirror prism instead of an all-glass one? Is saving a few hundred bucks and a few ounces worth having diminished finder capability? Does the camera whose features you prefer han-
dle sorta schlunky compared with your second choice ? Only you have the answers, and you can only reach them definitively by handling the cameras themselves, in person. Sad to say, fewer and fewer purchasers are taking advantage of onsite camera examination, even when they have the chance. Buying online is too lusciously easy, w whether selecting a camera or underwear. If you’re living in East Podonk, are car-less, bus-less, and hundreds of miles from the nearest camera store, online purchasing may be your
credit card numbers or plunk down their hard-earned cash. I hope most of you do your homework properly—read POP PHOTO test reports, ask friends who own DSLRS, or go online and search for useful information at the many photo-related web sites and forums. All these steps are important, but even they aren’t quite enough. Almost everyone reads the camera specification lists indicating what the cameras have, but not everyone checks to see what has been left out. Perhaps you do want a lighted LCD info panel visible in poor light, depth-of-field preview, PC flash contact on the camera body, flash compensation control, infrared remote shutter-release capability, and mirror lock. Will you remember to look for all these when doing your research? Before going further, let’s dispense with the often accepted shibboleth that plastic-bodied SLRs are distinctly inferior to metal ones. Substitution of an all-polycarbonate Konica Minolta Maxxum 5D: Simpler? Better? Really? Many controls are relocated to the LCD panel. You’ll play hide and seek using them—and not at eye level.
body for a partial or completely metal one bothered me in the early (continued on page 40) 38
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CIRCLE #20 ON READER SERVICE CARD
SLR
THE DECLINE & FALL (continued from page 38) days of polycarbonates, but I have grown to have a healthy respect for Hide and seek flash setting: Flash compensation is easily set on Maxxum 7D using the top lefthand dial. But where is it on the Maxxum 5D? We found it on an LCD menu screen.
that plastic over the years, and find that it stands up well enough for
rugged amateur use. (Though I would still opt for metal if I were a sports pro covering an Olympic luge race from the driver’s seat.) Plastic lensmounts also don’t bother me any longer—although I suspect most manufacturers have discontinued their use because they look tacky. Does the black-plastic body look bother you? More and more lowcost DSLRs are available chromepainted as an alternative to the black finish. Moderate-priced DSLRs are not the only ones that may lack features. After buying a posh top-line DSLR, I needed to fire it by wireless remote control. Guess what? I couldn’t. The camera only had a terminal for a wired release. When I brought the problem to a camera company technician, he dutifully noted that such a remote control should be made available in the future. But if we’re making a wish list, why not ask for two versions— an infrared release for short distances, and a radio-operated one for long distances? Note that I said that moderatepriced DSLRs “may” lack features. In low-priced 35mm SLRs, some features are indeed often absent, such as depth-of-field preview, cable-release provision, and PC terminals on the camera body. Surprisingly, many $1,000-andunder DSLRs have most of the bells and whistles of more expensive DSLRs. But, the controls for these bells and whistles have been moved. I find these relocations to be one of the most disturbing elements of the new compact DSLRs. In their successful efforts to bring the size and price of DSLRs down, designers have often eliminated mechanically operated control knobs to produce smoother body contours. So it isn’t that light, compact DSLRs are missing many y features, but their controls may be far less convenient to set. Take a gander at the back and top controls of the top-line Konica Minolta Maxxum 7D ($1,100 street, body only) and compact 5D ($800 street, body only). The myriad buttons and dials on the 7D
may cause a tyro to think that only a photographer as highly qualified as a Boeing 747 pilot can operate the camera, while a novice as unskilled as a Piper Cub trainee will have no trouble with the vastly simplified 5D control setup. Wrong. Within about half an hour, most of you will have grasped the logic of the 7D controls, and be able to operate them even while taking pictures with the camera at eye level. But many of the 5D’s controls are hidden, accessible only by taking the camera down from your eye and using various navigational
menus on the LCD panel to locate the controls and then setting the control levels. Finding flash compensation on the 5D’s LCD can be done, but it is a bear. If you’re a snapshooter, you may never use menu controls such as flash bracketing or exposure compensation. The 5D would then be ideally suited for you. For a careful amateur or pro, being able to access and set controls while keeping the 7D at eye level might be essential and thus worth the added weight, size, and bucks. I’ve used the Konica
Minolta Maxxum 5D and 7D as examples of a compact DSLR vs. a larger and heavier, and more externally controlled DSLR, but I think the comparison holds true with Canon, Nikon, Olympus and Pentax DSLRs. Of course, top-line DSLR technical specs such as startup time, shutter-release time lag, and burst mode are generally considered superior to those of the compact DSLR. But the superior eye-level setting convenience of the top-line DSLR is often overlooked, given how simple the compact DSLR cont l ft p
Taking a BROADER View NEVER USE A DIGITAL CAMERA to shoot a long dining table lengthwise by direct flash. That was the lesson I learned and discussed in January 2005’s “SLR” (“Digital or Film”). While the flash did an amazing job of lighting the length of the table, and the 18mm lens set at f/5.6 provided amazingly sharp detail in every face, the digital sensor’s limited exposure latitude blew out the foreground highlights. Sympathetic readers made suggestions. Why not use ceiling bounce flash? No dice. The ceiling was far too high. Why not shoot by existing light? Because the major source of illumination was from the window backlight to the right of the table. Why not ditch the digital camera, and shoot print film, which has more exposure latitude? Because I hadn’t brought along a 35mm SLR film camera. Why didn’t I move to the left and photograph the table broadside? Because the left side of the restaurant was packed with over-seated dining tables, I couldn’t clear a suitable angle to shoot such a picture. But recently, I had another chance. Same restaurant, same time of day (late afternoon). Same event, with many of the same people: a directors’ and stockholders’ meeting at McPhee’s Grill in Templeton, California. Many of the same technical
POP PHOTO/NOVEMBER 2005
problems, but t time...a reprieve! Just when I ha begun wringing m hands in despair everyone at the other tables suddenly stood up and left! It turned out that all the other diners were membe automobile associat menu and departure You can bet that around to mid br table, zoomed my 18–200mm f/3.5– 6.3D II Tamron lens to the widest angle, and backed up until I had every stockholder and director. “Make sure you can see my lens,” I shouted to the pe side of the table, wouldn’t be hidden near side of the table With my Konica Minolta Maxxum 7D set to program exposure, and the Sigma 500 EF-500 DG Super Flash at full fill-in (to match the window light from the other side of th table), I was able to g one last picture on memory card. It w lucky shot.
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exposure latitude?
My luck changed: A miracle! All th th di l ft I bl t
DIGITAL TOOLBOX
BY DEBBIE GROSSMAN
JUICY DETAILS Reveal highlights! Expose shadows! THE ORIGINAL IMAGE THERE ARE LOTS OF BEAUTIFUL things to photograph in the fall: crisp, colorful leaves; red, glistening apples; and bright, waxy pumpkins. Too bad all that pretty autumn light can make your pictures way too contrasty. While some contrast gives your shots needed snap, too-bright highlights can leave your pictures with ugly blank spots that print stark white. And too-dark shadows can go
near-black, blocking up areas where you wanted to see detail. Enter Adobe Photoshop’s Shadow/Highlight tool—great for correcting pictures with backlit subjects or superbright foregrounds. It’s also great for showing detail that’s been hidden by too much darkness or brightness. Shadow/Highlight works more like the sharpening tools than it does
Dodge or Burn; it finds edges and enhances them to reveal and create detail. And it works great. But look out! Overdoing the filter can lead to hyperdefined edges and their telltale haloes, just like when you oversharpen. Steps 1 through 4 are simple; hang on through Step 5 for extra bonus points. (Download this pumpkin pic at www. POPPHOTO.com to follow along.)
COPY THAT BACKGROUND. You don’t want to mar your original, so make a copy of the Background layer (the only layer that currently exists) and work on that. Go to Layer > Duplicate Layer and click OK. Look at your Layers palette (if you can’t find it, hit F7 to make it hide or show). Now you have two layers, your Background and its Copy. The Copy will be selected for you, so move on to Step 2.
STEP 1
CHOOSE SHADOW/HIGHLIGHT. Get the tool you need by going to Image > Adjustments > Shadow/Highlight. If you see an intimidating number of options, uncheck Show More Options. You’ll see a relaxing two sliders: one for Shadows, and one for Highlights.
STEP 2
THE SHADOW KNOWS. The default settings of this tool are aimed at repairing backlit images, but for most situations those numbers will probably seem like way too much fixin’. To remind yourself what your shot looked like before, uncheck Preview. It’s amazing what the tool can do, but in this outdoor shot, the resulting pale shadows in the trees are unrealistic and just plain weird. Move the Shadows slider to the left. For a reasonable amount of shadow detail in this image, I like 20%.
STEP 3
LIGHT OF YOUR LIFE. Bright sunshine is nice, but too much is blinding (especially on these already-warm-colored pumpkins). To even out the picture, we’ve got to tone them down. Grab the Highlights slider, and move it slowly to the right. Highlights generally require an even lighter touch than shadows, and have the tendency to look over-Photoshopped sooner. More than 12% on this shot is too much for me. Happy? Ignore the rest of my column. Still need more work? Move on to Step 5.
STEP 4
DIGITAL TOOLBOX THOSE PESKY ADVANCED OPTIONS. If you still don’t like the way your image looks, check Show More Options.
PHOTO BY BOB GROSSMAN
STEP 5
TONAL WIDTH: This defines how big of a tonal range you want to be a highlight or a shadow. Try lowering it from the default of 50% if you feel like too many midtones are being affected. I like to keep it at about 30%. RADIUS: This monitors how many dark or light pixels will count as a shadow or a highlight. Smaller images should
thus have a smaller Radius. If you’re working on a 72-dpi image, move it down to about 10. If you’re working on a bigger shot, the default, 30, should be fine. A Radius set too high may not bring out enough details.
This lower-resolution image favors a Radius of 15 pixels. COLOR CORRECTION: Don’t like the way the tool affected the colors in the highlights and shadows you’re changing? You can increase or decrease their saturation by moving the Color Correction left to ease it down, or right to pump it up. This is a matter of taste, and I liked the default saturation fine. MIDTONE CONTRAST: This one’s comfortingly obvious: move it left or right to decrease or add contrast. I lowered it to –4, but this, too, is a question of individual preference. CLIP: Generally speaking, don’t mess with Clip. If you want your darkest tones to go to black and your lightest ones to go to white, you can increase the percentage. But since the whole reason you opened this tool was to reduce contrast, it’s probably best left alone. p
MOVING E XPERIENCE : DON’ T F ORGE T T O USE T HAT MOS T IMPOR TAN T PHO T O ACCE SSORY—YOUR F EE T!
THEFIX T
BY DAN RICHARDS
FIXES BY DEBBIE GROSSMAN
BEFORE CANNONBALL!!! Bassous, Rio de Janeiro, Brazil
AFTER
THE PROBLEM A good action grab
AFTE R
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hot, but...the photographer’s vantage point eaves the diver blending into the rocks in he background, creating a flat appearance. he bald area, top left, and background clutr, don’t help. WHAT NOW We cloned some foliage cover background rocks and the bald sky ea. We lightened the diver while darkening cks to get him to pop from the background. tighter crop, plus cloning out of the lightrted man at left, helped focus more attenn on the diver. NEXT TIME Find a shooting position ere the diver will either be silhouetted against sky, or will appear against contrasting foliTry a longer focal length and a tighter inera crop to better isolate the diver. TECH INFO Nikon N8008 with 20–35mm 5–4.5 Tokina lens. Film, Fujichrome Velvia scanned in CanoScan FS4000. Exposure ecorded. POP PHOTO/NOVEMBER 2005
THE FIX
LOST IN THOUGHT Joe B. Noble III, São Paulo, Brazil THE PROBLEM A grab shot that’s a little too grabby; the venor with his errant sandal gets lost in the surrounding clutter, and the etail behind the man’s head vies too much for our attention. WHAT NOW W We wanted to keep some of the clutter, but we ropped to focus more attention on the vendor. We took out detail behind the man’s face, and darkened the dark areas. NEXT TIME Try moving around to get a more straight-on view of the subject, and crop out some of the messy background. TECH INFO Pentax Optio 750Z with 37.5–187.5mm (equivaent) zoom. Exposure not recorded.
WAITING FOR THE GUN Dan B. Monakil, Van Nuys, CA THE PROBLEM A great graphic exercise, but...the lane ropes and their shadows intersect with the swimmer, who is oddly static. WHAT NOW We tried to reposition the swimmer between lane ropes, but it looked overly Photoshopped—never a good thing. NEXT TIME Move to the left to show him leading into the lane. Pick a more dynamic moment—like, just before the starter gives the signal. TECH INFO Nikon F5 with 75–300mm f/4.5–5.6 AF Nikkor. Film, Fujichrome Velvia 100, scanned with Nikon Super Coolscan 9000 ED. Exposure not recorded. 46
CHEAT SHEET
BY DEBBIE GROSSMAN
Lab Work The right way to job out those 4x6s EVEN IF YOU o most of your inting at home, re’s nothing like eling of picking ck of prints at a minilab and thumbing through them at every stoplight on the way home. And even if you do most of your shooting with an 8megapixel camera in RAW mode, you might still want small prints to stick on your fridge or hand off to the friends who are always bugging you for pictures. But what should the pro-minded, particular photographer do before taking digital images to a minilab or superstore for printing? Consider these suggestions.
1
RESIZE.
Using an 8MP camera is great when you want to make big prints, but it can be a hassle when you’re looking for 4x6 reproductions from the minilab. If you’re shooting RAW, the fastest route is to shoot RAW plus small JPEG. That way you can make a quick edit of your favorites, burn the little guys to a CD, and hand them off. If you’re capturing just large JPEGs, make an Action in Photoshop or use your organizer to resize them to 4x6.
