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CONTENTS

WorldMags.net August 2014

Scenic

Travel

Wildlife

Sports

Vol. 30 No. 7

66 [ FEATURES ]

42 BEST OF ASSIGNMENTS

[ H O W-TO ] 52 B&W IN HARSH LIGHT

The best of the B&W Assignments submissions from outdoorphotographer.com

The often-shunned midday conditions can yield surprisingly good results—when you’re thinking in black-and-white Text & Photography By Rick Sheremeta

46 BACK TO B&W

60 SEE IN B&W

A lifelong student of the medium, photographer Tony Hertz makes digital black-and-white landscapes with a wet-darkroom sensibility

How to train your eyes to predict how a scene will look before you take the picture

By William Sawalich Photography By Tony Hertz

82 TRAVEL THE WORLD IN B&W Eliminate color to create richer images and more evocative stories of people, places and cultures

T R AV E L

Text & Photography By Ibarionex Perello

66 THE MUSE OF MONOCHROME If black-and-white landscape photography was an earthquake, Yosemite would be the epicenter

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Outdoor Pho

MORE On The Web

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Visit Your Favorite Places: Photographers from all over the world are sharing favorite nature photography locations. You can, too! Learn About New Products: Exciting new products featured in OP’s In Focus section appear earlier on the website. In addition, you’ll see the latest news releases from many different photo companies right away.

The OP Daily Blog: Posts from photographers Michael Clark, Jon Cornforth, Michael Frye, Jay Goodrich, George Lepp, Jerry Monkman, Ian Plant, Christopher Robinson, Joseph Rossbach and Kevin Schafer. OP Forums: Connect with fellow OP readers and discuss your passion for nature photography and outdoor adventures in our Outdoor Photographer Forums

Outdoor Photographer (ISSN: 0890-5304)—Vol. 30 No. 7—is published monthly except bimonthly Jan./Feb. by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Periodicals Postage Paid at Los Angeles, Calif., and additional mailing offices. Single copy price—$5.99. Annual subscription in U.S., Possessions, APO/FPO—$23.94. Canada—$38.94; other foreign—$38.94, including postage and taxes. Payable in U.S. funds. For orders, address changes and all other customer service, phone toll-free (800) 283-4410. POSTMASTER: Send address changes to Outdoor Photographer, Box 37857, Boone, IA 50037-0857. Canada Post Publications Mail Class Agreement No. 1559788. See magazine mast for specific information on solicited and unsolicited contributions and the purchase of back issues.

6 Outdoor Photographer outdoorphotographer.com

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Photographer

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Editorial Editor Christopher Robinson Senior Editors Maggie Devcich, Wes Pitts, Mike Stensvold Associate Editor David Willis Assistant Editor Ashley Myers-Turner Copy Editors J. Ana Flores, Kristan Ashworth Field Editor George D. Lepp Columnists

Elizabeth Carmel, Bill Hatcher, Dewitt Jones Bob Krist, Frans Lanting, George D. Lepp David Muench, William Neill Contributing Technical Editor

David Schloss Contributing Editors

Jim Clark, Jon Cornforth, Mark Edward Harris Lewis Kemper, James Lawrence David Middleton, Rob Sheppard, Jon Sienkiewicz Professional Advisors

Daryl Benson, Jim Brandenburg, Carr Clifton, Daniel J. Cox Bruce Dale, James Kay, Robert Glenn Ketchum David Muench, Marc Muench, Michael Nichols John Shaw, David Stoecklein, Art Wolfe

Art Art Director Kurt R. Smith Assistant Art Director Eric Beckett Graphic Designer Candice Ota

www.outdoorphotographer.com Online Director Wes Pitts Web Art Director Mike Decker Web Developer Damian Greene Web Production Associate Lisette Rose

Imaging Group Editorial Director Christopher Robinson Executive Art Director Kurt R. Smith

PRINTED IN THE U.S.A. Outdoor Photographer is published by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Email us (editorial matters only) editors@outdoorphotographer.com or visit our website at www.outdoorphotographer.com. Copyright © 2014 by Werner Publishing Corp. No material may be reproduced without written permission. This publication is purchased with the understanding that information presented is from many sources for which there can be no warranty or responsibility by the publisher as to accuracy, originality or completeness. It is sold with the understanding that the publisher is not engaged in rendering product endorsements or providing instruction as a substitute for appropriate training by qualified sources. EDITORIAL SUBMISSIONS: Outdoor Photographer assumes no responsibility for solicited or unsolicited contributions and materials. Submissions for review should be limited to no more than 40 duplicate photographs. We do not accept original transparencies or negatives. Otherwise, insurance for such materials, in transit or in our possession, must be the responsibility of the writer or photographer. Outdoor Photographer does not accept or agree to the conditions and stipulations printed on delivery memos, packing slips and related correspondence as they are presented without prior notice accompanying submission materials. Exceptions to this disclaimer of liability on the part of Outdoor Photographer must be prearranged, executed in writing and signed by both parties prior to the shipment of materials in question. All submissions must be accompanied by a self-addressed, stamped envelope (SASE) with sufficient postage to cover the cost of return. The class of mail and insurance coverage for returns will be determined by the amount provided for on the SASE. Writer/photographer guidelines are available on request, with the enclosure of an SASE. SUBSCRIBERS: Any obligation we owe to you, including delivery of your magazine, is contingent upon you providing us with your correct mailing address. If the Post Office notifies us that your magazine is undeliverable, we have no further obligation to you unless we receive a corrected address from you within two years of the Post Office notification. BACK ISSUES are available for one year prior to the current issue. To order within the U.S., send $7.00 plus $4.00 postage and handling (Canada: $7.00 plus $5.00; International: $7.00 plus $10.00) for each issue to Back Issue Dept., Outdoor Photographer Magazine, 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, or go online and visit the eStore. No orders processed without proper funds and specific issue information. Outdoor Photographer is a registered trademark of Werner Publishing Corporation. Copyright © 2014 Werner Publishing Corporation. All rights reserved. Reproduction in whole or in part without permission is prohibited.

To Subscribe Or For Subscription Questions: www.outdoorphotographer.com or (800) 283-4410 or email OTPcustserv@cdsfulfillment.com

Member, Alliance for Audited Media

8 Outdoor Photographer outdoorphotographer.com

Member

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cover shot

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Photographer: Daniel Seeks Location: Alabama Hills, California Equipment: Canon EOS 5D Mark III,

Canon EF 16-35mm ƒ/2.8L USM, Gitzo tripod, Markins Q10 ballhead Situation: Daniel Seeks and a friend were out in the Alabama Hills on a quick three-day photo road trip in March 2013 when he took this photograph. It’s an outstanding example of being in the right place at the right time. So much about landscape photography, and, particularly, black-and-white landscape photography, hinges on the sky. In this case, a somewhat commonplace location is transformed into a majestic and timeless photograph by the remarkable and temporal element of the dramatic sky. Seeks tells the story of how he took the photo: “The first day, we didn’t get any really interesting weather or clouds, just a lot of clear skies and harsh sunlight. Toward the end of day two, we noticed these amazing clouds forming above the valley. It was clear to the west, with a line of clouds rolling and churning in place covering everything to the east. I’ve shot the Alabama Hills many times before, and when I saw these clouds forming, I knew of a few locations that were facing the right direction. We hustled over to the first location, right off Old Movie Road, where I got this shot. The photo was processed using Photoshop CC and Nik Silver Efex Pro 2.” This photo was sent in to the B&W Assignment in May. For layout purposes, we flipped the photo. It’s shown above in its correct orientation. There are new Assignments weekly, and we publish the best submissions in the magazine and even on the cover. Go to outdoor photographer.com to enter your photos.

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Outdoor Give your lenses multiple lives. WorldMags.net Photographer

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outdoorphotographer.com Advertising/Sales Los Angeles (310) 820-1500, Fax (310) 826-5008 Scott Luksh Eastern Advertising Sales Manager Mark Harris Senior Advertising Sales Manager Michael E. McMann Senior Advertising Sales Manager Matt Price Advertising Sales Manager Claudia Warren Senior Advertising Coordinator Siobhan Valentine Advertising Coordinator

Marketing

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Basak Prince Marketing Manager Kent Lam Digital Marketing Coordinator

Production/Manufacturing Jesse Garcia Production Director Maggie Devcich Editorial Production Manager Tammy Reyes Production Manager

Consumer Marketing

Performance and value. 800/735-4373 hpmarketingcorp.com

Dan Regan Consumer Marketing Director Liz Engel Consumer Marketing Manager Sue C. Wilbur Data And Web Analytics Manager Joanna Rutkowska Online Advertising Operations Manager Tom Ferruggia Newsstand Sales Manager

Business/Operations Lorie Shuman Finance Director Denise Porter Accounting Assistant J. Ana Flores Trademark & Copyright Manager Jason Rosenwald Systems Manager Aida Manicom Administrative Assistant

Werner Publishing Corporation 12121 Wilshire Blvd., Suite 1200 Los Angeles, CA 90025-1176 (310) 820-1500, Fax (310) 826-5008 www.wernerpublishing.com Steven D. Werner President Lynne Irvine Vice President

To sell Outdoor Photographer at your establishment, contact: RetailVision, (800) 381-1288 or rvmags.com/contact.asp For reprint information, contact: Advertising/Sales, (310) 820-1500 For digital editions: zinio.com/outdoorphotographer For an extensive archive of back issues: www.outdoorphotographer.com For website help: web@outdoorphotographer.com

10 Outdoor Photographer outdoorphotographer.com

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in this issue

The critical point was that the printer wasn’t just taking wild stabs and hoping something would work. This was a craftsman with a deep understanding of the tools and a vision of exactly how the print should look. Every change in chemistry and exposure on the paper was bringing the image one step closer to that vision.

Tony Hertz

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Everything starts with a vision. Digital tools lack-and-white has become an afand technology have made it so easy for us terthought for a lot of nature photo tinker around somewhat aimlessly that it tographers. By that, I mean, it’s naturally has become something we just do something we think about at the as we sit at the computer. “Here’s a nice piccomputer much more than we think ture... I wonder how it would look in blackabout it in the field while shooting. Our digiand-white.” A few mouse-clicks later, and tal cameras are so incredibly powerful, and we have a black-and-white. I’m all for exblack-and-white conversion software is both perimentation and trying new things on a excellent and easy to use, so it’s no wonder whim, but when you work this way to make that we’ve become accustomed to just plain your black-and-white photos, you’re relying shooting and then tinkering in the computer. on luck more than craft. In the early 1990s, I read a ZONE VI newsTo make stronger, more evocative blackletter article by Fred Picker. Picker was and-white images, try thinking in black-andknown to be a bit of a cantankerous and curwhite in the field. Practice seeing highlights, mudgeonly man, but he also was passionate shadows and tonality. Take a step back from about black-and-white photography and the looking at a scene literally and focus on seecraft of black-and-white photography. In the ing it in the abstract of shades of gray. newsletter article, Picker described a master In this special B&W issue, we have a printer working all night to get an image exactly correct. There were accounts of altering range of articles to inspire you and help you developer concentrations, using different take your very best black-and-white photos. amounts of benzotriazole to keep highlights From how to see in black-and-white to Rick Sheremeta’s article on taking advanbright while allowing shadows to deepen, tage of harsh midday light to create beautiful changing paper grades and more. The critical monochrome photos to our portfolio feature point was that the printer wasn’t just taking on Tony Hertz, who brings a traditional film wild stabs and hoping something would work. sensibility to his black-and-white photoThis was a craftsman with a deep understandgraphs, our goal is to help you to break free ing of the tools and a vision of exactly how from tinkering and start crafting your images the print should look. Every change in chemfrom start to finish. The tools are more istry and exposure on the paper was bringing powerful and yet easier to use than ever. All the image one step closer to that vision. you have to do is train your mind to take full I’m recounting this story because I believe advantage of them. it’s instructive for modern photogra—Christopher Robinson, Editor phers creating black-and-white photographs. WorldMags.net outdoorphotographer.com August 2014 11

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show case Yosemite National Park, California

12 Outdoor Photographer outdoorphotographer.com

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Ivan Jezo

There was a dry season in Yosemite in 2008. When Ivan Jezo stopped for a day hike in October, only one waterfall was running, Vernal Fall, with a relatively small volume of water. Jezo positioned himself to take advantage of conditions. “It wasn’t a difficult decision to make about which way to go in order to create an image that captures what’s so magnificent and unforgettable about Yosemite National Park,” he says. Canon EOS 40D, Canon EF-S 17-85mm ƒ/4-5.6 IS USM, circular polarizer, tripod

WorldMags.net Mounting points for V-Lock or Anton Bauer battery mounting plates

Built in audio meters with level control

Easy to access standard broadcast connections, no custom cables

Adjust camera settings and monitoring tools with advanced touchscreen controls

Push button menu selection for focus, iris and more

Removable handle with multiple mounting points

XLR connectors with phantom power for professional external microphones

HD-SDI video out and 12V power for monitoring

Compatible with quick release tripod base plates

Unique user upgradeable sensor and lens mount turret

Built in rail mounts for large lenses, matte boxes and more

Introducing Blackmagic URSA, the world’s first user upgradeable 4K digital film camera! Blackmagic URSA is the world’s first high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has everything built in, including a massive 10 inch fold out on set monitor, large user upgradeable Super 35 global shutter 4K image sensor, 12G-SDI and internal dual RAW and ProRes recorders. Super 35 Size Sensor URSA is a true professional digital film camera with a 4K sensor, global shutter and an incredible 12 stops of dynamic range. The wide dynamic range blows away regular video cameras or even high end broadcast cameras, so you get dramatically better images that look like true digital film. The extra large Super 35 size allows for creative shallow depth of field shooting plus RAW and ProRes means you get incredible quality! Dual Recorders Blackmagic URSA features dual recorders so you never need to stop recording to change media. That’s critical if you are shooting an historical event, important interview or where you just cannot stop shooting! Simply load an empty CFast card into the second recorder and when the current card is full, the recording will continue onto the second card, allowing you to change out the full card and keep shooting!

User Upgradeable Sensor Blackmagic URSA features a modular camera turret that can be removed by unscrewing 4 simple bolts! The camera turret includes the sensor, lens mount and lens control connections and can be upgraded in the future when new types of sensors are developed. This means your next camera will be a fraction of the cost of buying a whole new camera! Choose professional PL mount, popular EF mount and more! Built in On Set Monitoring! Say goodbye to bulky on set monitors because you get a massive fold out 10 inch screen built into Blackmagic URSA, making it the world’s biggest viewﬁnder! The screen is super bright and features an ultra wide viewing angle. URSA also includes two extra 5” touch screens on both sides of the camera showing settings such as format, frame rate, shutter angle plus scopes for checking levels, audio and focus!

Blackmagic URSA EF

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Learn more today www.blackmagicdesign.com

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Blackmagic URSA PL

6,495

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show case Rocky Mountain National Park, Colorado

14 Outdoor Photographer outdoorphotographer.com

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David Bodine

David Bodine has lived at the base of Rocky Mountain National Park for almost 40 years. It’s a special place for the photographer, who took this photo of Alberta Falls in June 2013. “My idea was to catch a late hike up and try to get sunset on the top of the falls,” he says. “The water was loud, fast and full to the banks. It turns out the falls are a little too low in the canyon for the sun to set on them in June. I wanted to be low and close to capture the boulders in the foreground. I used a 4-stop ND filter to slow the shutter. Because I wanted an extremely soft look in the water, I used a two-stop bracket, combined in postprocessing with Topaz, then converted to black-and-white in Nik Silver Efex Pro 2. I’ve found that the underexposed image really lengthens the exposure and gives an even softer look.” Canon EOS 5D Mark II, Canon EF 16-35mm ƒ/2.8L II USM, 4-stop ND filter, Manfrotto tripod and ballhead

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THE MOMENT lifelong stories

LIVE IN A SINGLE FRAME. T R U S T YO U R M O M E N T S T O N O T H I N G L E S S T H A N A N I KO N C A M E R A A N D N I K KO R L E N S E S . NIKON D800, f/5.6, 1/1600, ISO 800, AF-S NIKKOR 50mm f/1.4G nikonusa.com/experience

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16 Outdoor Photographer outdoorphotographer.com

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Doug Kliewer

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show case Sylvan Lake, South Dakota Doug Kliewer took this photo during a family vacation in June 2009. He describes how he scouted and patiently waited for the conditions to be right so he could capture the image he wanted: “We had hiked around the lake the day before and I had seen this beautiful view. I arose early several following mornings while we were staying at the Sylvan Lake Lodge to try to capture this view. On the day this photo was taken, the wind had died down, leaving a smooth still lake surface that reflected the surrounding trees and rock formations perfectly. Postprocessing, including exposure corrections and sharpening, was performed in Lightroom. The black-and-white conversion was performed using Nik Silver Efex Pro 2.” . Canon EOS 5D Mark II, Canon EF 24-105mm ƒ/4L IS USM, Manfrotto tripod, Really Right Stuff BH-55 ballhead

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WorldMags.net SONY R X1 00 I I I X If you want to lighten your hiking pack while maintaining some high-power photographic punch, Sony has you covered with the RX100 III. The pocket-sized camera combines the 20.1-megapixel, 1.0-type, back-illuminated CMOS sensor (which captures more light for increased detail and texture, and decreased noise) with the BIONZ X processor (used in the full-frame a7 series). It provides an ISO range of 125-12800 for low-light situations, and the Zeiss Vario-Sonnar T* 24-70mm ƒ/1.8-2.8 lens offers a shallow depth of field. Nature photographers should take note of the built-in, 3-stop ND filter, as well as the 1.4-million-dot-resolution OLED Tru-Finder electronic viewfinder with a specifically designed eyepiece and Zeiss T* coating to reduce reflections. Video can be recorded in XAVCS and AVCHD formats, as well as MP4, with clear HDMI output for external monitor review. A new Intelligent Active Mode uses frame analysis and 5-axis compensation to dramatically reduce camera shake while specifically shooting video. The LCD screen tilts up 180º and down approximately 45º. Buttons can be customized to your preferences, and the camera quickly connects to WiFi and NFC. List Price: $800. Contact: Sony, store.sony.com.

TOK I NA TE LE P HOTO X

S N I KON 1.4X TE LEC ONVE RTE R For wildlife shooters looking to get closer to the action, Nikon has developed the AF-S Teleconverter TC-14E III. While only losing one stop of exposure, it provides 1.4x magnification, maintains the accuracy of the autofocus system, and is lighter and more durable than its predecessor. The outermost of the seven lens elements has a fluorine coating, resisting against dirt and water. The lens barrel has been optimized for durability with moisture and dirt resistance. List Price: $499. Contact: Nikon, www.nikonusa.com.

20 Outdoor Photographer outdoorphotographer.com

Tokina has announced the AT-X 70-200mm ƒ/4 PRO FX VCM-S lens, designed for full-frame sensors. Employing the Vibration Correction Module (VCM), it allows for up to 3 stops of vibration correction, reducing the effect of handheld camera shake for instances when a support doesn’t fit into your space or timing. The ring-shaped ultrasonic motor makes autofocus quick and quiet. Three Super-low Dispersion glass elements correct chromatic aberration and maintain a high-quality image throughout the full zoom range. List Price: TBA. Contact: Kenko Tokina, USA, www.kenkotokinausa.com.

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W More gear online: www.outdoorphotographer.com/infocus

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CANON W I DE-ANG LE LE N S X

The new EF-S 10-18mm ƒ/4.5-5.6 IS STM lens is the next in Canon’s Stepping Motor line of lenses. The Stepping Motor, in conjunction with the new focus mechanism, creates smooth and silent operation, ideal for video shooting. The lightweight design features an Optical Image Stabilizer for shake correction up to four shutter speeds. The ultrawide zoom makes it easy to get shots in tight spaces or fill the frame with wide landscapes. The UD lens element reduces chromatic aberration, and the multilayer coating minimizes ghosting and flare. List Price: $299. Contact: Canon, www.usa.canon.com.

W C OMOD O OR B IT The Comodo Orbit is a mechanical twin-gimbal stabilizing rig for your DSLR or mirrorless camera (it also provides a stable ground support) that’s especially handy for video scenic walkthroughs and low-angle landscapes and wildlife shots. The unit has no motors, requires no weights or batteries, and sets up easily. Two mechanical gimbal handgrips increase stability and reduce fatigue. One photographer can easily hand off the camera to another through a safari vehicle’s window smoothly with no disruption in the video. The 4.4-pound unit can support up to 11 pounds of camera/lens. Estimated Street Price: $1,499. Contact: Comodo Rigs, www.comodorigs.com.

CROS S S HOT X The BlackRapid Cross Shot strap is simple, sturdy and makes toting your camera effortless. The 10.5-inch-long and 1.5-inch-wide molded nonslip TPR rubber pad keeps the strap comfortably in place. Worn across your torso on either shoulder, it’s usable for both right- and left-dominant shooters. The BlackRapid patented FastenR, ConnectR and Lock Star hardware with Lock Star Swivel Hook Cover keep your camera safely connected to the strap. List Price: $44. Contact: BlackRapid, www.blackrapid.com.

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W PHAS E ON E 40-80mm F/4.0-5.6 ZOOM LE N S Phase One, Mamiya Digital Imaging and Schneider-Kreuznach have collaborated to produce the new 40-80mm ƒ/4.0-5.6 leaf-shutter zoom lens specifically for use with the Phase One 645 camera platform. When paired with the Schneider-Kreuznach 75-150mm ƒ/4.0-5.6 lens, a photographer has a full mobile medium-format zoom kit. The 40-80mm ƒ/4.0-5.6 has 15 optical elements arranged in 11 groups, including two aspherical elements. List Price: $8,990. Contact: Phase One, www.phaseone.com.