2
CROP.
shoot camera with the more square 4:3 aspect ratio, your prints are going to get cropped when you have 4x6s made. So go through your pictures in an image browser, and check out the ones with detail in the edges you don’t want to lose. If you’re in Photoshop, take advantage of the Crop tool’s Crop To 4x6 option, and reframe the shot to keep what you need.
3
CHECK THE COLOR.
4
SAVE AS JPEG & BURN.
If you’re a serious shooter, there’s a good chance you shot your images in Adobe RGB mode. But if you send them to the lab in that form, you’re apt to get dull, low-contrast results. So convert them to sRGB first. To do so, switch your Photoshop working space to sRGB, then open the files, convert them, and save them as sRGB files under a different name.
Most labs don’t recognize files that aren’t JPEG. So if you drop off RAWs, you know those won’t print. But neither will TIFFs or GIFs. So convert these to 4x6 JPEGs, then burn them to a CD. Not all labs accept DVDs, and resist the urge to drop off the memory card! Sure, it’s faster, but unlike a CD, a card is neither cheap nor il l d p
You may have gotten the framing dead-on, but if you used a point-and-
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FIRST LOOK
OLYMPUS EVOLT E-500 DSLR
BY MICHAEL J. McNAMARA
OLYMPUS EVOLT E-500 DSLR u
Dressed For Success FASHIONS COME AND GO, AND NO camera company knows that better than Olympus—official sponsor of Manhattan’s Fashion Week. The fickle fashion industry may have influenced the company’s decision to shelve the flat-top design of the Evolt E-300 ($620 street, body only, reviewed November 2004) and dress its replacement, the new Evolt E-500 DSLR ($699 street, body only) more traditionally. Instead of the side-swivel porro mirror system that helped create the Evolt’s signature profile, the E-500 returns to the flip-up mirror and the familiar prism-box hump found on most other SLRs and DSLRs. It also has a more centered optical viewfinder, and a normal pop-up flash and hot-shoe arrangement. But can this new camera compete in a category that already has its share of supermodels? If size is important to you, the E-500 has an edge. It’s billed as one of the smallest and lightest DSLRs, just about the same size and weight as the petite 6MP Pentax *ist DL body. The preproduction E-500 we examined felt light enough to be made
What’s Hot
• 8MP DSLR for only $699. • Lightweight, small body. • Supersonic dust removal. • Beautiful 2.5-inch color LCD. • In-camera image editing.
What’s Not
• Doesn’t store images simultaneously to CF and xD-Picture cards. • 2X 35mm lens factor and 4:3 aspect ratio. • Maximum 4 images in burst mode. 50
out of wood, but in fact there’s a die-cast aluminum rear frame for added rigidity, as well as a tough polycarbonate shell. (The E-300 was built far tougher, but it wasn’t billed as an entry-level DSLR.) Despite the E-500’s small size, we found that even large hands can hold it comfortably thanks to the design of the grip, which has a sticky elastic polymer surface. By comparison, the 8MP Canon EOS Digital Rebel XT is harder for big hands to grip. As the third DSLR in the Olympus Four Thirds System family, the E-500 is compatible with all of the new Olympus Zuiko Digital lenses and third-party glass designed with a Four Thirds System mount. As a result of the E-500’s 22.3mm diagonal, 4:3 ratio CCD, all of those lenses have a 2X 35mm lens factor. There are two E-500 lens kits available. One includes the Zuiko Digital 14–45mm f/3.5–5.6 lens for $799, and the other offers both the 14— 45mm and the Zuiko Digital 40–150mm f/3.5–4.5 for $899. That’s quite a bargain for an 8MP DSLR and two-zoom lens system.
Button it up As with the E-300, controls on the E-500 are well arranged, and you can thumb the enlarged main mode dial without taking your eye away from the viewfinder. This dial’s 11 settings give you rapid access to manual, program, shutter, and aperture-priority modes, plus six user-adjustable modes (auto, portrait, macro, sports, landscape, WWW.POPPHOTO.COM
Vital Statistics
Imaging: 8.15MP (effective) Frame Transfer CCD sensor captures 8MP images (3264x2448 pixels) with 4:3 aspect ratio and 2X 35mm lens factor. Storage: JPEG, TIFF, RAW, and RAW + JPEG images on CF Type I/II or xDPicture cards. AF system: selectable 3-area AF system with central cross-type sensor; Dynamic-AF tracking, AF-assist illuminator. Exposure controls: 60– 1/4000-sec shutter speeds plus B. Flash: pop-up flash sync to 1/250 sec, high-speed FP flash with Olympus FL-50/FL-36; 1⁄3-EV-step flash compensation; slow sync; and redeye reduction. Metering: digital ESP, centerweighted average, 2% spot, and highlight/shadow basis spot metering. ISO 100–400; 800–3200 in boost mode. Output: Full Speed USB 2.0. Power: BLM-1 lithium ion rechargeable. Size/Weight: 5.0x3.7x2.6 in., 1.2 lb without battery. Street price: $699, body only. Info: www.olympusamerica.com y p ; 888553-4448.
and night scene). The 11th brings up a menu on the LCD that lets you choose from 15 more preset modes, including fireworks, candle, low key, and high-key settings (25 shooting modes has got to be a record!). In addition, there are color settings (vivid, natural, and muted), plus Adobe RGB and sRGB color spaces. The E-500 may be small, but its HyperCrystal LCD is large—2.5 inches. With 214,000-pixel resolution, a wide viewing angle, and a backlight booster that makes it easier to see in bright daylight, the LCD may be reason enough to trade in your E-300 or pass on the Canon EOS Digital Rebel XT (both have 1.8-inch LCDs). The large screen makes it easy to read the menus and exposure data. In playback, you can also see up to 20 thumbnail photos at a time, or compare zoomed-in details on multiple images simultaneously, helpful for checking details in a burst or exposure-bracket sequence. The screen also has enough space for separate RGB histograms along with an integrated histogram to confirm exposure (see photo on page 52). POP PHOTO/NOVEMBER 2005
FIRST LOOK
OLYMPUS EVOLT E-500 DSLR B C D E F
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Inner strength Like the E-300, the E-500 packs a Supersonic Wave Filter Dust Reduction tool that shakes dust off the sensor, an 8.15MP (effective) Frame Transfer CCD Image files can be stored in JPEG, TIFF, RAW, or RAW + JPEG modes at up to 8MP (3264x2448 pixels). It also features a TruePic TURBO image processor engine and many of the same image-quality, white-balance, metering, and exposure controls. With this processor, Olympus expects burst modes of up to 2.5 fps for up to 4 RAW, TIFF, or highest-quality JPEGs, or a continuous burst of 2.5 fps for JPEGs in SQ mode (1:8 compression ratio) when written to a SanDisk Extreme III CF card. That processor also enables in-camera redeye removal, image editing, and several b&w conversion choices. The E-500 has dual media slots for CF Type I/II, Microdrive, and xD-Picture cards. Unfortunately, you can’t store images simultaneously on both, but you can copy from one to another.
Circuit training Olympus also says that several internal circuits have been condensed, reducing both size and
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power consumption—but that happens with nearly every new camera model. The bottom line: despite its larger 2.5-inch LCD, the E500 should deliver approximately 400 shots per charge depending on flash usage and image review. The autofocusing engine on the E-500 is very similar to the E-300’s, with three selectable AF zones (center area is cross type). However, there are now five AF modes, and you can customize buttons to access your favorites. The pop-up flash includes a focusing-aid light, and the focus-bracketing feature should improve your chances of getting a sharp shot in manual-focus mode. Let’s hope it’s as fast and sensitive as the E-300’s AF system. The E-500 features a newly developed AE sensor with an active pixel circuit for metering low-intensity light, and integral amplifiers for high-intensity light. This combination should help improve metering performance and accuracy in conjunction with the camera’s 49 distinct metering areas. Metering modes now include Digital ESP metering, centerweighted averaging metering, spotmetering, and what’s called Highlight/Shadow basis spotmetering. This setting lets you choose the exposure based on a white subject’s exposure value to provide an accurate white image with detail, or on a dark subject’s exposure to provide an accurate black image with detail. Both differ from the E-500’s 2-percent spotmeter, which always adjusts exposure based on 18 percent gray. Olympus added a green-magenta compensation control in addition to the red-blue compensation found on its other DSLRs, so you can fine-tune your color-space settings in up to 7 steps. (Stay tuned for test results on a production unit.)
LCD SHOWCASE: The large 2.5-inch, 214,000-pixel LCD on the E-500 has enough resolution and space to display lots of exposure data in record mode (including color space choice). In playback, you can also view extra RGB histograms or up to 20 thumbnail images with detail.
Ready to wear The Olympus E-500 may not appeal to every DSLR shooter, especially those who already own a pile of 35mm lenses from another manufacturer. But its big LCD, powerful image-quality controls, and small, lightweight design should keep it in fashion for longer than its predecessor. p
TOP VIEW: Dedicated flash hot-shoe and pop-up flash (H); supersonic dust removal light (I); large main mode dial (J); shutter and exposure comp buttons (K); main control dial adjusts aperture and shutter speed plus zoom in playback mode (L).
BACK VIEW: Optical viewfinder with diopter control wheel (A); AE/AFL lock button (B); custom white balance and AF select buttons (C); dual-purpose
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FIRST LOOK
MICHAEL J. McNAMARA
s $5,000 12.4MP D2X, y 230,000-pixel resolu0-degree viewing angle. erences from the 20D: a modified mode dial, utton, and a very differll 5D buyers miss the aps. Many 20D owners trigger studio strobes ups, but most serious will rely on the 5D’s Ed low-light flash assist nits such as the new edlite ($299 street). viewfinder, there’s good s. First, the good news:
Answered Prayers WHAT DO YOU GET WHEN YOU CROSS a semi-pro 8.2MP DSLR with a pro 16.7MP DSLR? Only Canon could answer that riddle, and has with the new 12.8MP EOS 5D ($3,299, body only). Built like the 8.2MP EOS 20D ($1,300 street), but sporting a 12.8MP (effective) CMOS sensor that’s the same physical size as the one in the EOS 1Ds Mark II ($7,500), the EOS 5D is in a class of its own. (Once it might have shared the space with the $3,200, 13.8MP Kodak Pro SLR/c, but Kodak recently threw in the DSLR towel.) Still, at more than twice the price of the 20D, is the 5D’s extra resolution and full-frame advantage really worth it? The preproduction model 5D we examined sure left a great first impression. According to Canon, its chief feature–the single-plate, 12.8MP, full-frame CMOS
What’s Hot
• Full-frame, 12.8MP CMOS sensor eliminates 35mm lens factor. • Rugged body design. • Super fast and sensitive AF system.
What’s Not
• Missing pop-up flash. • High price might limit appeal. • Relatively low viewfinder magnification.
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sensor–shares most of its design features, including 8.2-micron pixels, with the slightly smaller sensor found in the EOS 1D Mark II (soon to be replaced by the $4,000 EOS 1D Mark II N, which adds a larger 2.5-inch LCD and other improvements). That should translate into images with similarly low noise and excellent color accuracy. We’ll know for sure once we run a production version through the POP PHOTO Lab. Basically, the EOS 5D is a 20D on sensor steroids. Just slightly larger and 4.5 ounces heavier, it shares the 20D’s rugged internal construction, including a stainless steel sub-frame and top, and front and rear casings made of molded magnesium alloy. The battery compartment and grip are slightly modified in shape, though they’re also made of magnesium alloy. The pentaprism also has a new shape, and the internal mirror and housing had to be completely redesigned to accommodate the full-frame sensor. The 5D accepts all Canon EF lenses with no 35mm factor, a bonus for wide-angle shooters. But it doesn’t work with the less-expensive EF-S lenses designed for the 20D, Digital Rebel, and XT. In addition, Canon had to chop a bigger hole in the back of the 20D body in order to fit the 5D’s outstanding 2.5-inch TFT LCD monitor. This sharp LCD rivals the gorgeous WWW.POPPHOTO.COM
Vital Statistics
Imaging: 12.8MP (effective) CMOS sensor captures 12.72MP images (4368x2912 pixels) with 12 bits/color in RAW mode. Storage: CF Type I/II cards including Microdrives. Stores RAW, JPEG, and RAW + JPEG. Burst rate: At 3 fps, up to 60 JPEG, 17 RAW, or 12 RAW+JPEG. AF system: Nine selectable and visible AF zones (plus six invisible AF zones). One-Shot AF, Predictive AI Servo AF, and AI Focus AF (autoselects One-shot or Predictive AF modes). Sensitive down to EV -0.5 (at ISO 100). Shutter Speeds: 1/8000 to 30 sec. (1⁄ 3-stop increments). Metering: TTL metering with 35-zone SPC. Evaluative metering (link to all AF points), partial metering (approx. 8% of viewfinder), spotmetering (approx. 3.5% of viewfinder), and center-weighted average metering. EV 1–20 (at ISO 100). ISO range: 100–1600 (in 1⁄3-stop increments), custom expansion to ISO 50 and 3200. Flash: supports E-TTL II autoflash with EX-series Speedlite. X-sync at 1/200 sec. Viewfinder: Eye-level, fixed pentaprism with estimated 96% accuracy and 0.71X magnification. LCD: 2.5 in. TFT with approx. 230,000-pixel resolution. Output: Hi-Speed USB 2.0 and video. Battery: Ships with rechargeable Lithium ion BP-511A. CIPA battery life rating: Approx. 800. Size/weight: 6.0 x 4.4 x 3.0 in., 1.9 lb with battery. For info: www.canon.com; 800-652-2666.