P OR RO -P R I S M B I NO CU LAR S X Ricoh has expanded their line of compact binoculars with the rugged and weather-resistant Pentax PCF CW 8x30 and 10x30 optics. Both binoculars have a porro-prism design, with high-refraction BaK4 glass prisms and multicoated lenses for bright, high-contrast viewing. The minimum focus distance is three meters. A long eye relief prevents eye fatigue, even for those who wear glasses. The nitrogen-filled, fiber-reinforced polycarbonate frame maintains a lightweight, weatherproof, fogproof design. The entire body has been coated in black rubber to enhance weather sealing and increase comfort and durability. List Price: $139 (PCF CW 8x30); $149 (PCF CW 10x30). Contact: Ricoh Imaging, www.us.ricoh-imaging.com.

W LE N S S HADE The Flex Lens Shade is a convenient, versatile tool for shielding your lens from unwanted sun flares. Quickly attach the shade directly to your lens or lens hood with the heavy-duty Velcro® straps, and then shape the shade to block unwanted light or protect your lens from drizzle, dust or dirt. The Flex Lens Shade is made from Ballistic nylon and weighs 1.2 ounces. List Price: $29 (52mm lenses and smaller); $39 (52mm lenses and larger). Contact: Flex Lens Shade, www.flexlensshade.com.

22 Outdoor Photographer outdoorphotographer.com

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W More gear online: www.outdoorphotographer.com/infocus

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Visit the Apple App Store to get your free Outdoor Photographer app and start enjoying anytime, anywhere access! WorldMags.net

WorldMags.net RAI N C OVE R X Protect your camera kit from rain and sand with the Manfrotto E-702 Pro Light Camera Cover. The right size for a DSLR and up to a 70-200mm lens, the transparent TPU panels and waterproof hand sleeves provide viewing and access to camera and lens controls. The stiff lens hood can be adjusted and tightened to fit the diameter of your lens. The E-702 is compatible with the E-704 Extension Sleeve for telephoto lenses up to 650mm. List Price: $75 (E-702 Pro Light Camera Cover); $75 (E-704 Extension Sleeve). Contact: Manfrotto, www.manfrotto.us.

W ON S LOT When you’re on location, you don’t want to interrupt the flow of a shoot, going back to your home base to simply remove fingerprints from your camera’s LCD screen. Luckily, OnSlot is a cleaning tool that conveniently mounts to your camera’s hot-shoe. The OnSlot also cleans other digital device screens, such as your laptop, tablet and smartphone. It’s available in four colors—Polished Rosewood with a black or white pedestal, Piano Black or Piano White. For a small additional fee, add your own personal logo. List Price: $9-$19. Contact: OnSlot, www.omegabrandess.com.

P E LICAN S P ORT PACK X Adventure photographers will appreciate the safety, versatility and comfort provided by the Pelican S130 Sport Elite Laptop/Camera Divider Pack. Protected by a rigid front plate, removable padded dividers protect a DSLR, three to four lenses and accessories. A slim section for your laptop is crushproof and waterproof up to one meter due to an O-ring gasket. The built-in laptop case is also pressure-equalized to prevent vacuum sealing. The top-loading main compartment is both spacious and durable, made from rip-stop nylon. Floating shoulder straps with chest clips, removable hip belt and an ergonomic ventilated back aid in support and all-day carrying comfort. Estimated Street Price: $178. Contact: Pelican, www.pelican.com/backpacks.

24 Outdoor Photographer outdoorphotographer.com

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W More gear online: www.outdoorphotographer.com/infocus

WorldMags.net Proud winner of the TIPA award

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WorldMags.net LOW E P RO TOP LOADE R ZO OM 5 5 AW I I T With the flexibility to be worn in three ways—across the body, via built-in belt loop or with optional Topload Chest Harness—the Lowepro Toploader Zoom 55 AW II can carry a DSLR with a zoom lens attached and features a patented built-in, all-weather rain cover. The Toploader weighs 14.1 ounces with an additional grab handle. External dimensions are 7.5x6.5x12.6 inches; interior dimensions are 6.5x5.1x11.8 inches. List Price: $59. Contact: Lowepro, www.lowepro.com.

OF THE

PROS

ver the coming weeks, you can submit your best photos

S O G DE N MADE Gura Gear’s sister company, Ogden Made, is located in Ogden, Utah, aka the crossroads of the U.S. railway system. Named after Ogden’s nickname, the Junction City Messenger Bag offers a rugged, flexible way to carry camera gear, accessories or additional snacks and clothes while traveling. Made from durable Cordura 1000D, custom X-Pac ripstop fabric and water-resistant YKK zippers, the Junction City Messenger includes Velcro® closures, integrated buckles and a quick-adjusting, two-inch webbing strap with a shoulder pad. An exterior pocket includes a key hook, and small interior pockets include dividers for accessories. The Small fits an 11-inch MacBook; the Medium fits a 15-inch MacBook. Available in 10 colors with 10 additional interior/ accent color choices. List Price: $125 (Small); $145 (Medium). Contact: Ogden Made, www.ogdenmade.com.

ENTER & WIN A RED SCARLET!

in the categories of Sports &

Photojournalism, Fashion & Beauty and Fine Art. From those submissions, 10 Finalists will be selected to receive RED camera outfits on loan to shoot a final project. Each Finalist will submit a series of five photographs from that final project to be judged for the Grand Prize winner. You could win a RED SCARLET camera, so enter today!

CALL FOR ENTRIES

EMERGING PROFESSIONAL STILL PHOTOGRAPHY COMPETITION

See the ofﬁ WorldMags.net www.dig a p o opro.com emerg ngpro

WorldMags.net W TAM RAC E X P E DITION 6X

Ideal to cart a DSLR system with five to six lenses, plus a laptop computer, into the field, the Tamrac Expedition 6X is a medium-sized backpack with a state-of-the-art harness system for maximum comfort and a QuickClip tripod attachment system. A Dual Hinge Divider System adjusts to permit carrying two DSLRs with lenses attached, while the foam-padded computer compartment can hold a laptop with up to a 14.1-inch screen. Water-resistant zippers and a rain flap help fend off the elements. External dimensions are 13.5x10.5x17 inches; interior dimensions are 11x5.5x14.5 inches. Weight is five pounds. Estimated Street Price: $249. Contact: Tamrac, www.tamrac.com.

M I N DS H I F T G EAR LE N S SW ITCH CAS E T MindShift Gear’s Lens Switch Case is a lightweight, unpadded lens and accessory pouch that can carry a lens up to a 70-200mm ƒ/2.8 zoom or equivalent accessories. It attaches to the belt of the MindShift Gear rotation180° Professional backpack or most standard belts. A removable padded divider can protect two items side by side (two flash units, for example). A fitted rain cover stows in the bottom of the pouch. List Price: $42. Contact: MindShift Gear, www.mindshiftgear.com.

Whenever your passion leads you far, travel light.

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The Spectrum Of B&W )2 7HAT ) !M s &AUX )NFRARED s )2 &ILTERS #AMERAS #ONVERTED 4O )NFRARED s -ORE 4HAN )2 [ By George D. Lepp With Kathryn Vincent Lepp ]

Let It Go! The spring ﬂower displays at The Butchart Gardens on Vancouver Island, British Columbia, look like the grounds of a “Frozen” ice palace when captured in infrared using an IR-converted Canon EOS-1DS Mark II and EF 24-105mm lens. The exposure was 1⁄180 sec. at ƒ/16 with an ISO of 200. (Yes, we’re grandparents to princesses.)

IR What I Am I love the look of infrared photography; it’s such an interesting black-and-white interpretation of landscapes. Digital sensors are especially sensitive to infrared light, which is invisible to us, but degrades color images. However, images perceived in infrared light alone can be extremely creative. Blue skies intensify to nearly black, foliage is rendered a ghostly white, and a full tonal range is present with unexpected black-andwhite renderings based on original colors. I once captured infrared images with IR film, but in the digital age, there are more options: inexpensive post-capture software (faux infrared), external filters and, for those with true commitment, camera conversions.

explore-infrared.html#.U5XSlijYMso uses an IR Adjustment Layer. If you’re into nostalgia, Steve Patterson takes it all the way to approximate the look of the old IR film, with a bit of softness and grain, in his tutorial at www.photoshopessentials. com/photo-effects/infrared-photo/. If you want it done quickly and easily, just purchase Fred Miranda’s Photoshop action at www.fredmiranda.com/ shopping/DI for $8.50.

IR Filters I’ve worked on my DSLRs with Singh-Ray’s I-Ray infrared filter (www.singh-ray.com), which passes infrared wavelengths from 700nm to 1100nm, and Hoya’s R72 and RM90 infrared filters (www.hoyafilter.com), which pass infrared rays above 720nm and 900nm, respectively. Place one of these very Faux Infrared dark filters over your lens, and the only light that will reach the Any RAW color image can be “converted” in post-capture sensor will be IR wavelengths. If only it were that easy! software to approximate an IR look. Some images lend themAll of today’s DSLRs and compact digital selves well to this Photoshop exercise, while other images don’t come close. It’s hard to pre- 왘 MORE On The Web cameras have a filter over the sensor called a dict the end result, so you just have to experi- OP columns are available as an archive online at “hot mirror” or “cut-off” filter. Its purpose is to www.outdoorphotographer.com/columns. ment. Russ Burden’s OP “Tip of the Week” Find tips, answers and advice from OP’s trusted impede IR from getting to the sensor, which, as article at www.outdoorphotographer.com/ stable of world-famous nature photographers! noted above, degrades a normal color image. In fact, some IR does get through, and because of how-to/tip-of-the-week/bw-adjustment-layer- WorldMags.net

28 Outdoor Photographer outdoorphotographer.com

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tech tips

WorldMags.net this small amount of available IR, filters like the Singh-Rays and Hoyas will give you a real IR image. Be warned that the exposure will be long and a tripod will be necessary. With my Canon EOS 5D Mark III and an EF 24-105mm lens and the Singh-Ray I-Ray, I needed an ISO of 3200 and a 15-second exposure at ƒ/8. A Canon EOS 70D had identical exposure times. My colleague Robert Agli used a Nikon D800E and needed 15 seconds at ƒ/8 and an ISO of 800. These aren’t recipes for quality images. If you want better quality and more versatility in infrared capture, the best choice is a camera converted to specifically take IR.