POP PHOTO/ NOVEMBER 2005
Circle #22 on reader service card
FIRST LOOK
CANON EOS 5D
Canon claims it has an excellent 96% accuracy, is fairly bright, and features user-changeable viewfinder screens. When the camera is turned on, the viewfinder shows similar exposure and shooting data as found on the 20D, as well as a view of nine illuminating AF zones. The bad news: the 5D’s viewfinder has a relatively low magnification of only 0.71X, unlike the excellent 0.94X on the EOS 20D, and closer to the 1D Mark II’s 0.75X.
What’s under the hood Far more is new inside the 5D. In addition to improved image processing, noise reduction, white-balance controls, and expanded ISO range, there are new picture-style controls that let you modify a variety of preset shooting modes. Mechanically, the shutter mechanism has been beefed up to handle up to 100,000 shots, more than the 20D, but half the life expectancy of an EOS 1D-series shutter. Maximum shutter speed is still 1/8000 sec, but the 5D features an improved 35-zone SPC metering system and a real spotmeter with 3.5% coverage (compared to the 20D’s 9% partial). The 5D’s 3-fps burst rate is slightly slower than the 20D’s 4.5 fps, but Canon claims it can capture up to 60 JPEGs at a time using a high-speed CF card instead of the 20D’s 30 images. The AF system is also better. In addition to the nine selectable AF zones, there are six invisible zones that function in the Predictive AI Servo AF
you output a film-like contact sheet (with film sprockets around each file) to the latest Canon Pixma printers. The 5D ships with Canon’s powerful Digital Photo Professional 2.0 RAW converter, plus EOS Capture 1.5 and PhotoStitch 3.1.
Professional appeal? Will the EOS 5D attract pros? It’s missing some features found on the EOS 1D series, such as an eyepiece shutter, vertical shutter release, supertough build with water-resistant seals, mega-capacity battery, 8.5fps burst rate, and high viewfinder magnification. But for the price, how can even the most finicky pro resist the 5D for a lighter-weight backup body? Also, putting aside the new features and photographic firepower, it’s great that Canon gave the EOS 5D a simple name, instead of a tongue-twisting moniker like the EOS 20Ds Mark II. p
TOP VIEW: Shows the new main mode dial (A), dedicated hotshoe for Canon EX-series Speedlites (B), pentaprism housing (with no pop-up flash) (C), shutter release and front control dial (D), data-panel light, AF/WB, drive/ISO, and meter-pattern/flash exposure comp buttons (E), and large LCD data display (F).
mode, and added sensitivity when using lenses with f/2.8 or brighter apertures.
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Playback and PictBridge functions show major improvements as well. The large 2.5-inch LCD lets you view sharper thumbnail photos, and the Jump button can leap past 100 images at a time (great when searching through an 8G B card). The new PictBridge controls even let
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the EOS 20D, with viewfinder and diopter control (G), AE lock, AF-zone select, and playback zoom buttons (H), 360-degree multicontroller wheel and select button (I), CF card door (J), larger 2.5-inch LCD (K), new direct-print button (L), and menu, info, jump, playback, and delete buttons (M). POP PHOTO/NOVEMBER 2005
TEST
BY DAN RICHARDS
s a point-and shoot! It’s a DSLR! It’s... *ist DL u
Resolution: Very high (1525Vx1425Hx1375D lines). Color accuracy: High (Avg. Delta E: 10.97). Highlight/ shadow detail: Very good. Contrast: Normal. Adjustable via menu. Noise: Very low at ISO 200, low at ISO 400–800, moderately low at ISO 1600, moderate at ISO 3200. Image quality: Very high. AF speed: In very bright light (EV 12 to EV 7), AF ranged from 0.68 to 0.71 sec. In moderately low light (EV 6 to EV 3), AF took 0.81 to 1.54 sec. In very low light (EV 2 to EV 1), AF took 1.71 to 2.20 sec. In extremely low light (EV 0) it took about 2.35 sec. CIPA battery life rating: 400 shots. Viewfinder: Both magnification (0.95X) and accuracy (94%) earn an excellent rating. Info: www.pentaximagp g ing.com g ; 800-877-0155.
Basic Instinct body only), the *ist DL comes in extremely light on the wallet. It’s expected to cost about $150 less than the *ist DS2 (the new version of the DS. But can a camera aimed unabashedly at the point-and-shooter also cut it as an enthusiast’s camera? Let’s see. Something both serious and casual shooters will appreciate is the 2.5-inch backlit LCD monitor, half an inch bigger than that on the *ist DS, and, at 210,000 pixels, relatively high-resolution. It makes the already very readable menus even more legible, and reviewing pictures becomes a real pleasure. The viewfinder uses a lighter, less expensive pentamirror instead of the pentaprism of the *ist DS; surprisingly, the view through the DL is brighter, due to an improved focusing screen, and boasts the same high magnification and high accuracy. However, the data readouts below the screen are smaller and dimmer, which will make readings tough for eyeglass-wearers. Replacing the DS’s 11-point autofocus
What’s Hot
• Huge, high-res LCD. • Lightweight, with fine handling. • Pick-up-and-shoot simplicity.
What’s Not
• Loses 11-point AF system. • Finder data hard to read. • Many controls buried in menus. 58
res JPEGs or three RAW files at 2.8 fps, from the eight JPEGs/five RAWs of the DS. But the DL gains a few things as well. You can switch the DL from single-shot to continuous AF in all standard exposure modes; the DS provides continuous AF in only the sports mode. The DL also adds an auto ISO setting, and its digital soft-focus filter can be set to three levels. Aside from that, the external control layout of the DL is identical to the DS, and the camera has virtually the same feature set. As we noted in our reviews of the DS (March 2005 and April 2005) the menubased controls may be a boon for the tyro, but the more careful shooter who likes to fiddle with settings will be slowed down menu-surfing for things like meter patterns, AF modes, and flash compensation. Frequently used settings, though—like drive mode, ISO, white balance, and flash—can be accessed quickly via the Fn button, and the DL retains the excellent ergonomics of the DS. Tested picture quality was, as expected, similar to the DS. We were surprised, though, that the color accuracy of the DL was a hair below that of the DS, and the average resolution was lower by about six percent—surprising, since the DL and the DS use the same CCD imager. Noise is well suppressed, just reaching moderately low at ISO 1600. Overall image quality is WWW.POPPHOTO.COM
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Certified Test Results
very high, and, as with previous digital *ist models, the DL is a fine choice for lowlight shooting. Fundamentally, if you liked the DS, you’ll like the DL. The only serious difference is the AF system, and if you don’t need or want a camera with 11-point dynamic focusing across the frame, you can save yourself about $150 and get a camera with the same capabilities as the DS. Sounds like a pretty good deal to us. p
SPARE BACK: Exposure modes are set with dial (A); flash popped up with button (B); exposure inputs made with dial (C); exposures locked with button (D). Jog wheel (E) navigates the menus; Fn button (F) calls up frequently used settings. Buttons for menu access, delete, screen info, and review (G) round out controls.
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TEST
Party Hardy SONY CYBER-SHOT T5 u
width of the camera to turn it on or off. You can get the T5 body in red, black, champagne gold, or silver. Slide the silver cover, and it’s ready to shoot in about a second. Shutter lag is practically
What’s Hot
•Fast startup. •Almost no shutter lag. •Metal tripod socket.
What’s Not
•No image stabilization. •Duo and PRO Duo cards only. •No custom white balance.
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Certified Test Results
Resolution: Very high (V1300x H1375xD1300). Color accuracy: Extremely high (Avg. Delta E: 8.19). Highlight/shadow detail: Very good. Contrast: Normal (adjustable to three levels). Noise: Very low at ISO 64, low at ISO 100, moderately low at ISO 200, high at ISO 400. Image quality: Very high. AF speed: Fast in bright to medium light; moderate in low light. CIPA battery life rating: 240 shots. Vital Statistics: 5.1MP (2592x1944), 3X optical, 38–114mm (equivalent) f/3.5–4.4 zoom, 2X digital zoom, 2.5inch LCD, Memory Stick Duo slot, proprietary Li-ion rechargeable battery, 3.7x2.4x0.8 in., 4.9 oz with card and battery. Street price: $350. In the box: Li-ion rechargeable battery, charger, A/V and USB cables, 32MB MS Duo card, wriststrap, software (USB drivers, Pixela ImageMixer viewer/editor, Picture Package for Sony v1.6, Cyber-shot Life tutorial), manual. For info: www. sonystyle.com y y ; 877-865-7669.
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TEST
Dynamic Duo JVC GZ-MC500U VIDEO/STILL CAMERA u
Though the MC500U does a better job on video than stills, it’s small enough to fit into a purse. Sound like the ultimate vacation camera? Maybe Maybe, but there are some things you should know. First, to bring down the size and take it out of the tape-based stone ages, it records video and stills onto memory cards—CompactFlash, Microdrive, or SD. (Good-bye, piles of MiniDV tapes!) The rechargeable lithium ion battery lasts just one hour per charge, and at its highest video setting, a 4GB card holds only one hour of video, so you’ll still need to pack extras. Fortunately, they won’t take up much space. A 4GB Microdrive and one battery are standard. Backups cost $190 (street)
What’s Hot
•720x480 MPEG-2 video. •Fast lens. •No more tapes! •It’s so small.
What’s Not
•Slow AF and AE. •Low resolution for 5MP. •Just 1 hour per charge. 62
Ultra Fine—had resolution and overall quality similar to what you’d get from a high-end three-chip MiniDV camcorder, though the color was a bit muted muted. Once the video is on a memory card, you can view, navigate through, reorder, or delete your clips easily with the 1.8-inch LCD and tiny joystick on the camera back. Try that with tape! The still camera claims 5MP resolution, but that’s based on combining three 1.33MP CCDs. In our tests, its resolution scored an acceptable rating. That’s nowhere near what you can expect from most 5MP compacts. For example, Sony’s DSC–T5 (see page 60) scored a very high rating in resolution. On still-image color accuracy, the JVC also scored an verall ity as n stillssing, oticemises focus osure.
Certified Test Results
Resolution: Stills: Acceptable (V1100xH1200xD1150). Color accuracy: Stills: Acceptable (Avg. Delta E: 14.52). Highlight/shadow detail: Moderate. Contrast: Normal. Noise: Low at ISO 100, moderate at ISO 200, high at ISO 400. Image quality: Acceptable. AF speed: Moderate in bright to medium light; slow in low light. CIPA battery life rating: 280 shots. Vital statistics: Three 1.33MP CCDs; 5MP (2560x1920); Video: 10X optical, f/1.8–2.4 zoom; Stills: 8X optical, f/1.9–2.4 zoom; 1.8-inch LCD; CompactFlash/Microdrive and SD card slots; proprietary Li-ion rechargeable battery, 3.2x2.2x4.7 in., 0.9 lb with battery, Microdrive, and lenshood. Street price: $1,600. In the box: Li-ion rechargeable battery, power adapter, 4GB Microdrive, A/V/S-video and USB cables, wriststrap, lenscap, lenshood, software (Digital Photo Navigator, CyberLink DVD Solution), manual. For info: www.jvc.com j ; 800-252-5722.
We found both sluggish. On the other hand, manual focus was quick and easy. Scene modes are limited to twilight, portrait, sports, and snow. And while you get aperture and shutter priority modes, the apertures are limited to f/1.9, 2.0, 2.8, 4.0, and 5.6; shutter speeds range only from 1/2 to 1/500 sec. You can buy a three-chip camcorder for less than half the price of this $1,600 unit. But it will be larger, require bulky tapes, and have inferior still-image quality. And while any low-buck digital still camera can give you videos, they’ll pale in comparison. Despite its limitations, this JVC unit is an impressive dual-function camera. It won’t replace a dedicated still camera, but if you’re tired of toting a second camera for quick stills while shooting video, this JVC can save room in your video bag. p POP PHOTO/NOVEMBER 2005
CIRCLE #3 ON READER SERVICE CARD
TEST
TAMRAC 5261 CYBERPRO FLYER
Wheely Cool TAMRAC’S SMALLEST ROLLER BAG, and perhaps the most compact roller bag with a laptop compartment, the 13.5x13.5x 10.5-inch CyberPro Flyer is designed for photographers who like to travel light. We were able to roll it down an airplane aisle with plenty of clearance on both sides. The 5261 ($199 street) will still hold a complete 35mm-scaled SLR system, including a 70– 200mm f/2.8 zoom (mounted), a hot-shoe flash, and two more lenses. While Tamrac claims the computer compartment is suit-
What’s Hot
• Perfectly proportioned for airline travel. • Ruggedly constructed. • Vertical design accepts camera with lens attached.
What’s Not
• Computer compartment sized for smaller laptops only. • Cable pouch isn’t built in.
BY PETER KOLONIA
A roll-on that’s small & roomy
able for 12-inch laptops, we found it roomy enough for a 15-inch Toshiba Satellite. We couldn’t zipper the computer compartment closed, but the bag’s top flap snappe shut, securing the computer within. The bag is constructed and padded well, with easy-access compartments and adjustable internal dividers. The lid’s weather-protected front Speed Pocket provides quick access to a boarding pass or passport. The bag’ removable strap has a shoulder pa covered with a textured, no-slip, rubbery material, and its telescoping handle clickstops to intermediate lengths. We would have liked a zipperless front pocket with instant access, and pockets for computer cables and memory cards. But the 5261 is the nicest—and smallest— hybrid of rolling camera bag and briefcase we’ve seen so far. For info: www.tamrac.com; 800-6620717. p
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houses a slip pocket suitable for cash, boarding pass, or passport.
B) FULLY COMPATIBLE: The 5261 lets you attach optional Tamrac accessory pouches for lenses or computer cables. The water bottle pouch ($15.95), for example, comes with the bottle.
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TEST
CALUMET TRAVELITE PORTRAIT KIT BY PHILIP RYAN
Light Bright CALUMET’S TRAVELITE MONOLIGHTS have a reputation as solidly built, well-priced strobes, and, though designed for location use (they mate with Calumet’s TravelPak portable batteries), we’ve seen them double as resident studio-lighting systems, too. If you’re a studio start-up, the Travelite 1875-watt-second (Ws) kit for $1,700 is worth considering. The kit (at right) is ideal for portrait or product work. You get three monolights (one 375 Ws, two 750 Ws), light stands, a pair of umbrellas, reflectors, and carrying cases. Other accessories include a 24x32inch softbox, snoot, and sync cord. Housed in tough plastic, the heads offer top-mounted slave triggers, 250-watt standard halogen modeling lamps, userreplaceable flashtubes, and convenient carrying handles. The four-section light stands use rugged, plastic screw locks with rounded, finger-friendly locking knobs. 64
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Can these strobes shine? You bet! I set up a typical product shot against a white seamless, unpacked the Travelites, and was admiring professional results on my laptop screen within 15 minutes. I especially liked the heads’ continuously adjustable power (full to 1⁄32nd power), which was well-suited to holding highlight detail when shooting digital. Calumet rates the flashtube’s color temperature at 5600K ± 300K. I measured 6200K at full power, 5800K at half power, and 5600K at 1⁄32nd power. Recycle times for the 750 Ws heads were between three and 0.9 sec. Par for the course.
What’s Hot
• Plenty of power. • Adjust down to 1/32nd. • Portable power options.
What’s Not
Gripes? There’s no ready beep. The modeling light dims during recycle, which some photographers find annoying. Also, a second softbox would’ve been nice in a three-head “portrait” kit. But, at $1,700, you’re still getting a lot for your buck. For info: www.calumetphoto.com; 800225-8638. p CONTROL OPTIONS: Side-mounted controls include power dial (A); test button (B); and ready light (C). The G back panel offers modeling on/ J off (D); modeling mode (E); slave on/off (F); power on/off (G); battery pack connection (H); sync (I); and power cord terminals (J).
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CIRCLE #1 ON READER SERVICE CARD
REVIEW
PAINT SHOP PRO X BY DEBBIE GROSSMAN
X Appeal Saving yourself $521. How’s that for attractive? IN ITS NINE PREVIOUS INCARNAtions, Paint Shop Pro was produced by a company called Jasc. Paint Shop Pro X (Version 10) is the first version released since Jasc was acquired by Corel. But the takeover hasn’t drastically changed the program, and that’s good news. Jasc’s software was powerful (and reasonably priced), and Version 9 was already an excellent choice for the photo enthusiast who wanted to retouch without spending $650 for Adobe Photoshop. Like its predecessors, this latest version ($129 direct) is Photoshop-like. It’s not the kind of all-in-one for beginners that doesn’t advance beyond sliders. Flexibility is built in, with ways to retouch with layers, fix blemishes, clone out trouble areas, and get the color right. But, unlike Photoshop, it helps you learn, and it assumes you really want to. The last edition had all kinds of tools, but they weren’t always easy to find, and the interface was sometimes clunky and confusing. Now the icons are streamlined, and the whole experience is easier on the eyes. When you start the program, there are fewer palettes visible, a good preventative measure for software shock—the confusion that results from opening a new program and finding an intimidating number of buttons, icons, and sliders. The first thing you see is the Learning Center palette on the left. If you’re a PSP veteran, you’ll close it immediately. But if you want help getting started, pick an option for opening an image. The software then brings up a new and useful palette: the Browser. It doesn’t hog much space, and it allows you to peruse all the files on your hard drive, see their scalable thumbnails, and even print a contact sheet. If you leave the Learning Center open, clicking on any tool calls up its explanation. When you’re ready for more, check out the help section or download free video tutorials. At last, this version of PSP introduces serious color-management tools. You 66
can control the working space of the program, and while you don’t have as much flexibility as with Photoshop CS2 in converting profiles on the fly, you do have enough color control to make use of a calibrated monitor. This version also allows you to output a file in CMYK but, unfortunately, doesn’t allow you to see a preview. If you haven’t committed to a colorimeter yet (such as a ColorVision Spyder or Monaco EZcolor), you can use Paint Shop Pro’s Calibration Wizard. Though this is less accurate than using a separate system, it will still bring your prints closer to matching your screen. This new version previews RAW files in Browser and opens them in the editor according to its as-shot settings. If you want to use the full benefits of RAW by converting, you must do so separately in Pixmantec’s RawShooter Essentials (included). Also bundled is Corel Album, an excellent organizer that helps you edit, share, and print. PSP now supports most editing functions in 16-bit. There’s a new object remover that quickly gets the errant bird out of the sky, and a suntan brush for safe tanning. We found one last, cool little feature: you can adjust the date taken in the EXIF information. That’s something you won’t get with Adobe. For infomation: www.corel.com; 800772-6735. p
What’s Hot
• Color Management now included. • Pleasant and fun interface. • Lots of bang for your buck.
What’s Not
• CMYK function nearly useless. • Double-clicking RAW images doesn’t automatically open the converter.
CIRCLE #23 ON READER SERVICE CARD
TEST
SUNPAK PZ40X II
Tiny Torch IS THERE A MORE COMPACT (OR
cuter) TTL flash than Sunpak’s PZ40X II? If there is, we haven’t seen it. Its predecessor, the PZ40X I, is among the company’s best-sellers, because, at $125 (street), it’s one of the least expensive, (almost) full-featured TTL flashes. Avail-
BY PETER KOLONIA A
TTL AE control and d cute!
able in silver or black, it mates cosmetically with almost any camera, and, at 2.3x3.4x3.5 inches, it looks at home on either compacts or SLRs. The new PZ40X II offers all the above plus compatibility with new flash technologies from Canon (E-TTL II), Nikon (i-TTL),
and Konica Minolta (ADI). We tested it with Canon’s PowerShot G6, and can report accurate exposure, rapid and silent flash autozooming from 24 to 80mm, and more throw than the G6’s on-board flash offers (46 vs. 16 feet at ISO 100). Powered by two AA cells (and hence the supercompact proportions and 7ounce weight), the PZ40X II also gives you: manual firing from full to 1⁄16 power (in five steps); click-stopped tilts from 45 to 90 degrees; and a large, brightly illuminated LCD control panel that provides, among other info, flash exposure confirmation and a subject distance range (bargraph style) that’s determined by the aperture and ISO set on the camera and/ or lens. There’s a focus-assist beam that’s claimed to cover more than 15 feet, but the flash defaulted to the G6’s built-in beam so we were unable to confirm this. With two AA alkaline cells, Sunpak promises 100 full-power shots; with two NiMH cells, 140 shots. We clocked recycle times at 10 seconds with fresh alkalines, after full-power manual pops. The flash’s power-saving auto-off feature shuts the unit down after five minutes, but can be overridden for time-lapse or motiontriggered photography. Looking for more power than your camera’s built-in flash and the versatility that a tilt flash offers? Try this bright little popper. For info: www.sunpak.com p ; call TOCAD America, Inc. at 973-627-9600. p
What’s Hot
• Inexpensive TTL-dedicated accessory flash. • Large illuminated LCD control panel. • Very compact and lightweight.
What’s Not
• Head tilts but doesn’t swivel. • Doesn’t support second-curtain sync. • No auto flash sensor.
68
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LENS TEST
SIGMA 17–35mm ff/2.8–4 EX DG AF
3.32 in.
GET CLOSE
3.84 in.
3.51 in.
0.72 in.
0.49 in.
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Specifications 17–35mm (17.62–33.66 tested), f/2.8–4 (f/2.75–4.18 tested), 16 elements in 13 groups. Focusing turns 130 degrees counterclockwise. Zoom ring turns 50 degrees counterclockwise. Focal lengths marked at 17-, 20-, 24-, 28-, and 35mm. n Diagonal view angle: 103–63 degrees. n Weight: 1.24 lb. n Filter size: 77mm. n Mounts: Canon AF, Konica Minolta AF, Nikon AF, Pentax AF, and Sigma AF. n Included: Lenshood, softcase. n Street price: Approx. $499.
u
Subjective Quality Factor 17mm
Size 2.8 4.0 5.6 8.0 11.0 16.0 22.0
5x7 96.6 96.7 96.9 96.9 96.8 96.2 95.4
8x10 95.5 95.7 95.9 96.0 95.8 95.0 94.0
Size 3.5 5.6 8.0 11.0 16.0 22.0 29.0
5x7 96.5 96.8 97.0 96.7 96.3 95.5 95.0
8x10 95.4 95.8 96.0 95.7 95.1 94.1 93.5
Size 4.0 5.6 8.0 11.0 16.0 22.0 32.0
5x7 96.2 96.7 97.1 96.8 96.3 95.5 94.7
8x10 95.1 95.7 96.1 95.8 95.2 94.1 93.1
11x14 93.1 93.3 93.7 93.8 93.4 92.3 90.7
16x20 88.2 88.6 89.5 89.6 89.0 86.9 83.9
20x24 82.3 83.0 84.4 84.7 83.8 80.4 75.4
16x20 88.1 89.2 90.0 89.1 87.4 84.3 82.4
20x24 82.4 84.2 85.5 84.0 81.4 76.4 73.1
16x20 87.0 88.9 90.3 89.3 87.6 84.3 80.5
20x24 80.4 83.5 85.9 84.4 81.6 76.4 69.6
24mm 11x14 92.9 93.5 93.9 93.4 92.4 90.8 89.8
35mm 11x14 92.4 93.4 94.0 93.5 92.5 90.8 89.2
key A+
A
B+
B
C+
C
D
What’s Hot
• Superior distortion performance. • Attractive close-up characteristics. • Fast, quiet, and accurate AF.
What’s Not
• About 10% more expensive than previous Sigma 17–35mm f/2.8–4. • No lightweight.
F
WHAT YOU SHOULD KNOW: Sigma’s second-generation 17–35mm f/2.8–4 EX AF features dramatically improved close-up performance (maximum magnification ratios go from 1:11.5 to 1:4.4). It also boasts an advanced ring-type HSM AF motor, one noticeably quieter than Sigma’s previous micro-type; you can now manually touch up focus while working in AF. The cost of this advance? Added weight (19.8 ounces compared to 14 ounces) and a $50 hike in the street price. Covering a 35mm frame, this lens is optimized for use on DSLRs thanks to new multicoatings to suppress reflections that bounce off digital sensors. HANDS ON: The lens is somewhat large for its class (in fact, its weight and dimensions are almost identical to Canon’s fixedaperture 16–35mm f/2.8), and finished in Sigma’s newly improved EX surface, which eliminates tiny gold and silver flecks that looked like dust in some photos of previous EX lenses. The new surface is still slightly textured, but now it’s a uniformly sleek matte black. Focusing, depth-of-field, and zoom scales are in white and easily legible. Zoom and focusing rings are amply large and covered with a ribbed, rubberized material. The manual-focus ring turns smoothly and evenly, with a pleasing drag, but the zoom action grows stiffer as you rack the lens out. Unlike most zooms, this lens’ focusing collar is significantly wider than its zoom—a feature manual-focus fans should applaud. IN THE LAB: SQF performance showed excellent sharpness at all tested apertures and focal lengths. According to DxO Analyzer tests, the lens has slight barrel distortion at 17mm (0.83%) and 24mm (0.62%); and minimal barrel distortion (0.45%) at 35mm; an above-average, even excellent performance. Light falloff at the edges was gone by f/5.6 at all apertures, also above average. At the universal close-focus distance of 10.8 inches, magnification ratios ranged from 1:10.2 at 17mm to a satisfying 1:4.4 at 35mm. CONCLUSION: In our opinion, the lens’ forte is its close-up performance, a welcome development in the ultrawide-angle zoom category. If you want dramatic closeups from a wide-angle zoom, and a minimum of linear distortion, you’ll be pleased with this new Sigma. p
YOU CAN DO IT!
ROAD TRIPPIN’
TEXT AND PHOTOS BY BRYAN F. PETERSON
Clever ways to put blur into your pictures
PHOTO BY DAN RICHARDS
TO GET T ULTRASHARP, ULTRArealistic photos, you might try a fast shutter speed and stable tripod. But what if realism seems a little too...boring? What if you’re in the mood for surrealism instead? This would call for an opposite approach: a long shutter speed and an unstable camera support: a car, a scooter, or even your pet terrier! For my own experiment in impressionism, I used a 10-speed bicycle and my Nikon D1x. After carefully (very carefully!) attaching the cam-
era to the bike’s handlebars with one of the many Manfrotto Super Clamp configurations, I took off down a country lane in the South of France on a bright day in mid-October. All around me, the deep greens of late summer were flecked with autumn’s yellows, reds, and oranges. With my 35–75mm f/2.8 AF Nikkor lens at a relatively slow shutter speed of 1/6 sec at f/22, I had all that I needed to go Van Gogh. Want to try this yourself? First, choose the right type of road. It’s easier to keep your camera steady if the path is smooth, so asphalt and concrete are better than dirt or gravel. Next, find a vibrant subject. Whether in town or country, greater color and contrast will furnish more vivid results. A country lane lined with trees in autumn or a city street lit by neon at dusk would both be excellent subjects. Third, exclude the sky when composing your image. Most of the time, the block of sky included in a photo is one solid color, whether it be blue, gray, or white. This color won’t streak during long exposures, but will remain a block RIGHTEOUS RIG: of (boring) monotone. As for anchoring the Manfrotto makes clamps for attaching cameras to camera to the bike’s almost anything (visit handlebars, I recomwww.bogen g imaging.us g g ). mend one of the inFor this project, I used expensive Manfrotto a mini ballhead (A), Super Clamp rigs. If column clamp (B), and a that’s not an option standard tripod center for you, consider pickcolumn (not shown). ing up three 4x6-inch Total cost: $126. sponges. Place one at the back of the camera and the other two on either side of the front. Then use duct tape to bind the
THE SURREAL LIFE: The same rig (below left) that I used for the bicycle blur on the next page, I also used on a shopping cart (above, top) and from a car’s rearview mirror (above, bottom).
padded camera to the handlebars. Be sure to wrap the camera several times over, to ensure that it will be completely secured. Try to keep the camera as level as possible, and don’t worry: the sponges will protect your camera from the sticky residue that duct tape can leave behind. To get the relatively long exposures required for good streaking (1/6 to 1 sec), use the slowest ISO speed and smallest aperture possible. On a really bright day, you may need a neutral-density filter to get good blurs (unless you pedal like crazy). And finally, a cable release is a must. That is, if you want to shoot while keeping both hands on the handlebars! p 73
YOU CAN DO IT!