30 Outdoor Photographer outdoorphotographer.com

Cameras Converted To Infrared When a DSLR is converted to infrared, the hot mirror filter is removed, leaving the camera’s sensor unprotected from, and extremely sensitive to, both IR and visible wavelengths of light. To get the pure IR image we’re looking for, a new filter must be installed to block the visible light. The filter can be external, such as one of those mentioned above, or an internal replacement of the hot mirror filter. Now all the power of your DSLR can be brought to bear on creative IR imaging. Handheld IR captures with exposures such as 1⁄125 sec. at ƒ/11 are routine. Not every lens works well with an IR-converted camera; some produce a hot spot in the center of the image. This is caused by internal reflections and interaction with certain lens coatings. The website LensPlay (www.lensplay. com/lenses/lens_infra_red_IR.html) lists the lenses that don’t work well with IR. Nonetheless, a wide range of lenses work very well with IR conversions: The lenses I regularly use with my converted Canon EOS-1DS Mark II are the EF 17-40mm ƒ/4L, EF 24105mm ƒ/4L and EF 100-400mm ƒ/4.5-5.6L. There are no hot spots in IR with these lenses. In our Nikon tests, we had major hot spots with the 2470mm ƒ/2.8 using the Nikon D800E and a Nikon F4 using the Singh-Ray I-Ray filter, but we tested many other Nikon lenses with no problems. Focusing infrared light can be a real problem because it’s at a different wavelength than visible light. Older WorldMags.net

lenses may have a small red dot on the focusing barrel to indicate where to set the focus with IR light. Keep in mind that the focusing point changes with the focal length of the lens. This means that a zoom lens will have different focusing points with each focal length change. These changes are relatively small and I usually eliminate the problem by using an ƒ-stop of at least ƒ/11 to maximize my depth of field. Depending upon the type of camera you’re using, the focusing problem can be completely avoided, so consider this issue when deciding which camera to convert to IR. In the past, we’d recommend conversion of any DSLR that had been decommissioned because it had been replaced by the latest version of camera magnificence. It’s time to rethink that advice. Any camera with Live View can be focused in IR accurately on the LCD because the image on the LCD in Live View is actually what the sensor is seeing. I’ll add here a promotion for the Hoodman HoodLoupe (www.hoodman usa.com), which allows you to see the camera’s LCD screen in all light conditions. If you’ve already decommissioned a camera with Live View, that would be your IR conversion choice. If you don’t have one of these gathering dust in the closet, look at a newer consumer-grade camera like one of the Canon Rebels or the Nikon 5100, 5200 or 5300 series. Pentax has the K-500 at under $600 with an 18-55mm zoom. The point here is to achieve a digital camera with Live View that will accept your regular lenses. The ultimate camera to convert would be a mirrorless full-frame, with a good electronic viewfinder (Sony’s a7R). Once you decide to convert a camera, there are a few more decisions to make. I recommend LifePixel (www. lifepixel.com/188.html) to do the work. They have converted several cameras for me, and their service and quality are top notch. (Note: I recommend equipment and companies in my column only when I’ve worked with them and have had success using their products.) There are several IR filters from which to choose; each gives a different result. Check LifePixel’s website for a photo demonstration of the results from each type. Here’s a brief description of the differences. Deep B&W IR—Longer exposure, most dramatic (830nm), no need to ma-

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nipulate the camera result in Photoshop. Standard Color IRâ&#x20AC;&#x201D;Some color with the IR (720nm), similar to the Hoya R72 IR filter. Enhanced Color IRâ&#x20AC;&#x201D;More color in the sky and foliage (665nm); can be changed in Photoshop to match a standard IR filter. Super Color IRâ&#x20AC;&#x201D;Vibrant foliage and sky of a different color than visible (590nm); more color to mess with and will match the deep black-and-white when worked on in Photoshop. Super Blue IRâ&#x20AC;&#x201D;Passes blue light as well as IR, allowing saturated blue skies and an IR look straight from the camera; a little fringing because the blue and yellow focus at different points. Full Spectrum Clearâ&#x20AC;&#x201D;Choose the look you want by putting filters in front of the lensâ&#x20AC;&#x201D;visible color, IR color or UV light; requires Live View because the viewfinder will be black (unless you have an electronic viewfinder that reads off the sensor).

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More Than IR You might think that shooting a lot of IR will be boring and that you wonâ&#x20AC;&#x2122;t use a converted camera enough to justify the expense. But I find that there are many ways to be creative with an IR camera. Iâ&#x20AC;&#x2122;ve taken one with me on small planes and commercial flights. Huge cloud formations photographed in IR at 30,000 feet are really dramatic. IR also cuts haze. And Iâ&#x20AC;&#x2122;ve done some interesting portraits with IR, especially when the subject is photographed amidst colorful clothing or foliage to make it clear that IR has been used. This is important because IR changes hair and eye color and skin tone in sometimes strange ways. Iâ&#x20AC;&#x2122;m a fan of time-lapse movies: think of an IR time-lapse with dramatic foliage and even more spectacular clouds moving across an intense sky. If you convert a DSLR or compact camera that has a video capability, you can capture high-def IR video for a surprising and creative look. My next project is to have a Live View camera converted to Super Blue so I can do weird time-lapses, crazy movies or even serious landscapes in a OP different light.

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[ F A V O R I T E P L A C E S ] WorldMags.net Text & Phot ogra p h y B y D e re k v o n B ri e se n

and 90mm tilt-shift lenses are especially useful for extending depth of field from extremely close foregrounds out to the surrounding mountain ranges. LEE graduated neutral-density filters really help in balancing the disparities in luminosity found at sunrise and sunset. Polarizers have a pronounced and quite beautiful effect, but they must be used judiciously with cloudless skies and wide angles.

Best Times

White Sands Nat’l Monument Location

The White Sands National Monument sits at the heart of New Mexico’s Tularosa Basin. Gypsum-infused waters from the San Andres Mountains drain into Lake Lucero where spring’s strong winds propel selenite crystals in a northeasterly direction, breaking them down into talcum-fine particles that create the world’s largest gypsum sand dune field comprising 275 square miles. In the past, an ancient river flowed from a larger lake, and its underground remains form the water source for the amazingly adapted cottonwoods that thrive in portions of White Sands. Root systems that grow 60 to 100 feet allow many different species of plants to survive harsh Chihuahuan Desert climes, and cottonwoods are among the most prominent

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NEW MEXICO examples. The highly dynamic dunes, moving at rates ranging from two to 30 feet per year, can subsume entire stands of cottonwoods; ground-level cottonwood “bushes” are actually entire trees whose trunks have become part of their subterranean root structure. Understanding the geography of the dune fields will produce big dividends. Follow the Alkali Flat Trail past unwanted footprints and into some of the deepest dunes that face a wider variety of directions to offer more options and light angles. The largest groupings of cottonwoods are found in three principal areas: around the Dune Life Nature Trail, to the west of Dunes Drive where the pavement ends and along Pedestal Road, which requires a special-access permit that can be obtained by contacting the White Sands National Monument in advance or accessing their website. Early access for shooting sunrise can be arranged in similar fashion.

Weather White Sands National Monument

What’s Your Favorite Place?

White Sands sits at roughly 4,000 feet of elevation. Winters are relatively mild, with a halfdozen snows annually. Spring

brings warmer temps and the strongest winds of the year, while summers are hot with dramatic monsoon periods. Fall is temperate with mostly clear skies and calmer winds. Each season’s conditions— cold, windy, hot, wet, arid !— can range to extremes and highways can be closed, so it’s best to do some forecasting in advance to come prepared. For example, I recently shot fall color-changing cottonwoods in early November, and the sunrise temperatures were unusually cold in the low 20s.

Photo Experience

This incredible snow-white desert takes on an amazing palette of sky colors, bathing the wide variety of dune shapes and textures to create unsurpassed juxtapositions of earth and sky. Simplicity is key; focus on dune lines and shapes, ripples in the sand, cloud shapes in the sky, and the subtleties of light direction, color and intensity. The shadows of brilliantly colored cottonwoods can be striking and shapely on the white sands. I carry my usual complement of zoom lenses ranging from 16mm to 200mm. My 45mm

Explore exciting nature imagery in the Your Favorite Places gallery at www.outdoorphotographer.com. Submit your photos for a chance to be published!

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The color-changing season for cottonwoods ranges from around October 25 through November 15. Park personnel can be helpful in tracking the progression of fall color. Try following online reports of fall color in other Southwest areas, paying close attention to cottonwoods, to get an indication of the characteristics of each particular fall season. The most photogenic times of the day are the soft light before dawn and after sunset, the filtered low sidelight with first and last light, and extended periods of midmorning and midafternoon high backlight and sidelight. Contact: The White Sands National Monument, www. OP nps.gov/whsa.

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Photographer Derek von Briesen uses the light and easily adjustable Induro carbon-fiber CT213 tripod paired with the effortless Really Right Stuff BH-55 LR ballhead. “A true camera ‘backpack’—waist belt and chest strap, with a vertical, mid-back tripod attachment—makes long hikes in and out of the dunes as easy and comfortable as possible,” he says. “And Lowepro DryZone bags have been my bags of choice for years now.” TOP TO BOTTOM: Induro carbon-fiber CT213 tripod; Really Right Stuff BH-55 LR ballhead

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Almost Aerial Photography

How to get a perspective from above with a low-impact, portable solution [ By Bill Hatcher ]

ABOVE: Flowering saguaro cactus in the foothills of the Rincon Mountains in Saguaro National Park, Arizona, photographed from above with a Nikon D800 on a Manfrotto stand, Bescor pan-tilt head and CamRanger remote.

enjoy working from all photo angles, but I always keep an ing landscape. That was the vantage from which I wanted to eye out for the highest point that I can shoot from. If there’s shoot these monsters. Wandering around the park, I discovno helicopter available, this usually ends up being the roof ered some remarkable saguaros, but these were far from any of my vehicle, the high branch of a stout tree or a cliff edge. high point, with most growing on hillsides, in the flats or along This high perspective nearly always produces a cool angle washes. All were a long hike from the road and easy access to of view, and as a rock climber, I enjoy the physical challenge my ready collection of ladders. of getting up to these vantage points. Recently, I found a tech I confess that I did make one comical attempt to photograph solution to the frequent problem of getting my camera almost one of the saguaro from the top of my supercompact GP aerial when there’s nothing around for me to climb. Logistics six-foot aluminum ladder. I carried this to the base This solution was prompted while I was out shooting saguaof a cactus growing close to the road. Standing near the top ro, one of the tallest cactus growing in North America. I was rung of the ladder, I gained my camera some extra height by looking for these giants in the aptly named Saguaro National attaching it to my tripod with the legs fully extended, holdPark in southern Arizona. This iconic cactus ing it above my head and triggering shots with 왘 MORE On The Web regularly reaches over 40 feet tall, and its arms a camera remote, all while trying not to lose OP columns are available as an archive online at can spread 20 feet from the main trunk. It’s www.outdoorphotographer.com/columns. balance and fall to the ground. This silly techspectacular, but from ground level, you only Find tips, answers and advice from OP’s trusted nique got my camera lens up to maybe 14 feet, of world-famous nature photographers! get a hint at how it towers over the surround- stable but it was a precarious perch (especially in the WorldMags.net