EA MAGN G R Ö A BJ OLONI K OS BY PHOT BY PETER T TEX
RE U T C I EAT P$ R G TE, A OUSAND A T S AL E ORTH TH E R N I BE W N A C
D
that big sale can nosedive wh sellers use the unflattering pro erty photos taken by photo-unsav real estate agents. Don’t miss your shot at a great sale. If you don’t like the agent’s pictures, improve your chances of getting more interest and a higher selling price by taking your own amazing photographs. What do you need to know to do this? To get the insider tips, we went to one of Manhattan’s busiest architectural photographers, Björg Magnea (www.bjorgmagnea.com j g g ). “The secret,” she explains, “is to compose pictures that hide the flaws and showcase the attractions of your home. You want to make it appear as elegant and spacious as possible.”
“Start by looking at the house,” says Magnea, “and decide which elements to play up, and which to bury. Find broad, uncluttered interior and exterior views with character, charm, and space.” She recommends compositions that offer unobstructed views, with lead-
s p i T home p o T great for os t o ph
C
B
ing lines draw attention to attr tive focal points s A as stairways, d couches, or t Compose your sh these visual anch whole and unc and leave enoug (compositionally them to project feeling for the you’re only an average decosence of optical distortion, says rator but have a friend who designs, Magnea. Poor architectural photogor one who simply has a talent for raphy, on the other hand, is plagued making spaces look appealing, en- by perspective distortion (a.k.a. list his or her help. Also, ask the real keystoning) and by barrel distortion estate agent’s opinion about the prop- (where parallel lines bow outward, erty’s most desirable selling points to especially at the edges of the frame). help guide the photo session. Barrel distortion is a common flaw When you’ve decided what to in photos made with inexpensive photograph, draw up a timetable. wide-angle lenses. Usually, different rooms or exterior The good news? Both perspecfacades look best in light at different tive and barrel distortion are times of day. Don’t try to get all your to control. To eliminate barrel distort shots in a single two-hour session. “The hallmark of great real estate use a pro-quality wide-an
SHOOT YOUR MOST ATTRACTIVE ROOMS, even if they’re not the biggest. A small attractive room will serve you better than a large unattractive one. F A FIREPLACE IS CENTRAL TO COMSITION, make sure it’s lit, and shot late in e day or at night.
THINGS TO CROP: Electrical outlets and
wires. Bare lightbulbs (even in fixtures). Worn soiled, or torn upholstery. FOR MAXIMUM SHARPNESS, stop your lens all the way down, and then open up one stop. USE A TRIPOD.
! even if you must buy or rent one. ly, the more expensive a widelens is, the better its distorharacteristics. (To learn which are best, check our library of online lens tests at www.POPPHOTO. com.) If you can’t afford pro-quality glass, consider shooting multiple passes of a room with a normal lens, and stitching the (digital) images together in an im editor. If that’s not an option, compose your shots so the outer edges, hi h ll h
B
A
the worst distortion, can be cropped. Finally, Adobe’s Photoshop CS2 has filters that can “repair” both barrel and pincushion distortion. If you frequently shoot architecture, this feature alone is probably worth the upgrade to CS2. (For tips on controlling perspective distortion, see the
tilt/shift sidebar on the last page of this article.) And your camera? Should you shoot digital or pull out your trusty film SLR? “Both systems have their advantages,” explains Magnea. “Digital lets you see what you’re getting as you go, and it lets you more easily
! D L O S
IN REAL ESTATE, ESTATEE, A GREAT PICTURE CAN
B
A
p ture issues that can pop up with interiors lit by both natural and tungsten light.” But digital cameras with APS-sized sensors limit your ability to capture the wide fields of view 78
p g p y y g g the right lens is more important than having the right camera.”
TIPS FOR SHOOTING INTERIORS Start by cleaning out your rooms, WWW.POPPHOTO.COM
hen add color back in. Don’t leave urfaces empty, but don’t create clutter either. Add accent colors with throws, wall decorations, bowls f fruit, and flower arrangements. ong-stemmed flower arrangements end to make a ceiling seem low, so stick with shorter arrangements that hug the table. Place furniture and lights to make rooms appear bright, open, and large. Consider repainting dark non-wood interiors with lighter colors. Keep your lighting simple and natural. Magnea prefers to use bounced incandescent lights for darker interiors. They let her easily evaluate lighting effects (strobes fire too quickly), and their color temperature matches that of most interior light fixtures. For bright, sunlit interiors, the natural light serves as her main light, and she fills in the shadows with strobes. POP PHOTO/NOVEMBER 2005
BE WORTH THOUSAND THOUSAND$ D$ Don’t let your lights cast shadows. One quick cure for this is to bounce the light off the ceiling. Standard, 250-watt lightbulbs in clamped reflectors (sold in almost every hardware store) work well. For bright, sun-flooded rooms, shoot early or late in the day, when sunbeams penetrate deepest into the room. Use your widest lens and shoot from the farthest distance possible to expand the feeling of space. If the exterior light in rooms with prominent windows is too strong, it can make the windowed side of the room too bright. Also, if the light outside is significantly brighter than indoors, the windows in your pictures will appear blank white, showing no exterior detail. For these reasons, it’s often best to wait for a cloudy day, or shoot late in the day, after the sun has set.
TIPS FOR SHOOTING EXTERIORS Exteriors look best when flowering plants are in bloom. If you’re planning to put your home on the market in the next year, do yourself a favor and take the exteriors the preceding spring. Budget time for cleaning up your property. This includes obvious tasks like mowing the lawn, trimming shrubs, and painting fences.
Don’t forget even such minute details as hiding tags that hang from patio furniture cushions. Pick an angle that shows off the front facade with no obstructions. Use leading lines to guide the viewer’s gaze to the front door, or to attractive architectural or garden elements. Don’t include another building in your shot, unless it’s a landmark of historical or practical interest. To make your home appear three-dimensional, compose with more than one façade showing, and shoot in light that selectively illuminates one surface. Avoid flat light or light coming from directly overhead. One surefire technique for shooting exteriors in color is to wait until twilight. The warm-hued light spilling out the windows makes a cozy contrast to the bluish outdoor light of dusk. Shoot when interior and exterior lighting is of (roughly) equal intensity. The outside light goes rapidly from perfect to too-dark, so be ready. There’s usually about a 10-minute window of perfection. Bracket by shooting a picture every minute during these 10 minutes, using the same exposure. As the blue light outside dims, incandescent light within will lend an increasingly warm, almost impressionistic feel to your now-beautiful home. p
Björg Magnea
is a native of Reykjavik, Iceland, who came to New York City in 1989 to study photography at the School of Visual Arts. She currently operates Björg g Magnea Architecture and Interior Photography (www.bjorgmagnea. j g g com) m) out of a Manhattan studio, shooting for A-list architects, designers, and contractors around the world.
WITHOUT PC LENS
T I T E G RAIGHT ST
CANON’S 24mm f/3.5 Tilt Shift TS-E Manual Focus lens provides +/-11mm of horizontal or vertical displacement.
In your quest to flatter your home in photos, you may be vexed by a demon known as “perspective distortion.” It can appear when you tilt your camera upward to capture the top of a relatively tall subject. Tilting causes the image plane to tip out of alignment with the subject’s plane. The more the tilt, the more lines that are parallel in real life won’t be in your photos. You can see below what this can mean pictorially. The shot made with the perspective-controlling lens shows the home as massive, solid, and square, while the uncorrected shot shows it seemingly less substantial as it rises from ground level. These distortion-controlling lenses are called Tilt/Shift, or perspective control (PC) lenses. Because the image circle they throw is about 50 percent larger than normal, the lens can physically rise above an SLR’s normal optical axis, letting you include more of a tall subject without tilting the camera. Though an expensive purchase, PC lenses can be rented for as little as $25 a day.
WITH PC LENS
SO, YOU WANT TO BE A
WHITE HOUSE PHOTOGRAPHER?
PHOTOS BY ASSOCIATED PRESS/SUSAN WALSH
TEXT BY TERESA HA
YOUR PHOTOS CAN APPEAR on the front page of every newspaper in the world. Many of your coworkers boast a Pulitzer Prize (or two). And you’ve just come home from your latest trip, traveling with the president of the United States onboard Air Force One. Welcome to life as a photographer in the White House press corps. For eight years, Susan Walsh has worked the White House beat about six months a year as a staff photographer for the Associated Press. As a member of the “tight pool,” the group of 13 journalists who travel with the president at all times, she’s been virtually everywhere, and has photographed the world’s most powerful people. “This job is as much a mental ability as a creative ability,” says Walsh. The Las Vegas native, who has gone to Iraq with Defense Secretary Donald Rumsfeld and shot from inside the Kremlin, finds it exhilarating LOCATION, LOCATION: “We have a spot on the driveway to cover arrivals and departures,” says AP photographer Susan Walsh of shots on the White House’s South Lawn, like this of President Bush and British Prime Minister Tony Blair (left). Typically shooting with a 300mm lens, she often adds a 1.4X teleconverter to get closer. For her Pulitzer Prizewinning image of President Clinton (below), she had to anticipate “who was coming out, where they were likely to stand, what the shot was going to be. This was the only position where you could make this frame” she says
SO, YOU WANT TO BE A WHITE HOUSE PHOTOGRAPHER? and daunting at the same time. “As an AP photographer, I am first in the door. I have to make the decision to go straight, left, or right.” With newspapers and magazines eager for coverage from Washington, the pressure’s on for her to get the shot. “If I screw something up here, the world could potentially know.”
HURRY UP AND WAIT Being a White House photographer isn’t all action all the time. A large part of Walsh’s job involves waiting. Waiting in her “office,” a cramped desk in the tiny, rundown briefing room attached to the White House. Waiting in an on-location briefing room or file center (see the accompanying glossary) for last-minute press conferences. “On the weekends,” Walsh says, “you can wait all day and nothing can happen.” Her erratic schedule underscores the waiting. Though Walsh generally works five-day weeks in eight-hour shifts, she confirms her day-to-day schedule only a few weeks in advance. “Sometimes you work nights, sometimes you work weekends, sometimes you work days. I like that every day is different,” she says. Perhaps the most tedious waiting occurs when the tight pool provide “protective coverage” for the president—accompanying him wherever he goes, whether it’s to church, dinner, or out jogging. The protective press are there to report a story if something happens. Walsh explains, “We don’t always [cover the event], but we’re always with him.” As a result, press members carry pagers for calls on weekends. After five years, Walsh knows the president’s schedule well enough to guess what each pool call means. “They’ll nd out a page saying, ‘Travel pool eds to gather in the Brady Press DIFFERENT TAKE: Walsh was “looking to get something other than the standard Oval Office handshake grip-and-grin photo” (above). Although the AP has two full-time photographers at the White House, shooters sometimes have little time to look for different shots and alternative angles. 82
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BY THE NUMBERS 1
Average number of photos uploaded to AP per year:………...
2
Percentage of photos she uploads:……………….
3
Average starting salary for a member of the press corps:….
4
Number of hours at the White House per week:………...
5
Number of foreign leaders she photographs per month:……..
6
Number of times she’s been to Bush’s Crawford, Texas, ranch:…...
7
1,000 less than 5
$35,000 40 2 9 1
FRIENDLY RIVALRY: Walsh was the only photographer to em mphasize Spot the Dog in this shot of P President Bush Number of women photographers and Tommy Franks. Whe en he saw it, one in White House wire service:……... of Walsh’s colleagues re emarked to others in the press van that the event was about General Tom mmy Franks, not about the dog. Walsh th hought about it for a second, but sent the photo anyway. “The ne next day, I had a few front pages, and the other photographer PROTECTIVE PRESET: Scouting conceded, ‘I guess it is COVERAGE: Describes shooting locations about the dog!’ ” the press accompany- beforehand, and mark-
GLOSSARY OF WHITE HOUSE TERMS
“Washington still is a bit of a boys’ club”
ing the President wherever he goes off-campus, even when they’re not actually covering or reporting on it.
TIGHT POOL: The 13 members of the press corps that travels with President Bush everywhere (four photographers—AP, Reuters, AFP, and rotating magazine photographers)
POOL CALL: The time
EQUIPMENT
that press need to arrive for events; generally 8 a.m.
ing your spot with a tripod, stepladder, etc.
LID: The block of time for press to break, as announced by the White House, where they can leave or have lunch knowing that no events will happen.
FILE CENTER: The area set up for the White House press corps wherever the President travels, with telephone lines and Internet used to file news.
THE RACE IS ON
Because the White House press Briefing Room at 7 corps covers “official” Washington, a.m.’ If that’s 7 a.m. most events are preplanned: a meeton Sunday, it proba- ing with world leaders, for example, bly means the presi- or a public ceremony. Reporters and dent is going to photographers usually know the church. Or some- schedule of the day’s events beforetimes, if it’s 5 o’clock hand—and so does the rest of the in the afternoon, then world. So after a press conference, he’s going to dinner.” handshake, or talk, it’s a race among And while the the photographers to see who can president is having get the first images transmitted dinner or watching a back to their home offices and ready play, what’s Walsh and for publication. It’s a 180-degree the rest of the protec- shift from waiting. tive press doing in the motorcade? Waiting, A E of course.
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A. Two Canon EOS-
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I. Extra batteries for
1D Mark II bodies B. 70–200mm f/2.8L IS USM with UV filter C. 16–35mm f/2.8L USM with UV filter D. 24–70mm f/2.8L USM
USM F. Speedlite 580EX with tungsten gel and 220EX (for extra body) G. Assortment of 256MB and 512MB Lexar CF cards H. Verizon and Sprint wireless Internet cards
cameras and flash units J. Weekly schedule for official White House events K. Dell Inspiron Laptop L. Lexar Flash Memory card reader
POP PHOTO/NOVEMBER 2005
It’s this dichotomy of intimacy and distance that lies at the heart of being a White House photographer. Despite the fact that Walsh travels with the president everywhere he goes, she rarely interacts with him. Walsh has spent her last three summer vacations covering President Bush at his ranch in Crawford, Texas, but not as a guest at the ranch; instead, she’s based in nearby Waco. “We spend fractions of minutes with him,” she says.
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ABOUT THE PHOTOGRAPHER Susan Walsh, 40, is president of the White House News Photographers Association (www.whnpa.org). She’s been a staff photographer for the Associated Press for 14 years, and took part in AP’s Pulitzer Prizewinning coverage of President Clinton’s impeachment. Having originally planned to become an aerospace engineer at Boston University, she initially took a photography class to “boost up” her GPA.
“Walsh’s “office,” where she files her photos, is a tiny room attached to the White House press briefing room. “On days when a major foreign leader is visiting,” says her colleague Ron Edmonds (seated next to Walsh), “you can’t move back here.” POP PHOTO/NOVEMBER 2005
(C) KEVIN WOLF/WHNPA
UNDER CONTROL: While the White House has no say in which photos the news agencies use, they can control the angles that the photographers shoot from. For the shot of the President jogging (center), White House staffers led the photographers to a predetermined location, waited for him to pass by, then packed it up.
Case in point: President Bush’s recent meeting with the prime minister of Singapore. The talk ends with correspondents and photographers streaming back to the briefing room to phone in their reports and upload mages. Photographers are hudled over their laptops, browsing heir images with Photo Mechanic oftware, cropping and retouching n Photoshop, and making sure hat accurate captions are embeded with the files. “Are we on deadline [to make he Asian newspapers]?” Walsh sks. Her colleague, Ron Edmonds, nods. “How much do we need?” she asks. “Give them whatever you have,” he says. Within minutes of the event, Walsh’s photos are out to AP members around the world. “It’s the one job in Washington where a single picture can be on the cover of every paper in the country,” says Edmonds (whose photo of President Reagan’s assassination attempt ned him a Pulitzer his first week on the job). “You can’t lose too many times.”
How do you become a White House photographer? You’ll need to work for one of the major news organizations (AP, Reuters, Agence FrancePresse, etc.) that make up the press pool. Walsh’s relationship with the Associated Press started in 1987, when she tried to get work as a freelancer for the AP in Boston. For three weeks, she called in vain to see if they had any assignments for her. “Finally,” Walsh laughs, “on the 22nd day of me calling every single day, they took pity on me, and finally said, ‘We’ve got something.’” Walsh became a stringer for the AP (at the then-standard rate of $75 per assignment), then a daily newspaper photographer at the Springfield Union-News before being hired fulltime for the AP in Boston. Is this what she sees herself doing in 10 years? Walsh has no doubts. “Being a part of the White House press corps is a pretty good accomplishment, I think. I haven’t been able to figure out what tops this.” p
SERIOUS MACHINES FOR SERIOUS PHOTOGRAPHERS BY MICHAEL J. MCNAMARA
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PRINTER Canon i9900 www.usa.canon.com 800-432-2366
Epson Stylus Photo R1800
MAX DPI
www.hp.com
MAX PRINT SIZE
CONNECTION
4800x2400 dpi; 2-picoliter drop
8 individual dye inks: CMYK, PC, PM, R, G
13x19 borderless
Hi-Speed USB 2, USB 1.1, and FireWire
5760x1440 dpi; 1.5-picoliter drop
8 individual pigments: CMYK, R, B, PK, MK, gloss optimizer
13x19 borderless cut sheet; 13x44 panoramic with roll media
Hi-Speed USB 2 and FireWire
Black: 1200x1200 rendered dpi. Color: 4800-optimized dpi.
3 cartridges, 9 dye inks: CMYK, B, LC, LM, Lgray, Dgray
13x19 borderless
Full Speed USB 2, Ethernet
www.epson.com 800-463-7766
Hewlett-Packard Photosmart 8750
# OF INKS
QUICK INFO CHART
499 PRINTER
$
THE GREAT
PHOTO BY RICO POON; BACKGROUND GETTY IMAGES
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igital printers work equally well with images scanned from film and those shot with a digital camera. The major advantage of going the digital camera route is speed—you don’t have to wait for film processing and scanning. Some digital cameras also feature higher color accuracy than even the best films. So you can take advantage of the larger color gamuts on these three models (see the sidebar, “The Gamuts”).
B&W TEST PRINT
COLOR TEST PRINT
Color management: o get the best performance nd consistency from any d a califamiliarity with the color-management functions built into your imaging software (such a Photoshop CS or Photoshop Elements 3) or printer driver. All three of these printers ship with color profiles for a wide variety of papers and surfaces, and we found them to be more accurate than those shipped with less expensive printers. If you use Photoshop, see “48 Minutes to Perfect Prints...Forever” in our May 2005 issue for instructions on how to set color-management functions. When working with other programs, check the printer manuals for color-management features of Windows XP or Mac OS X.
Printer utilities & controls: tware functions, ink-level monitoring, and automatic image-enhancement. Printer head alignment should be done before using the printer for the first time and again whenever image quality deteriorates. Both the Epson R1800 and HP 8750 have automatic head alignment, which speeds setup. But during regular operation, image quality is affected more by clogged or dirty print heads, and cleaning those heads wastes a lot of ink. A little-known
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when the printer is not in use. So to get more mileage out of your inks (as much as 20–30 percent), print as many photos as possible in one session and then turn your printer off. When printing from a computer, automatic color correction and other enhancement options found in the print driver software should be turned off. Instead, fine-tune your ages using a dedicated imging program.
Input options: here are numerous conection options for both camera-to-printer partnerships on all three models. The Canon and Epson both feature Hi-Speed USB 2.0 and FireWire connections, while the HP offers slower USB 1.1 and fast Network (RJ-45) connectors. We prefer the Hi-Speed USB 2.0 and FireWire connectors on the Canon and Epson, which allow for faster printing speeds when attached directly to a computer or USB 2.0-equipped camera. But the HP network connection is a big plus for making prints from multiple computers. In addition, optional Bluetooth adapters, which are available for all three slow—connections from laptops and Bluetooth-enabled devices. PictBridge-enabled cameras can print directly from all three printers, and the Canon and HP also support their own camera brands. The Epson can read camera exposure and color space information from any camera with Print Image Matching (P.I.M. 2.0). Of the three direct-fromcamera options, PictBridge delivers the worst image quality, with hit-or-miss color accuracy, while Epson’s P.I.M. 2.0 feature offers the best color from more camera models. The HP 8750 is the only printer in this roundup with built-in slots for most POP PHOTO/NOVEMBER 2005
memory cards. It also includes basic image-correction functions to improve direct-from-card printing. This feature may be useful for making small prints in a hurry, but most serious photographers will seldom, if ever, use the direct printing capability for enlargements.
Size, speed, & sound: As maximum print size creases, so does the of the printer. But as the Canon i9900 proves, speed isn’t related to size. It may have the smallest footprint of the three, but it’s the fastest. Several factors affect the time it takes to make a big print. For example, using r media on the Epson R1800 shortens the pap enh drivers (sharpening, contrast, etc.) ham Being able to produce giant, borderless 13x19-inch prints sounds great, but doing so isn’t always practical. Borderless printing adds significantly to the printing time, and a bit of the image edge is always sacrificed in the process. Plus, it’s easier to handle prints with borders, and most precut mats overlap the edge of the print. It makes more sense to go borderless with 4x6- or 5x7-inch prints. The HP 8750 is the only one of the three with a front-load paper tray, which protrudes from the printer when loaded with 13x19-inch paper. Since the paper must be picked up and bent around rollers in the loading process, this printer is er and noisier.
Creative options: The manufacturers of all ree printers offer numerpaper types, sizes, and surfaces. The ability to handle larger and thicker media opens up new worlds for
fine artists looking to make larger prints on specialty photo papers, canvas, and archival matte papers available from third-party manu The Epson R1800 includes Matte Black ink, which improves shadow detail and image contrast on most matte or watercolor papers, while the Canon i9900 ships with an impressive array of software utilities that include PhotoStitch 3.1 for creating panorami The HP 8750 packs a poster-printing utility that lets you convert a single photo into multiple tile prints, a useful tool for creating wall-sized murals or backgrounds in a studio. Want to try your hand at creating greeting cards, multi-image prints ronn transfers? These printers give you the ability.
p CANON i9900
p EPSON R1800
Image quality & durability: printed both color and b&w ages from all three printers to test image quality, color gamut, driver options, and print speeds. (See results on the following pages.) But that leaves the question: How long will prints from these units last on display? While everyone agrees that display materials, temperature, humidity, ozone, and light levels all play a role in the display life (or dark-storage life in an album) of a given paper and ink combination, there are no universally accepted test parameters to determine display and darkstora However, two out of three manufacturers estimate display life for their best photographic papers based on accelerated test results from Wilhelm Imaging Rese om). These estimates give color prints made by the pigment-based Epson R1800 (on Epson’s Watercolor paper–Radiant White) the longest display life (at 200 years), followed by the HP 8750 using its Premium Photo Papers (108 years). No official figures are available on Canon i9900 prints.
The dye-sub alternative: The Kodak Professional 1400 printer ($450, reviewed in our April 2005 issue) is a similar-priced alternative to these Canon, Epson, and HP models. But it was designed for a purpose other than making 13x19-inch prints. It uses dye-sublimation technology, which permeates specially coated paper with colors that have been heat-transferred from a 3-color ribbon. The resulting prints are dry to touch, tear-resistant, and waterproof. They also exhibit a continuous-tone look favored by some over the super-sharp look of top inkjets. Those features—and the ability to pop out an 8x10inch print fast—are among the reasons why event photographers prefer the 1400 over inkjets. On the other hand, the 1400 isn’t economical for small prints (unless you gang them up on a sheet and cut them by hand), it doesn’t do a great job on text, it can’t do borderless, and there are few media choices.
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‹TEST RESULTS:
Image quality: Color prints show excellent color accuracy, best overall saturation (especially in yellow tulips), and good contrast. Close-up detail is higher than on the HP 8750 prints, and on par with the Epson COLOR prints. Black-and-white prints also show great detail, but have a slight overall magenta cast that takes time to correct. Speed: Extremely fast. 13x19-inch prints with borders, 3 BLACK & WHITE min 15 sec. Borderless: 3 min 45 sec.
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its class to offer borderless 13x19-inch prints. When we tested it for the September 2004 issue, we were impressed by its image quality, speed, and borderless printing capability, though a little concerned that its large size might be a handicap. But compared with the larger Epson R1800 and HP 8750, the Canon i9900 isn’t all that big. And the quality of its prints and how fast it spits them out, along with its feature set, may be why this is still Canon’s top-selling sub-$500 printer. How fast? At 3 min 45 sec for a borderless 13x19, it’s more than three times quicker than the HP and nearly twice the speed of the Epson. Smaller prints also fly out, with a borderless 8.5x11 taking just 1 min 3 sec, and a borderless 4x6 print taking only 44 sec. Color print image quality is excellent, and the i9900 also has the largest color gamut of the three. (The gamut is so large that we recommend you switch from Adobe RGB working space to Wide Gamut
Canon Pixma iP8500
RGB color space in Photoshop to take full advantage of it.) Canon provides very accurate color profiles with he i9900. On the other hand, ack-and-white printing requires tweaking to remove warm color casts, and printing color images using the grayscale option in the printer driver is not recommended. We’re fans of the i9900’s Hi-Speed USB 2.0 and FireWire connections. But older computers can still be hooked up to a separate USB 1.1 jack. We also like its eight transparent ink cartridges (CMYK, Photo Cyan, Photo Magenta, Red, and Green). Clear cartridges give you visual proof that you’re not wasting ink (unlike the opaque 3-color cartridges in the HP, or the single opaque inks in the Epson). Unfortunately, Canon doesn’t offer as many photo paper options as Epson, but the i9900 can handle fairly thick paper (up to 12 mil) and various third-party canvas, card stock, watercolor paper, and transparency media. Plus, it ships with a very useful software bundle that includes PhotoStitch and Easy-PhotoPrint 2.0 software. Neither Canon nor Wilhelm Imaging Research provide display life figures for the i9900, which is odd considering how long it’s been available. However, display estimates for Canon printers that use the same CMYK, PC, and PM inks (but not the Red and Green inks found in the i9900) are up to 38 years behind glass. Bottom line? If you’re looking to make beautiful, borderless enlargements for portfolio presentations, the i9900’s speed sure can save you time now. You can also count on it for making personal prints for home display, or quick gifts for friends and family. But this might not be the best choice for creating sellable fine-art prints. For that reason, we expect the replacement model for the i9900 to show up loaded with Canon’s new ChromaLife 100 inks sometime in 2006. NOTE: As we went to press, the i9900’s street price had dropped to $435.