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wind). Even worse, framing the shots correctly was hit or miss, and the resulting photos were average, at best. After this experience, I went in search of a more reliable high perch. First, I looked for a natural solution. I scouted locations with cliff vantages, hiking up and around the park’s saguaro-studded peaks. I found cliffs and boulders that were close to the cactus, but other factors made the location less than ideal— the wrong aspect for the morning sunrise, ordinary, not extraordinary cactus and other reasons. The solution, I figured, needed to be technical if I wanted to shoot a high-angle portrait of this Sonoran desert giant. I have a lightweight tree-climbing kit, but climbing a nearby saguaro for a high vantage, even if I could figure a way to protect myself from its thousands of two-inch-long spikes, was out. The saguaro is a fragile plant compared to your average tree, and its massive trunk and arms store tons of water enclosed in a delicate skin and supported by internal woody ribs. A helicopter, even if I had a budget for one, was also out. When the wind blows, even gently, the arms of the saguaro sway, and sometimes these limbs break off under the massive weight or in a storm gust. My high-camera photo solution had to be light and compact enough to carry to a distant cactus site, and the device had to follow the park’s mandate that the environment not be disturbed by visitors. Shooting the saguaro meant even touching the plant was a big NO! Disturbing the ground around the cactus was also to be avoided. That meant no ropes, rigging or giant ladder. I did consider a drone, but a drone can’t hold a camera steady for a sunrise photo at 1 ⁄30 sec. at ƒ/11. Also, as of this writing, drones are illegal to use in Zion and Yosemite, and permission is required in other parks. The FAA is currently reviewing its drone policy for private citizen use, but in the future, I doubt drones will be allowed in national parks for the general public, and I’m okay with that. Not to reinvent the wheel, I looked at what other photographic professions use when they need a low-impact and portable solution to shooting in a confined space with fragile surroundings. I found my answer with architectural WorldMags.net

photographers. Yep, they have this stuff all figured out. I’m not talking about tilt-shift lenses, but super-tall camera stands with a wireless connection and a motorized pan-tilt head. It turns out that my compact solution could also be an affordable setup. To send my Nikon D800 with a wideangle lens high into the sky, I settled on a Manfrotto super-high camera stand. It extends to 24 feet, weighs 22 pounds, and the two styles cost either $350 or $650. I chose the cheaper of the two and find it works perfectly for my needs. You can get higher camera pods made by Luksa that hit 36 to 50 feet and higher, but the cost for the 36-foot model is $3,000 and the unit weighs 42 pounds, not something I’d want to carry more than a few feet from the car. Gitzo has a carbon-fiber series-5 tripod that’s a shade over 9 feet tall and weighs 8 pounds for just under $2,000. The critical unit to my tall rig was the wireless connection to the camera controls and trigger. For affordability and function, my choice was a no-brainer. I got the popular CamRanger, which costs $300. To remotely move the camera while it was secured on top of the stand, I used a wired Bescor pan-tilt head. The thing is inexpensive at $145, with a 20foot extension cord. The Bescor’s motor moved my DSLR with my 16-24mm lens without problems. CamRanger also made this unit capable of fully wireless control. I chose the Bescor over the GigaPan EPIC Pro, which is larger, heavier and costs $1,000. On the plus side, the GigaPan can handle an 80-200mm ƒ/2.8 lens, and it’s programmable. For my needs, the Bescor/ CamRanger system was the better choice. There are other camera remote systems, but at more cost and with fewer control features than the CamRanger. The fully outfitted, 24-foot-tall remote camera platform cost me around $800, and I was ready to shoot almost aerial shots of the blooming saguaro. I tested this setup and then headed into the park for an evening shoot to see how it worked. It was windy, the ground was uneven, and while hoisting the tripod columns, the CamRanger USB cord ripped free from the camera and fell to the ground. No damage done, but the sun set and the shoot produced nary a single usable image. I tested and reviewed all the problems, and went (Cont’d on page 90)

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Shooting Waterfalls

Quick pro tips for capturing summer’s cascades and tumbling torrents [ By Elizabeth Carmel ]

ABOVE: “Tropical Symphony.” This Costa Rica waterfall was composed tightly to make an abstract image.

It’s important to avoid photographing a waterfall when bright aterfalls are likely one of the most comhighlights and dark shadows are present on the falls. It’s best mon subjects of landscape photographers, to have the falls entirely in shadow. Overcast days can also be on par with sunsets and wildflowers. I’d good for waterfall photography since harsh shadows can be like to share some of the strategies I use to avoided. The exception to this rule is when trying to capture get successful waterfall photographs that rainbows in a waterfall, which requires orienting the camera elicit “oohs” and “aahs” from visitors to our galleries. With with your back to the sun. After shooting a few frames, it’s imthe following techniques and guidelines, you can capture draportant to check your histogram to make sure the water highmatic print-worthy waterfall images, as well. lights aren’t blown out because, once that detail in the highStep one is to find a photogenic waterfall. The obvious lights is gone, it can be difficult to recover it in postprocessing. choices come to mind, such as Yosemite, with its multitude of I recommend using a tripod to secure the camera and a UV, astounding falls, and Kauai, with its abundant foliage and neutral-density or polarizing filter to cover the lens and protect spectacular cascades. However, there are photogenic waterit from waterfall mist. In some locations, like Havasu Falls in falls in many areas that aren’t well known by photographers, the Grand Canyon, there can be mineral deposits in the waare more accessible than the iconic locations, and are waiting terfall mist that may damage the coating of an unprotected to be captured by an artistic eye. In many cases, a smaller lens. A circular polarizing filter is a great choice because it waterfall can be more photogenic than the 1,000-foot drops if will help reduce the glare and reflections while also allowing composed well. When I’m traveling to an area for a photo a slower shutter speed to be used. A neutral-density filter can shoot, I’ll often do a Google search on images for waterfalls. Google Earth and The Photographer’s Ephemeris are also allow much slower shutter speeds, even up to 10 to 12 stops slower with some of the darker versions, which will create great tools for pre-scouting a location. It’s possible to find out a blurred water effect, even in broad daylight. A microfiber the orientation of the falls to the sun and determine the opticloth is also essential. When photographing mum time of the day for photography. falls in Costa Rica, I had to cover my camera Once you have your waterfall location scout- 왘 MORE On The Web ed, the next step is to go at the correct time of OP columns are available as an archive online with a waterproof cover and keep the lens covered with the plastic until the moment I day to ensure optimum lighting. I usually prefer atFindwww.outdoorphotographer.com/columns. tips, answers and advice from OP’s trusted sunset and sunrise, and try to avoid the harsh stable of world-famous nature photographers! was ready to take the shot. After every shot, I had to wipe the filter clean with a cloth and glare in the middle of the day, when possible. WorldMags.net 38 Outdoor Photographer outdoorphotographer.com

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crofiber cloth saved the day. I usually try a variety of shutter speeds while photographing moving water. Sometimes it’s difficult to predict how water will appear at a given shutter speed, so test a variety of shutter speeds if you have time. I’ve even gone up to 25 seconds for an exposure if the light is low and I’m using a neutral-density filter to further reduce available light. Usually, good results occur in the 1- to 2-second range if you want the magical misty look in the water and you’re not trying to freeze the motion of water droplets. I think it’s harder to capture a good waterfall image at high shutter speeds. Composing a waterfall image may require getting your feet wet if you’re photographing it from the river downstream. I like to include a strong foreground element, and usually the river flow or riverbank creates a compelling foreground that leads the eye into the image and gives a sense of depth to the composition. Another option that I discussed in my previous OP column is the use of a telephoto lens to zoom in on elements of the waterfall and the more abstract compositions within it. If it’s not possible to get to the river below the falls, then still look for a strong foreground element that will lead the eye into the waterfall; this can be leaves or flowers that are closer to the lens. Avoid the twodimensional snapshot look when photographing falls from a distance; challenge yourself to find ways to make the image three-dimensional with use of strong foreground elements and natural lines or S curves leading to the falls. Additionally, when photographing in the shade or with a neutral-density filter, I often find it necessary to warm up the image with the white balance adjustment so the water doesn’t have a blue cast. Waterfall photography is an exhilarating and fulfilling way to experience the beauty of nature. As with all skills, practice and experimentation will lead to better results that you’ll be proud to share with your viewers. OP See more of Elizabeth Carmel’s photography at elizabethcarmel.com and thecarmelgallery.com. Visit elizabeth carmel.com for workshop information.

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S o m e O f T h e To p P h o t o s F ro m T h e R e c e n t B l a c k & W h i t e A s s i g n m e n t O n o u t d o o r p h o t o g r a p h e r. c o m Leading up to this special Black & White issue, we ran an Assignment inviting you to send in your best black-and-white landscapes. We received about 600 submissions of photos taken around the world. Thereâ&#x20AC;&#x2122;s a particular craft to making a great black-and-white image. Ansel Adams famously referred to the negative as the score and the print as the performance. In the digital era, the raw capture can be thought of the same way that Adams thought of the negative. We take that original capture and work with the relationships of highlight and shadow to bring out the subtle tones, forms, shapes and textures, and what emerges is the ultimate performance. â&#x20AC;&#x201D;Christopher Robinson, Editor

42 Outdoor Photographer outdoorphotographer.com

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WorldMags.net 1) PHOTOGRAPHER: Kris Walkowski EQUIPMENT: Nikon D600, AF-S Nikkor 16-35mm ƒ/4G ED VR, LEE Big Stopper filter I usually travel far and long distances, trying to capture a moment of some exceptional places, but I took this image five minutes away from where I live, in West Sacramento, Calif., just a few minutes before sunrise in December 2013. Since I know the area, I’m familiar with the weather conditions, and I knew this cloud formation was perfect for a long exposure. True beauty surrounds us and is waiting to be discovered at the right time. I processed this image in Lightroom 5 and CS6.

2) PHOTOGRAPHER: Dean Cobin Equipment: Canon EOS 5D Mark II, Canon EF 17-40mm ƒ/4L USM, Induro CT-213 tripod, Really Right Stuff BH-55 ballhead In July 2013, a friend and I went to shoot at a particularly favorite location on the Rondout Creek in the heart of the Catskill Mountains in New York State. Upon arrival, we were greeted with perfect conditions consisting of light rain, overcast skies and optimal flows of the river. The constantly changing water levels could have either provided too much water and you wouldn’t get the beautiful gentle pour-offs, or too little water and there would have been just a mere trickle. However, that day the water flow was ideal. The river temperatures were warm enough to stand in, which provided access to an ideal position for the composition I had envisioned. The way the water had been running, it was easy to see potential flow lines that would be created by a long exposure, highlighting the magnificent pour-offs. By using a wide-angle lens and a very low point of view, I was able to capture the intersection of those features. This served as a visual lead and primary focus for the foreground. The light rain had kept all the leaves and background rocks wet, which added additional contrast to the scene. With all the elements of varying textures and flow, this shot had great potential as a black-and-white image. 3) PHOTOGRAPHER: Rafael Montalvo Equipment: Canon EOS 5D Mark III, Canon 16-35mm ƒ/2.8L II USM, Induro tripod and head, Hoya circular polarizer My photo “Raindrops” came about in the right place at the right time. Leaving Grand Canyon National Park on April 19, 2014, and heading with my mother to Moab, I decided to stop at Lipan Point, located just before Navajo Point and Desert View. Suddenly, I felt raindrops and saw a rainstorm brewing in the distance toward the west side of the canyon. I used a small pine tree as a foreground, the canyon walls as leading lines and the Rule of Thirds to lead the viewer into the storm. This image is one of my favorites—the constant changing, power, beauty and drama weather creates. From the beauty of a sunny day to powerful rainstorms within minutes apart is awesome; they hold their own unique beauty. I used Nik Silver Efex Pro 2 to convert to black-and-white and softened part of the image with onOne software to create the final image. 4) PHOTOGRAPHER: Michael Ryan Equipment: Nikon D800, AF-S Nikkor 16-35mm ƒ/4G ED VR, Hoya 6-stop ND filter This coastal waterfall in Salt Point State Park, California, has always been a tough photographic challenge for me. Only after consistent heavy rainfall does it flow with enough power to make it memorable. Couple that with an area of the California coastline that seems dead-set against letting the sun paint the sky red, and you have a gorgeous location that tears your heart out, but always keeps you coming back. In March 2014, my friends and I were thinking big sunset colors, but like numerous times before, it wasn’t meant to be, as dark clouds emerged from the northeast. We didn’t want to give into another sunset defeat, so we took what was given to us and began shooting long exposures that resulted in streaking clouds and a creamy ocean. Sometimes drama doesn’t always come with a fiery sky. Processing was relatively straightforward. I processed the RAW file in Adobe Camera Raw and converted the image to black-and-white using Nik Silver Efex Pro 2.

4 44 Outdoor Photographer outdoorphotographer.com

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A lifelong student of the medium, photographer Tony Hertz makes digital black-and-white landscapes with a wet-darkroom sensibility

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WILLIAM SAWALICH | PHOTOGRAPHY BY TONY HERTZ

er Tony Hertz, blacktography represents a return to his roots. He worked as a newspaper photographer during the 1980s, where all of his assignments were shot on black-and-white film, then processed and printed by hand in a traditional darkroom. Having left the newspaper to pursue a career as an independent photographer, he turned to color to meet his clients’ needs, but he never stopped thinking about black-and-white. “I’ve kind of tuned my eye to seeing things in black-and-white,” Hertz says, “not consciously, but somehow things turned to that because of my experience. It resonates with me more. Landscapes are my real passion, and I tried shooting color landscapes. Maybe eight or 10 years ago, I went through all my slides and sorted everything out. When it came to putting them back, I thought, why not go black-and-white; that’s where I started, so why not get back to my roots. And that felt good.” The return to black-and-white may have been inspired by his history in the darkroom, and while he teaches a film class at the local community college, Hertz is no Luddite. “I teach film, but I’m shooting digital,” he says. “Is that an oxymoron? It kind of pulls on me a little bit to go shoot more film, but I love my digital camera and I feel pretty proficient at Lightroom and Photoshop, thanks to the many people who I’ve learned from over the years. I’ve been WorldMags.net

involved with digital since the Nikon D100 DSLR came out. When I started in Photoshop with version 2.0, I knew that photography was going digital, I saw the writing on the wall. I really enjoy the darkroom, but I also teach a digital photography class, too.” With a foot in both worlds, Hertz combines his darkroom experience with computer know-how to craft photographs that reveal a traditional sensibility: subtle detail in the shadows and highlights, and rich tonalities throughout the middle of the curve. “I like good details in the shadows,” he says, “and good details in the highlights as well as you can. Diffuse light helps because too much sun will bleach them out, and burning and dodging, too. Let’s take ‘Worthy Cypress.’ I burned down the bottom left of that image, and then I lightened up some of the larger rock in the background and some of the water down below. I really zoom in to very high magnification, 400% or 600%, and then I use very small brushes and Overlay mode for dodging and burning. I don’t use the actual dodging and burning brush. I’m doing it on an overlay layer, and then using black or white to dodge or burn. I’ll spend a lot of time detailing small areas. I spent many hours on this picture. The tree itself is a whole other ball of wax. See all those small light areas in there? Those were either darkened down—because there was a little too much light—or lightened up, outdoorphotographer.com August 2014 47

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particularly in the shadow areas underneath the thicker branches. I lightened those up in Overlay mode. And then I might use a gradient layer in order to darken some areas of the sky. “In some ways, I feel a little guilty,” Hertz says, “in that it’s different than the traditional, and it almost feels like cheating, in a sense. But, then again, it’s just another tool. I learned that from George Lepp. He’d say, ‘It’s just another tool, and Ansel Adams himself would use it, too.’ “One of the other big ‘secrets’ here,” he continues, “is that I work at a very high degree of magnification. That’s the beauty of Photoshop. I work on mask48 Outdoor Photographer outdoorphotographer.com

ing areas out that I don’t want and I’ll spend a lot of time on that. I’ll always start in Lightroom with the raw data in order to make general adjustments, and then I’ll take them into Photoshop, often as a smart layer. Then I’ll go into Nik Silver Efex Pro right away. If there’s a lot of blockage in the shadows, then before Silver Efex, I’ll use the Shadow/Highlight tool and make a duplicate layer of what I brought in from Lightroom to try to bring out the shadows a little bit. Sometimes, I’ll make two versions; I’ll do it in Shadow/ Highlight and then make another copy and do it in Silver Efex and see which one comes out better. It’s a lot of experWorldMags.net

imenting and trying to get the best quality. Then I always blow it up and make sure I’m not getting too much noise.” Hertz’s ability to produce prints that appear to have been born in the darkroom is largely due to diligent work to maintain detail in delicate highlight and shadow areas, as well as building contrast in the rich midtone grays to keep images from appearing dull and flat. “After I do everything,” Hertz says, “there’s something I learned from Outdoor Photographer and the photographer Ming Tshing, who worked for Nash Editions. [Note: You can find the article “Your Perfect B&W Print” at outdoorphotographer.com.] I read

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OPENING SPREAD: “Bishop Peak Fog.” LEFT: “Gnarled Wave.” BELOW: “Lithia Creek.” Photographer Tony Hertz admits that he often spends several hours working to correct an image with workﬂows that take him from Adobe’s Lightroom and Photoshop to Silver Efex Pro, the black-and-white software solution in Google’s Nik Collection of imaging software. He even goes as far as to make alternate processing choices to be able to compare and contrast different adjustments and programs.

that article and it really helped me a lot. He was also doing the shadow/ highlight adjustments, but he adjusts the midtone contrast, too. You do a stamp of everything, all the layers below—sometimes, I could have anywhere from 10 to 20 layers, depending on how much I’m working on it—and then you do a stamp layer, and then you do a midtone contrast to an Overlay mode and reduce the opacity to 20% and then put a highpass filter on it. Then you work with blending mode options on layer styles in order to bring out the subtleties of the midtone range—which is really big. You have the shadows and you have the highlights, but the midtone areas are really critical in black-and-white. That helps to give the images a little more snap. You have to be careful about not overdoing it, otherwise, the photograph can look like it’s oversharpened. “There’s a little more gravitational pull toward that graphic look,” Hertz says of the popularity of strong contrast and sharpness in digital black-and-

white images, “and that’s all fine. It all depends on the eye of the viewer; it’s all subjective. Just like HDR; for a while, things were so blown out, it was like neon. A big thing that turned me back to black-and-white was those HDR days. It just didn’t appeal to me to have the image looking so bright, so I thought, well, I often try to look at things and do things a little differently. I did that even in photojournalism; if everybody is over there, then I’d choose a different spot. It’s a chancy move, but it can work out pretty good. I like taking little chances and risks, shooting-wise.” Though he lives on the California coast and is happy to take advantage of the wealth of subjects found there, Hertz’s favorite destinations often take him inland to the Eastern Sierra Nevada Mountains, Lee Vining Canyon, June Lake and, of course, Yosemite. “I always feel like it’s a challenge to get something a little different in Yosemite,” Hertz says, “because so many people are there. But, you know, The photographer employs several methods for achieving the otherworldly light and tonality that’s prevalent in his work. Hertz’s photos are subject to meticulous exposure corrections and image enhancements, while in the real world, he also employs ﬂashes with wireless triggers, and even a ﬂashlight for light painting during the long exposures he often requires to capture such moody, atmospheric lighting conditions.

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August 2014 49

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it’s such a great feeling being there, as long as you’re not there when it’s too crowded. During the summer, it’s very busy, but any other time, it’s great.” Hertz is most at home anywhere that affords him the opportunity for a walk in the woods to focus on his work, in depth, for several days at a time—as long as the light cooperates. “The number-one thing in photography is light,” he says. “It’s the most important thing. The way I work, particularly for black-and-white, is that I 50 Outdoor Photographer outdoorphotographer.com

seek diffused light. The reason for that is mainly because it cuts down on the contrast and I can always build up contrast in postproduction. It’s really beautiful light, and I can shoot most any direction and anyway I want. I don’t have to worry about where the light is.” With the right light and his eye for seeing in black-and-white, Hertz doesn’t require any special tools. One of his most valuable, in fact, is the humble flashlight. “Sometimes, I’ll light-paint with flashlights or large strobes,” he explains, WorldMags.net

ABOVE: “Seaside Monument.” RIGHT: “Cluster in the Fog.” Hertz teaches ﬁlm photography at a local college, and to him, software is simply a more exact version of classic darkroom tools like dodging and burning.

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Tony Hertz’s Equipment

Nikon D800E DSLR Nikon D7000 DSLR, backup camera and for wildlife AF-S Micro Nikkor 105mm ƒ/2.8 AF-S Nikkor 16-35mm ƒ/4G AF Nikkor 50mm ƒ/1.8D AF-S Nikkor 300mm ƒ/2.8G ED Nikon TC-14B Teleconverter Nikon SB-910 Speedlight Large and small flashlights Singh-Ray Vari-ND and Mor-Slo filters Gitzo Systematic XL tripod with steel spiked feet Really Right Stuff B-55 Ballhead PocketWizards F-stop Loka Mountain Series backpack SanDisk SD and CF cards Adobe Lightroom Adobe Photoshop Nik Silver Efex Pro Epson printers Epson Exhibition Fiber Paper and Luster Paper

“but that usually has to be right at a certain time when the light is even. It’s not really common. Sometimes, when I get all the sun coming through in different directions, it’s hard to see things and put it all together—it’s possible, but it’s harder. But when they’re all in one diffuse range of light, well, then, maybe I can light up a certain area in order to accentuate it. To me, it’s almost like a little studio; I’m creating my own little lighting studio in nature.” When Hertz does employ light painting, it’s most often to accentuate a particular area, setting it apart from the larger scene as he did with the isolated trees in his images “Last Light on the Merced” and “Aspens in Light.” “Aspens in Light was light-painted,” Hertz explains. “That was maybe a fivesecond exposure with very strong twilight after the sun had set. I stood off to the side with a flashlight in order to get a little light on those trees. This was a deliberate preplanned photo. I actually had in mind something of the sort of a tree that would be in the foreground with the others behind it. There was an Ansel Adams photograph that I really thought was beautiful, and I wanted to find something that would have that

feeling. I sought out some aspens that would have a grove like this, and I found this in the Rock Creek area in a little campground. They’re standing out from the rest of the grove, but I accentuated them a little more. “With ‘Last Light on the Merced,’ that’s also light-painted,” he continues. “It was a lot of work. I saw this earlier in the day, and I returned when it was twilight so I could light it up. I wanted that tree to stand out a little bit more. I have to stand off on the side with the flashlight so I have to put my camera on a timer or use PocketWizard radio slaves to trigger it from the side. You have to paint it from a side angle to not have the shadow of the tree hitting the other objects in the back, or the water, so I shot a number of different directions, different versions, and then I darkened some of the tree and the rock behind it to the right.” Adds Hertz, “This image, I don’t know how it would look in color. It’s tempting sometimes. It’s not that color isn’t good; it just feels to me that if you can make a good image in black-andwhite, then you’re really relying on the feel of the picture, the composition and the lines and the form bringing everything together. With color, that can have it, too, but the big thing with color is mainly the color itself. With so many color images out there, what we need is something that will strike you a little more or really stand out, and how to stand out is to have some type of ‘wow factor.’ When we flip through the pages in a magazine or surf the Internet, we see lots of beautiful photos, but once in a while, we stop and go, wow! How often does that really happen? We’re all trying to attain that.” OP

You can see more of Tony Hertz’s photography at tonyhertz.com. 왘

MORE On The Web

Find a huge archive of articles on the best locations for landscape and wildlife photography on the OP website at outdoorphotographer.com.