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t EPSON INKS THIS IS THE PRINTER WE dreamed off when we reviewed the smaller Stylus Photo R800 (October 2004 issue). The Stylus Photo R1800 boasts th largest maximum print size of three in this roundup (up to 13x4 borderless prints), ships with color profiles for a wider variety of papers and surfaces (including Epson Water Color Radiant White and Premier Art Matte Scrapbooking Paper), includes roll paper holders and a built-in cutter, prints on coated CDs and DVDs, and produces prints with the longest estimated print life (100–200 years for color and b&w). The R1800 and the R800 share a common bond—they are the only models with Epson’s UltraChrome Hi-Gloss pigment In total, the R1800 holds eight car-
EPSON Stylus Photo R1800 tridges—CMY, Red, Blue, Matte Black, Photo Black, and Gloss Optimizer—but it’s really a 6-color printer. Only one of the black inks is used at a time (based on the type of paper) and the Gloss Optimizer is a clear overcoat that adds a layer of protection and a glossy look to plain and matte papers. It also improves black density on many photo papers. In comparison, the Canon i9900 uses up to eight inks at a time, and the HP 8750 uses up to nine. Since the Micro Piezo print head in the R1800 is capable of producing ultra-small 1.5-picoliter drops, its color gamut is nearly as large as the Canon’s, with deeper reds and darker blacks (especially on matte papers with the Matte Black inks). Overall image quality and color accuracy are excellent, but we found the Epson profiles for Premium Glossy and Luster papers produced slightly dark prints. Brightness or curve adjustments easily solved the problem.
The R1800 makes neutral and stunning b&w prints when sent b&w/RGB files (color images converted to grayscale in Photoshop to remove all color, enhanced, and then saved as RGB files for printing). But its grayscale setting is relatively useless for converting color images. (If you’re looking for super b&w capability, consider the $799 Stylus Photo R2400.) There are also some design elements of the R1800 that we like, including its automatic head alignment, spring-loaded front-catch tray, and red LEDs that light up to identify empty ink cartridges. Separate, and intelligent ink cartridges are also a big plus, but we wish they were transparent so we could see the ink Want excellent image quality, the ability to make huge panoramic prints, long display life, and lots of media options? If you don’t mind waiting about seven minutes for a borderless 13x19-inch print, the Stylus Photo R1800 is a super choice.
Epson Stylus Photo R800
‹TEST
RESULTS:
p COLOR
Image quality: Color prints show excellent color accuracy and image quality, with great detail in magnified areas. In a test print, flowers under swan were more purple than blue (as on the others). BLACK Slightly cooler green tones and lower yellow saturation than Canon, but pink and red flowers really pop. Contrast is a bit less than Canon, but better than HP. Black-andwhite prints were the most neutral and pleasing out of the three printers, with great shadow and highlight detail, and best black density on matte paper. Speed: Fast: 6 min 48 sec for borderless 13x19; 3 min 26 sec for borderless 8.5x11; 1 min 49 sec for borderless 4x6; 1 min 21 sec for 4x6 with borders.
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color image for driver conversion to grayscale (where both he Canon and Epson fail) or a etouched b&w/RGB image file. owever, close-up details aren’t sharp or clear as on prints from anon and Epson, and there’s a confusing array of profiles that load with the 8750. This glut of profiles can be solved by using the Colorsync or ICM 2.0 option in the printer driver instead of choosing the profile in Photoshop’s print screen. HP and independent tests estimate the print-display life of HP’s nine Vivera Inks (CMYK, light cyan, light magenta, blue, light gray, and dark gray) and Premium Plus Paper at over 100 years, or up to 200 years when stored in an archival album (dark storage). That’s impressive for a dyebased printer.
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‹TEST RESULTS:
Image quality: Extremely high color accuracy, but with a bit less detail in magnified areas than the other two. Prints made using HP profiles had the lowest contrast, easily fixed in Photoshop. Black-and-white prints could pass p COLOR for custom lab prints, with the slightly warm cast of premium b&w photo papers. Speed: The slowest—13 min for borderless 13x19. Borderless 8.5x11 prints: 6 min 8 sec. p BLACK & WHITE Borderless 4x6 prints: 3 min 45 sec.
to two kinds of photographers—those who want quick, computer-free 4x6- and 8x10inch prints from memory cards and those who like to spend hours retouching, enhancing, and enlarging their best images. In its favor, the Photosmart 8750 produces beautiful borderless prints up to 13x19 inches, has a straight paper path in the rear for thicker media and can be hooked up to a computer network without an adapter. The LCD also shows you ink levels and lets you select images (by number only) and print sizes from CF (Type I & II), Microdrive, MS, MMC, SD, and xD-Picture cards. And HP’s Printzone software bundle includes stitching and web conversion software, plus va poster-print utility. Color prints from the 8750 look great, especially when using the supplied printer profiles and the Tri-color, Blue Photo, andGray Photo ink cartridges (the best set for color and neutral b&w printing). It also does a great job of producing neutral or toned b&w prints, whether it receives a
HP’s Photosmart 8250
If you don’t plan to network the 8750, you won’t be happy with its sluggish USB 1.1 connector, which contributes to the slow print speed (13 min for a borderless 13x19-inch print) and mediocre card-reading speed. You might also be dismayed by its frontloading tray, which takes more time to bend media around to the print head and is noisier than the gravity-feed systems on the Canon and Epson. Also, this is the only printer in its class that still requires a external power supply. All three of its ink cartridges contain multiple inks (for a total of up to nine used at one time), and its prints require some drying time before they’re ready for handling. There are also fewer fine-art or photo papers available from HP, but with a bit of color and contrast tweaking, the 8750 should work with a variety of third-party inkjet papers. Nonetheless, this is a high-quality photo printer that can stand on its own, perform well as part of a network, or be tethered to your favorite workstation. p
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WANT TO SHOOT LIKE A CHAMP? 10 REASONS YOU NEED A HANDHELD METER IN YOUR CORNER
Light Heavyweights
THE HANDHELD METER TODAY may seem like a quaint relic (a companion only to a meterless classic camera), an affectation (an accessory only for the likes of Austin Powers), or an unnecessary extravagance (it does not take pictures, light them, or print them). But today’s top handhelds are not your father’s Weston Master II. They combine flash and ambient light measurement, reflected and incident readings, and features that let you compare and analyze light sources. Need a reason to consider a handheld? Here are 10:
SPEED:
Yes, speed. Think about it: you have your camera on a tripod with a big lens, composition exactly as you want it, exposure comp values set, dedicated flash units set for exact fill ratios…and now you’re going to re-aim the camera and fiddle with it for a spotmeter check? Untethering the meter from the camera speeds up both the quick check and the careful light analysis.
REAL SPOTMETERING:
The spotmeters in many cameras are really “fat spots,” or limited-area meters that might take in 10 percent or more of the frame area—and that’s not a spotmeter in our lexicon, particularly if you have a wide-angle optic mounted. Handhelds with spot viewfinders, on the other hand, provide narrow spot readings of 1 degree, a real boon if your reference tone is a very small area in the frame. This also gives you a quick check on how your camera’s evaluative metering compares to a reference tone in the scene.
EV LEVELS:
Most handhelds give you the option of reading light levels in EV, which translates stops into a simple whole-number sequence. The difference between EV 11.3 and EV 8? That’s easy—31 ⁄3 stops.
CONTRAST RANGE AT A GLANCE: Handhelds can display the range of several exposure readings on a linear scale, so, without further calculation or counting on your fingers, you can see the range of illumination in stops from highlight to shadow, or even how the exposure range fits into the latitude of the film or digital capture you’re using.
INCIDENT READINGS: Your camera’s built-in meter, no matter how many patterns or modes it may have, can measure only reflected light—the light bouncing off your 95
Bits and Pieces
Sekonic and Gossen meters have tripod sockets (1); Konica Minolta does not. Retractable domes (2) allow meter to make narrow-angle readings. Gossen and Sekonic have them; Konica Minolta uses optional flat diffuser ($18 street). DIP switches in the Gossen’s battery compartment (3) allow customization of meter; Konica Minolta and Sekonic do it via custom setting. Both methods are cumbersome. Socket in the Sekonic’s battery compartment (4) takes a transmitter for a Pocket Wizard wireless trigger. With meter at the subject position, point the diffuser dome at the camera (5) for an incident reading; it works with front light, backlight, or sidelight.
subject, back to the camera. Very light toned or dark-toned subjects can therefore throw reflected readings off. (Photograph a black cat at the exact reflected spot reading of her fur and you’ll get a picture of a gray cat.) The incident domes of handheld meters instead read the light falling on the subject; readings are not influenced by the subject’s reflectivity. So
QUICK AVERAGING: tiple readings in succession then averag ing them into a single reading.
from straight meter readings.)
CRIMPING YOUR CHIMPING: AN AUTHORITATIVE SECOND OPINION: Meter readings on your camera seem out-of-whack? Getting consistently light or dark exposures using TTL metering? A good handheld meter provides a check of the meter in your camera.
Some say that digital photography has made the meter obsolete: you can just check your exposure on the playback monitor (along with the histogram and, often, highlight warnings) and adjust it accordingly. We’re all for checking the histogram—a
Supermeter p Comparison p
All these meters can take ambient light readings, plus flash readings with or without a sync cord, and can show readings simultaneously for two different ISOs. All can take wide-area incident readings, narrow-angle (flat diffuser) incident readings, and reflected 1-degree spot readings through a built-in optical viewfinder, and can all be switched over to cine settings. If you’re willing to forego the spot viewfinder, all three companies offer compact handheld meters with most or all of the features of the top-end models, at a substantial savings, as we’ve noted.
Meter: Gossen Starlite Price: $650 street Battery: Single AA cell Info: www.bogenimaging.us g g g Ph: 201-818-9500
Meter: Konica Minolta Flash Meter VI
Meter: Sekonic Dualmaster L-558R
Special Features:
Special Features:
• Shows ratio of flash to ambient light • Can determine exposure from highlight
• Weatherproof • Takes transmitter for PocketWizard • Auto LCD illuminator • Reads multi-pop flash • Shows flash/ambient ratio • Has preset corrections for
Price: $430 street Battery: Single AA cell Info: kmpi.konicaminolta.us p Ph: 888-473-2654
Price: $500 street Battery: Single CR123A lithium cell Info: www.sekonic.com Ph: 914-347-3300
Special Features:
• Weatherproof • Auto display illuminator • Reads multi-pop flash • 1- and 5-degree spotmeter • Can continuously scan light levels with one button press & display range
• Fast averaging button • Readouts for Zone System Comments: No exposure data in the viewfinder. Incident dome retractor collar sets all reading modes. Lower-Cost Alternative: Gossen Digipro F ($250) has most of the capabilities of the Starlite, except for viewfinder spotmeter. 96
or shadow reading
• Shows where exposure falls within latitude of film or digital capture
Comments: Viewfinder shows f-stop or EV level. Can’t spotmeter non-cord flash. Lower-Cost Alternative: Konica Minolta Auto Meter VF ($220 street) has the functions of the Flash Meter VI, can be fitted with an optional 5-degree spot viewfinder ($100 street). WWW.POPPHOTO.COM
seven common filters
Comments: Best spot viewfinder of the bunch, shows f-stop and shutter speed, EV, exposure comp; has fine diopter adjustment. Lower-Cost Alternative: Compact Sekonic Flashmate L-308S ($180) does everything but take spot readings. POP PHOTO/NOVEMBER 2005
• to mention that the image on that low res LCD monitor is a poor approximation of the real picture. A good handheld lets you set the right exposure before, not after, the shot.
FLASH MEASUREMENT:
Forget about all the other reasons; this alone is more than ample justification for getting a handheld. Sure, maybe your DSLR can automatically set exposure with multiple dedicated flash units. But what about using nondedicated studio flash units… with a background or hair light…with your old Vivitar 283 slaved for a fill light…with a couple of minislaves taped here and there? With a handheld, you can make an overall reading of any flash setup with one pop. Then you can switch to spot or flatdiffuser readings to check highlights and shadows in the scene, and adjust your flash units accordingly. This is why anybody who does more than a little studio photography uses a handheld. Period.
COMBO READINGS: Take a flash reading with a handheld. Without even taking a breath, take an ambient light reading, and compare them at a glance. Some meters can also show you the ratio between flash and ambient light, and display how changing camera or flash settings will affect this ratio. p
And what do you do with that reading? The simple answer is to use a gray card, placed in the scene in the same light with your subject. No gray card? Aim the spotmeter at something close in tone to a medium gray. (Ignore color, just worry about lightness or darkness.) If you’re photographing a person, look for a mediumtoned article of clothing. Rocks are often approximately midtone. Green grass in sunlight, and cloudless northern blue sky are also close matches. The most accurate way to spotmeter, though, is to make a set of reference photos showing a midtone plus exposure variations under and over the standard exposure. It’s easy with a digital camera.
• Set your camera for the parameters you commonly use (e.g. vivid or normal color). You can use a small file size (1MP) and high compression. • Photograph an evenly lit gray card, or an even-colored, uniformly lit wall outdoors. • Use your spotmeter to take a meter reading of the card or wall. • Take a series of pictures of this reference tone, using exposures from two stops below to two stops above the meter reading, in half-stop (0.5 EV) increments: –2, –1.5, –1, –0.5, meter reading (0.0), +0.5, +1, +1.5, +2. You can use third-stop increments if you prefer.
• Slide shooters: You can do the same with your most-used film. Get mounted slides of the exposures, label them with their exposure level, put them in a clear slide sleeve, and fold it up to fit a pocket or bag. Now, when you’re shooting, look for an important tone in the scene, and take a spotmeter reading. Look through your reference photos and find the brightness level that you’d like that scene detail to match. Now reduce or increase the exposure to the level in your chosen reference tone. For example: your spotmeter reading of the rock face is 1/125 sec at f/11, but you’d like it to be as bright as the –1.0 EV (one stop under) reference image. So reduce exposure to 1/125 at f/16. Sound tedious and time-consuming? You bet it is. You wouldn’t take many pictures if you finagled every exposure this way. Let’s get real: In most situations, your camera’s TTL metering or a handheld incident meter reading is the way to to go. But, whenever you have the time, comparing spotmeter readings to reference tones is an excellent exercise for your photographic eye. Do it often enough, and you won’t even have to look at your reference exposures—you’ll know by experience that a tone in the scene should be, say, a stop over or half-stop under the spotmeter reading.
Speed p Readingg
An incident reading with the hemispheric diffuser is the fastest way to get a good overall exposure for a scene. Hold the meter close to your subject with the diffuser dome pointing at the camera position and take a reading. That’s it. Note that with backlit and sidelit subjects, an incident reading will give you an exposure for full detail in your subject. Using a flat diffuser (done by switching the diffuser, or retracting the dome, depending on the meter) makes the incident reading angle much narrower. This is best for determining the relative strength of the light falling on the scene. In this case, the diffuser is held near the subject as before, but aimed at the light source, not the camera. For example, in a studio flash setup, you could aim the diffuser at a fill light for a reading, then at the main light, and compare the two. Confine this difference to three stops or less, and you’ll keep it within the range of slide film or digital capture. POP PHOTO/NOVEMBER 2005
WWW.POPPHOTO.COM
97
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HOW WE LOOKED AND WHAT WE WROTE BACK THEN…BY JASON SCHNEIDER
25
YEARS AGO COVER: NOVEMBER 1980
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1. Poignant still life of a faded flower on a rusted sign on 3 our November ’80 cover is by Alan Porter, whose portfolio is in this issue. He placed his tripod-mounted 35mm SLR directly over the flower and exposed for 8 sec at f/22 on Kodachrome 25 film, using white cards for fill. 2. Less is more: Minimalist image of wilting flower on weathered metal is from cover photographer Alan Porter’s “Summer Echoes” portfolio. To reduce contrast, he white fill-cards and mirrors 2 “to add more ight and still keep its diffuse uality.” 3. Automatic Olympus OM: med at ama-
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YEARS AGO COVER: NOVEMBER 1955
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teurs, the OM-10 was an autoexposure-only 35mm SLR with OTF metering and flash-exposure confirmation. Its unique feature: A manual adapter let you set shutter speeds and apertures. Camera sold well; adapter didn’t. 4. Emotional expression: Wistful image by “Tools & Techniques” columnist Cora Wright Kennedy captures her “feelings when her father’s health was failing.” Camera: rangefinder 35mm with 90mm lens. 5. “Macrophotos From 100 Feet...Up!” is the provocative title of Donald R. Perry’s article on how he rigged climbing ropes and endured bat droppings to take unusual treetop closeups, such as this appealing portrait of a rear-fanged vine snake.
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1. Striking image of model June Elliot gracing our November ’55 cover was taken by internationally renowned art photographer Jerry Uelsmann 3 (then spelled Yulsman). He used a 4x5 Linhof with 150mm f/4.5 Xenar lens, shot at 1/2 sec and f/5.6 on Ektachrome Daylight Type film. 2. Shoot yourself! Intriguing self-portrait of photographer John Bryson (left) and a buddy on a Boston street was made with a Leica and self-timer. Image is from “How to shoot yourself” by William E. Henning. 5 3. Fabulous ’50s family: This clean-cut group ran in “Family Portraits” by William J. Carter, a primer on avoiding mistakes like “monotonous rows of heads,” “awkward-look WWW.POPPHOTO.COM
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ing legs,” and “prominent arms.” 4. Budget-priced 35: Edixa Rangefinder Model C offered coupled rangefinder, a rapid-winding lever, shutter speeds to 1/200 sec, self-timer, and a so-so 43mm f/2.8 Isconar lens for only $49.95. It was a popular starter camera. 5. Something fishy: Underwater? Nope, it’s an aquarium shot, made by placing two No. 5 flashbulbs on each side of the tank. Photo ran in “Your Aquarium—An Underwater Color Studio” by Arthur Bleich.
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Vertical redeye shoe-mounted flash doesn’t proredeye when I hold my SLR horizontally, but it does when I shoot verticals. Since the angle between the lens and flash axis to the subject’s eyes doesn’t change, shouldn’t the light illuminate the retina the same way from either orientation? Why doesn’t it? T.L. GRIMES VIA E-MAIL
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CL-ya later e used to be a converter that an MS76 1.5-volt battery and converted it to 1.35 volts for use in Leica CL and Leitz Minolta CL rangefinder cameras. Is this still available? My only alternative is a 1.5-volt MX625 cell. JOHN BENYON VIA E-MAIL 144
INC.
(continued on page 146)
TECH SUPPORT (continued from page 144)
t use a 1.5-volt cell without a erter because it will not give accurate exposure readings. You want the MR-9 converter ($29.95), made by C.R.I.S. Camera Services of Chandler, Arizona (www.criscam.com; 800-2167579). C.R.I.S. recommends using a 386 1.5-volt battery with it. Retro fits? wn a Nikon N80, and always med that all Nikon autofocus lenses would work on all Nikon SLRs, film or digital. Please don’t tell me I can’t upgrade to a Nikon D50 or D70 and use my existing lenses! Do I have to trash all my Nikon lenses if I want to go digital? CHRIS LAUDANI SPRINGFIELD, MA lutely not! Almost all current and e AF Nikkor lenses that work on 35mm Nikon SLRs will also work on Nikon DSLRs. The only lenses that won’t are old manual-focus Nikkors, which will mount on digital Nikons, but won’t couple to the metering system. The incompatibility, when it exists, works the other way around. DX-series Nikkor lenses, which are designed to cover the smaller digital format, will not work on Nikon 35mm SLRs because they won’t cover the larger 24x36mm film format. Take the test ke to test my just-repaired lens, don’t have access to an optical lab. Where can I get a lens test kit? MOSHE MARTON VIA E-MAIL und Industrial Optics (www.eddoptics.com p ; 800-363-1992) sells a Resolving Power Chart, catalog number NT83-001 ($18.95). It measures 24x36 inches for easy wall mounting and comes with complete instructions. Make a date etimes, I incorrectly set the date/ stamp on my digital camera. How can I correct this in the metadata that’s attached to my images, using Photoshop or any other program, either individually or, preferably, as a batch? LASZLO EGER BOSTON, MA 146
(continued on page 149)
TECH SUPPORT (continued from page 146)
ortunately, an image’s date/time p is not a part of its editable metadata. So to switch the date on a set of pictures, you’ll have to add a separate utility. There are a number of downloadable shareware programs available on the Internet. Two examples: AttributeMagic Pro (www.elwinsoft.com f m)), which lets you redo dates and times of any kind of file in batches, and Exifer (www. f friedemann-schmidt.com m)), which allows you to manipulate (or delete) all of the EXIF F data. In sync cently bought a Nikon Coolpix 0 and a Nikon SB-800 AF Speedlight. This camera does not have Nikon’s wireless flash capability, so I must use a connecting cord for offcamera flash. I’d like to add a second and possibly a third off-camera flash, probably using Nikon SB-600 units. How do I set this up? Can the camera control more than one off-camera flash in TTL mode? CHARLES CALLAHAN VIA E-MAIL Nikon SC-28 TTL Off-Camera Cord lets you use your SB-800 off camera with full automation. You can connect additional SB-800 units directly to the first Speedlight with the TTL Sync Cord SC-26 (5 feet) or SC27 (10 feet). To connect an SB-600 AF Speedlight (which doesn’t have a builtin cord connector) you’ll also need a Nikon AS-10 TTL Multi-Flash Adapter. Any of these setups will give you TTL flash automation. According to Nikon, you can use up to five Speedlights this way, but are limited to a total connector cable length of 33 feet. Unresolved issue disappointed with the image qualget when I project a slide show on a 4x5-foot screen with my digital projector. I scan my slides in TIFF format with a Minolta DiMAGE Scan Dual III, then burn the images onto a DVD using an HP DVD300i DVD writer. The projector is an InFocus X2. I use ArcSoft ShowBiz DVD 2 and ArcSoft DVD SlideShow to create my presentations. Would different software give me better results? The picture on my (continued on page 150)
149
TECH SUPPORT (continued from page 149)
17-inch monitor looks great, but I lose a lot of resolution in recording the show on a DVD and projecting it. PETER DIRNBACH VIA E-MAIL problem isn’t your software. It’s the ations of the DVD format and your projector’s maximum resolution. Even if you’re scanning slides at the scanner’s highest resolution setting, those files will be resampled to only 720x480 pixels by DVD SlideShow to conform to DVD standards. The InFocus X2’s pixel resolution is only 800x600—just a little larger than the maximum resolution of DVD video. Even when you send the images directly to the projector from a computer, your monitor looks better because it is smaller and likely has higher resolution and better color. Remember that the recommended viewing distance of any video is twice the screen height. That’s 8 feet for a 4foot-high screen, or about 19 inches for most 17-inch-diagonal monitors. If you sit closer than that, you’re more likely to notice the pixels on your screen. Two vs. one going to buy a Nikon D50. I have option of getting either a pair of Nikkor zoom lenses (18–55mm and 55–200mm) or one 18–200mm Sigma or Tamron zoom. The prices are about the same. Any suggestions? PAUL CASTENHOLZ COLORADO SPRINGS, CO superzooms improve (thanks to nces in lens design and aspherics), it gets more difficult to answer this. In POP PHOTO’s lens tests, the Sigma controlled barrel distortion slightly better at 18mm (1.19% vs. 1.30%), while the Nikons boast significantly closer focusing (1:3.4 at 200mm compared with the Sigma’s 1:4.5). The Nikon’s 55–200mm’s SQF performance also shows noticeably better sharpness than the Sigma’s at 200mm. It comes down to this: If you shoot a lot of closeups and don’t mind switching lenses in the field, consider the Nikons. Otherwise, go with either the Tamron or Sigma superzoom for sheer convenience. Got a question? E-mail us at
[email protected] p f . 150
p
WHAT’S UP WITH… BY DAN RICHARDS
THE GUIDE NUMBER SYSTEM is an old one, used for fully manual flash units. So what use is it today? Actually, it’s pretty useful. First, a history of Guide Number: in the era known as “Back Then,” there was no such thing as autoflash. When your electronic flash (or flashbulb) fired, it just pumped out as much light as it could. Some units had a half-power and maybe a quarter-power switch. You controlled flash exposure by opening up or closing down the lens aperture. The farther the flash from your subject, the weaker the illumination, so as you moved back, you opened up your lens. Moving closer, you stopped down. Flashes usually had a dial, showing which f-stop to use at what distance. You could also figure this via its Guide Number (GN). Say your flash unit had a Guide Number of 80 with ISO 100 film. Since GN = f-stop x flashto-subject distance, you’d just divide one factor (f-stop or distance) into the GN to get the other. At 10 feet, you’d use f/8; at 20 feet, f/4. With an f/2 lens, you’d know your maximum flash distance was 40 feet. GN thus became a quick-and-dirty way to compare the power of flash units, which is how it’s most often used today. There’s only one problem: it’s the worst possible way to compare flash output. GN says nothing about flash coverage, for example. What GN does offer is a check on the limits of that auto flash on your film or digital camera. If the maximum aperture of your lens is f/4, and the GN is 80, you know that your flash will be good out to 20 feet, no more. Switch to an f/2 lens, and you can go out to 40 feet. If you want to use f/8, you’ll know to be 10 feet or less from your subject. If you have a zooming flashhead, GN changes with position: higher at tele, less at wide-angle. Consult your manual for the numbers. GN increases with higher ISOs. Go from ISO 100 to 200, and GN goes up 40 percent (1.4X). Go from ISO 100 to 400, and GN doubles.p 159
SHOWCASE
VIETNAMESE-AMERICAN PHOtographer An-My Lê’s book, Small Wars, encompasses three projects: “Viêt Nam,” images from trips to the land of her birth; “Small Wars,” pictures of Vietnam War reenactments in America; and “29 Palms,” pictures of soldiers training in California for combat in Afghanistan and Iraq. When Lê first began photographing in Vietnam she avoided images of war, focusing instead on pictures of people and the landscape—imagining, she says, the kind of childhood she could
have had if the war hadn’t taken place. But the theme of her work grew increasingly ambiguous, from images of birds taking flight, blurred to resemble smoke from an explosion, to whizzing kites that looked like dive bombers. She realized she needed a way to address the war. And when she heard of the American reenactments, she joined them, carrying her 5x7 view camera. She finished “Small Wars” just as the war in Iraq began, and got permission to photograph at the 29 Palms Marine base, where she donned a flak
jacket and joined the units on drills. At first, these black-and-white photos seem to document war. But no image captures conflict in real time; the soldiers are either reenacting the past or preparing for the future. In all, Lê says Small Wars (Aperture, $40) raises questions about “the idea of war as a myth or as something romantic.” The beauty of the book’s images reveals a dalliance with that romance, but the pictures’ circumstances make those complex questions unanswerable. —Debbie Grossman
© AN-MY LÊ (5)
AN-MYLÊ