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K & WH

B&W

HARSH LIGHT The often-shunned midday conditions can yield surprisingly good results—when you’re thinking in black-and-white TEXT & PHOTOGRAPHY BY RICK SHEREMETA

As outdoor photographers, it doesn’t take us long to find out that nature’s lighting can be very fickle, differing greatly day to day and even over the course of a day, from that of the controlled lighting available in a studio setting. For that reason, we learn to adapt and be flexible, not only in what we shoot, but when we shoot it. There’s

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my camera away in the middle of the day. I just look at that time as an opportunity for new and different work. So my concentration, during the middle of the day, is on black-and-white imagery. Can you make black-and-white images during the Golden Hours or at any other time? Absolutely. Will they be any better than those made midday? Not necessarily. But black-and-white images made in sunny midday light certainly will be better than color images taken at that time! Figure 1a illustrates this point very well. It’s an image of Arches National Park’s Broken Arch taken in harsh midday light. It’s a nice subject, but the color photo is pretty uninspiring. The black-and-white conversion takes advantage of the conditions with a much more interesting result (Figure 1b). So let’s look at the process for creating dramatic black-and-white images. Luckily, for us, in today’s digital age, the photographer is presented with many good options. We’ll start with taking the actual image, and then we’ll look at options for postprocessing in the digital darkroom.

no doubt that the best light for color landscape imagery is during the magic Golden Hours—early in the day, first thing after sunrise and late just before sunset. Overcast and rainy days, when colors are more saturated, are best for flowers and close-up work, and misty or foggy conditions are best for moody, ethereal shots. But what about the rest

of the time, when it’s sunny and the midday light is harsh and contrasty? You may be inclined to say those are the worst conditions for doing color work, and you’d be absolutely right. When you give it a little more thought, however, those are some of the very best lighting conditions for black-and-white photography. That being the case, I don’t stash

Considerations At The Point Of Capture Depending on the final product, there are certain considerations to be made that will help yield a more interesting image. Scenes or subjects that rely strongly on hue, saturation and luminance will make color images stand out, whereas photos consisting of shapes, forms, textures or patterns may not be as interesting in color. However, those same photos may render exceptionally well in black-and-white. By the same token, harsh lighting with sharp contrast that provides distinct separation,

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outdoorphotographer.com August 2014 53

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2 depth and dimension, from and between objects and edges, works very well for black-and-white—not only does this hold true for inanimate objects, but also for wildlife, especially where a lot of detail is present. Figure 2 is a good example of a black-and-white wildlife image. Here, the color photo of an Alaskan brown bear was taken at 1:00 p.m. in mid-June when the lighting doesn’t get much harsher. The black-and-white rendition takes advantage of the severe light—the animal’s fur pops out, drawing the eye, whereas the light background becomes darker and less obtrusive. In landscape work, the sky often takes up a good portion of many images. Thus, it becomes an important element to consider. Does it have dramatic clouds, is it sunny or totally overcast, and how will it contrast with its surroundings? These things can bear heavily on how well an image works in black-and-white. Gray overcast skies will appear anywhere from light gray to pure white in black-and-white. This may not be desirable or visually appealing unless the sky is set against a very dark foreground or mid-ground. On the

other hand, a solid blue sky will render dark or even black, and this can be quite dramatic, especially if set against white snowcapped mountains or other lighter foreground elements (as in Figure 1). My favorite, as shown in Figure 3, is a bright blue sky with lots of billowing cumulus or foreboding storm clouds— the juxtaposition of all the light and dark tones in the cloud detail will yield the most striking and interesting of black-and-white renditions. What about the use of filters? In the pre-digital film days of old, black-andwhite photographers possessed an array of assorted color filters. They were used to control black-and-white tonality depending upon subject matter in order to achieve certain desired results—a red or yellow filter, for example, was used to darken a blue sky, as only the color of the filter would be transmitted and other colors blocked, i.e., darkened or turned black. Color filters may still be used to control hue in a color photo. Personally, I don’t use them because I prefer to have the full gamut of color hues available in the original image in order to achieve the best results in the black-and-white conversion in the computer.

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There’s one filter that’s recommended, however, and that’s a polarizing filter. A polarizer will darken blue sky, provide contrast and detail to clouds, eliminate natural glare and add saturation—all desirable effects regardless of whether the final image will be in color or black-and-white. The polarizer doesn’t work in all conditions; its effectiveness is greatest when the angle between the sun and subject is 90° and diminishes as that angle approaches 0° or 180°. Figure 4 is a midday winter scene of the Mission Valley in northwestern Montana that illustrates the effect on the sky very well. A graduated neutral-density filter can be another useful tool in the field to help even out excessive exposure variations within a scene, eliminating undesirable over- or underexposure; for example, there may be times when a 3-stop or more difference between the sky and foreground exists, which can be beyond the dynamic range of many digital cameras. And, speaking of dynamic range, don’t overlook HDR images when looking to convert to black-and-white; they can serve as a great foundation from which to start. [Editor’s Note: For tips on working with HDR black-andwhite conversions, see Rick’s article “B&W Transformation” in the August 2012 issue of Outdoor Photographer, www.outdoorphotographer.com.] So we’re all set to take images and have some likely subject matter in mind.

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How do we actually proceed? The simplest approach is to set your camera to take the photo in black-and-white; however, that’s usually the least desirable method. Yes, it will take a blackand-white image, but be aware that usually the image will be an 8-bit JPEG rendered to whatever preset the camera manufacturer has formulated for your particular camera make and model. This may not yield the most desirable finished product. Additionally, the extent to which any further postprocessing modifications or improvements can be made will be limited. A much better approach is to take the photo in color and RAW format. Suffice it to say that there’s a world of difference between JPEG and RAW; however, that’s a subject all to itself and is well beyond the scope of this article. The bottom line is that shooting in RAW will result in a much greater tonal range to work with and more flexibility in postprocessing, and any changes performed will be entirely nondestructive, as the raw data will always be there.

Postprocessing Now that I’ve convinced you not to shoot directly in black-and-white, what’s next? Regardless of the RAW processing software you use, there are some initial steps to be taken to help improve the overall end result. I happen to prefer doing all of my initial editing in Adobe Photoshop Lightroom 5, and then I move on to Photoshop or other software, if need be, to achieve a certain effect. However, if you happen to be more comfortable working in Photoshop, note that a camera’s RAW processing engine that drives Photoshop is exactly the same as the one in Lightroom; albeit, there are some differences in presentation on how controls are accessed, so use whichever you prefer. Now, let’s proceed, keeping in mind that this isn’t intended to be a Lightroom tutorial, per se, but merely how I approach things and what my workflow is like. You may find that a totally different approach works best for you, and that’s fine. First, before doing anything else, it’s always a good practice to remove chromatic aberration and any lens distortion. This is done through the Lens Correction Panel inside the Develop Module. It may not be readily apparent in the color version, but chromatic aber56 Outdoor Photographer outdoorphotographer.com

ration, if present and not removed, may show up as a white halo around any areas of high contrast (such as a mountain ridge line), so it’s best to deal with that first. In general, I’ve found that it’s best to remove chromatic aberration before converting to black-and-white; however, there are certain images where the opposite is true, so convert first, then remove chromatic aberration. Some experimentation may be necessary to see which way works best for each particular image. Figure 5a shows the Lens Corrections Panel in the Lightroom Develop Module. Next, go into the Develop Module to adjust white balance and tonality just as you would for any color image. I rely closely on the histogram when adjusting images, and for black-and-white, I seek to expand the tonal range as much as possible while making sure that blacks and whites aren’t clipped. When sky is present, I’ll darken highlights downWorldMags.net to as much as -100 and do this

primarily to obtain greater sky definition. This depends upon the image and may require some experimentation to see what looks best. Then, I’ll generally lighten shadows until the effect looks pleasing, but again, this is totally dependent upon the particular scene. Figure 5b illustrates typical initial adjustments made to the original color image prior to black-and-white conversion. One thing to note, however, is that any vibrance, saturation or luminance adjustments done in the Basic Panel or HSL/Color/B&W Panel will have no effect whatsoever on the final black-andwhite conversion; I suggest not wasting your time playing with these, as they will only make the color image look garish. If you work in Lightroom, as I do, it doesn’t really matter if you make the above adjustments before or after the image is converted to black-and-white; I just happen to prefer getting the color rendition to look its best and then convert. Prior to making the black-and-

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white conversion, I also prefer to make a virtual copy of the original color image and work on that; I only do this because I like to maintain the original color image as a master or “before” version for quick and side-by-side easy comparison.

Making The Conversion To convert from color to black-and-white, simply click on the Black & White treatment option at the top of the Basic Panel in the Develop Module or use the keyboard shortcut “V”; you can use this one keystroke command to toggle between black-and-white and color for quick comparison or evaluation before you do any DxO FilmPack post-capture processing. After converting to black-andwhite, it then may be necessary to go back to tweak the basic tonality adjustments to your liking before proceeding with any further enhancements. Also, readjust contrast and clarity to suit what you think looks best. If you don’t think there’s enough contrast gained from using the contrast and clarity sliders in the Basic Panel, try working with the Tone Curve. Start with one of the presets, then use the sliders or point curve to adjust lights, darks, etc., or use the Targeted Adjustment tool (the little target-like icon in the upper-left corner of the panel) to perform adjustments directly from the image. To use the Targeted Adjustment tool, click on the area you wish to lighten or darken and drag up or down, respectively, with the mouse. There’s no absolute recommendation here; just play around until the image looks most pleasing. It’s all very subjective, and there’s no right or wrong. You may also wish to use one of the presets offered by Lightroom or third-party developers for the blackNik Silver Efex Pro and-white conversion. These can be used as a starting point from which to make further adjustments, as well. They can be viewed and accessed in the Presets Panel to the left of your main image view. As you scroll through them, a preview of the resulting effect will be visible in the Navigator Panel. To see the effect on the actual image, simply click on any one or a number of the presets, and the image adjustments will be done automatically and appear on the main screen view— all this will be done nondestructively, and each change will be kept track of in the History Panel, allowing you to go back at anytime to re-select any previous state. Now that you have a starting point, you can simply stop there or let your creative juices flow by making further adjustments in the Basic Panel, Tone Curve or the HSL/Color/B&W Panel. Note that HSL and Color will be grayed out after converting to black-and-white, allowing only Black & White Mix adjustments. Moving the Adobe Lightroom 5 color sliders in the B&W Mix left or right will darken or lighten the underlying base colors, which govern tool. This means there’s a mix of the colors repretonality changes in the black-and-white rendition, 왘 MORE On The Web sented by the sliders that make up the underlying respectively. You can either work each of the slid- Go to outdoorphotographer.com and ers individually or use the Targeted Adjustment check out our archive of How-To articles color in the original image. To dodge (lighten) tool option to make adjustments directly from the to make the most of lighting conditions and burn (darken), or make other adjustments and create your best images. such as exposure, contrast, clarity, etc., to specific image in a similar fashion to Tone Curve adjustelements within the image, use the Adjustment ments as explained previously. Click and hold the Brush tool. And don’t forget about using the other tools like the mouse button (or tablet pen) on an area you wish to lighten or Graduated Filter, Radial Filter and Post Crop Vignetting to condarken and drag up or down, respectively. You may notice that trol brightness and help guide the viewer’s eye. more than one slider moves when using the TargetedWorldMags.net Adjustment

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onOne Perfect B&W

Topaz B&W Effects

Beyond Lightroom Black-and-white image enhancements aren’t limited solely to Lightroom. Used in conjunction with Lightroom, Photoshop’s layers, effects, filters and myriad other tools leave no bounds as far as creativity is concerned. Additionally, there are numerous other software packages that work as a standalone or as plug-ins in conjunction with Lightroom and/or Photoshop. Some of the more popular software are Nik Software’s Silver Efex Pro 2, onOne Software’s Perfect B&W 8, DxO FilmPack 4 and Topaz Labs’ B&W Effects 2. Many of these packages offer presets that emulate the more popular classic black-and-white films, plus a number of other tools and controls for creative input. As you may guess, each one works in a slightly different manner, and all will have an initial learning curve, but those familiar with Lightroom and/or Photoshop should have little problem getting up to speed quickly. The good thing is that they all offer free 30-day trials so you can try them out at your leisure and decide if they suit your creative needs. For reference, Figure 6 provides a comparative look at some different black-and-white conversions done with software packages noted above. Each yields a different finished product as a result of empirical algorithms established by the software manufacturer. Final Tips Don’t limit your shooting time to early morning or late evening, and by all means don’t delete those midday, harshly lit images from your storage media; use them as another means to a different end, a great black-and-white photograph. And don’t look at harsh midday light as a negative; learn how to work with and take advantage of lighting conditions as they change in the field. After all, light is what photography is all about, and it’s not all Golden Hour. Converting midday color images to black-and-white not only expands your shooting time, but provides another avenue to further develop your creative outlets. Experiment, and try some of the software that’s available—you’ll be amazed at the results, and they’re almost limitless. OP

Original Color Image Adding grain or toning can also be used to create a more vintage feel, emulating classic black-and-white film. Again, note that the advantage to working in Lightroom is that all adjustments are nondestructive, meaning you can go back at anytime to add to, delete or modify any previous adjustment Rick Sheremeta is a professional photographer residing without any loss of original RAW data. Figure 5c illustrates in northwestern Montana, and has been a contributor to the Presets Panel, along with Black & White Mix, and use of Outdoor Photographer since 1999. See more of his work the Targeted Adjustment tool for fine-tuning local black-andand learn about the workshops he offers on his website white adjustments. at www.alpenglowproductions.com. WorldMags.net outdoorphotographer.com August 2014 59

See&In BW A

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How to train your eyes to predict how a scene will look before you take the picture

Although there are many aspects of photography that digital technology changed, the art of seeing in blackand-white remains the same. What’s different is that today it’s much easier to confirm that what you think you’re seeing is actually what you’re seeing because you can use the camera’s LCD and monochrome mode to capture the black-and-white image in the field. Some would say this capability renders the need to previsualize in black-andwhite moot, but that couldn’t be further from the truth. Previsualizing and then confirming your vision is very different from taking a wild guess and then checking out what you got. Ansel Adams and Fred Archer conceived the Zone System as a way to accurately predict the black-and-white tonal values within a scene. They began with a 10-stop range (the range of black-and-white film), gave each zone a Roman numeral and established Zone V as 18%, or “middle” gray. Zone X was pure white, and Zone I was pure black. The most accurate way to previsualize a scene using the Zone System and film was to use a 1º spot meter and take readings throughout the scene. By adjusting the exposure when you took the photo, you would be including the maximum tonal range, preserving as much of the highlight and shadow detail as possible. Therefore, the overall goal of the Zone System can be described as giving the photographer a tool to create the best exposure with the most detail in the negative for making a good print. And, so it did, and despite the many advancements and changes in the tech-

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nology of photography, it still does today. The Zone System had another revolutionary benefit—it allowed a photographer to accurately predict the way the full-color world would render in tones of gray. The Zone System is about more than determining whether a dark shadow area and a bright highlight area will be featureless black or blownout white in the photo. The Zone System shows you how various midtone colors will appear in black-and-white. Our eyes are greatly influenced by color. Fall’s vibrant reds and yellows jump out against blue skies and brown tree branches. These color contrasts make for vivid images. In black-andwhite, however, those red and yellow leaves and that blue sky, and even the brown ground, are all surprisingly close to middle gray. In flat light, which might create a beautiful fall foliage photo, the black-and-white photo is quite dull. And if you had used a 1º spot meter to take readings across that scene, you would have noticed this immediately. The reality is that very few of us still use spot meters. We’ve become so accustomed to the convenience of modern digital cameras with their advanced metering systems, as well as the ability to use RAW files to fine-tune exposure after the fact, that the necessity of having a spot meter has fallen by the wayside for most of us. That’s not necessarily a bad thing. Like any tool, it’s easy to become overly dependent on the spot meter to previsualize. It’s really much better to train your eyes and your brain to process the scene just by looking at it. WorldMags.net

K & WH IT

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Aware Of The Sky

Skies always have been a challenge for black-andwhite landscape photographers. The early films were orthochromatic and tended to blow out a blue sky to pure white. Later emulsions were better, but even the best could make an azure sky look dull gray. Film shooters used yellow, orange and red filters to darken a blue sky. Even a polarizer can help transform dull gray to a richer tone. The filter also helps to give definition to any cloud in the sky. Using a filter is one of the best ways to add a bold look to your black-and-white landscapes. You can further accentuate the effect in postprocessing with a subtle gradient. Master printers like Adams routinely did this. Look at an Adams print, and you’ll see that the top edge of the frame is frequently almost pure black.

Think

More About Light Than Color

Colors can be deceptive, so focus on the light and the highlights and shadow areas in the frame. While most colors will render as midtones, a yellow leaf in sunlight will be a very different tone than a red leaf in shadow. In this issue of OP, Rick Sheremeta describes how you can make use of this to get interesting black-and-white images at midday in the article “B&W In Harsh Light.”

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outdoorphotographer.com August 2014 61

Look

At Shadows As Forms

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View camera photographers composed the photo by looking at a ground glass with an image that was upside down and backward. This gave the photographer an advantage because it helped disconnect the brain from looking at the scene literally. You’d see forms more than features. This was particularly helpful with shadow areas because you’d tend to see them more as shapes within the composition instead of just darker areas. A digital camera doesn’t allow you to do this, so you have to force your brain to do it. With practice, this becomes much easier.

Colors

Tend To Be Midtones

It was mentioned previously that a fall color scene that’s vibrant in color can be dull and flat in black-and-white. That’s because red, green, blue, yellow—they all tend to render in the Zone IV to Zone VI range. You can mitigate this by using a color filter while shooting or during postprocessing. A filter allows light of its own color to pass and blocks light of the opposite color (as seen on a color wheel). For example, a green filter will make green foliage a lighter gray. When you’re looking at a landscape, focus on seeing the colors as midtones, then determine the best composition as a combiOP nation of the midtones and shapes. WorldMags.net

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“A good photograph is knowing where to stand.” —Ansel Adams WorldMags.net

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2 0 1 4

P H O T O

C O N T E S T

Our inaugural Vistas contest is open to entries from around the world. Go to www.outdoorphotographer.com/vistas to see the rules and learn how you can submit your photographs. The Grand Prize winner will receive a new camera, and all the winners will be published in Outdoor Photographer magazine, as well as in a special commemorative book.

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Travel

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Muse

The

Monochrome Y

If black-and-white landscape photography was an earthquake, Yosemite would be the epicenter

Yosemite is a giant magnet, and nature photographers are iron filings. Weâ&#x20AC;&#x2122;re inexorably drawn to this small corner of the Sierra Nevada, and when weâ&#x20AC;&#x2122;re there, the place begs to be captured in black-and-white. In this rugged landscape, Ansel Adams found a muse that would speak to him for his

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entire life. Other legendary photographers like Eadweard Muybridge and Minor White explored the valley and created negative after negative. For this special Black & White issue of Outdoor Photographer, we thought it was the right time to revisit this most iconic and inspiring of national parks.

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Steve Whiston j “Winter In Yosemite” This image was part of a special trip to Yosemite for my 50th birthday, and I had recently bought a brand-new camera; the Canon 40D had just been released in February 2008. My birthday present was to spend a full day with professional photographer Michael Frye as a combination field session and Photoshop course. This particular shot was taken the day before I was to meet with Michael, as I felt I had better learn all the camera’s various functions and modes before spending the day with him. My wife and I were trudging through the snow after lunch, stopping at every bend in the river looking at reflections when we turned the other direction and saw this scene with the Three Brothers reflected in the water. The shot was taken at midday and isn’t all that interesting in color, but it really seems to come alive in black-and-white. I did some postprocessing in Lightroom and Nik Silver Efex Pro to come up with the finished image. It’s a great reminder of an incredible trip, and it really started me on a journey from being a casual photographer to a much more serious one. Canon EOS 40D, Canon 16-35mm ƒ/2.8L

Lace Andersen i “Into The Light” I was adventuring around Yosemite and the Eastern Sierras in August 2012 with a fellow photographer who had never visited those locations. We camped the night before at a site off of Glacier Point Road and planned on photographing sunrise from Glacier Point the next morning. When the alarm went off, we woke up to a heavy cloud layer and rain, but we decided to try and shoot anyway. At the overlook, the conditions started to improve. The sun crept up the back of Half Dome and amazing light beams shot across the sky. I used Adobe Photoshop for image sizing and Nik Silver Efex Pro 2 for the black-and-white conversion. Canon EOS 50D, Canon EF 16-35mm ƒ/2.8L II USM, Manfrotto tripod

What To Bring Go to the “Solutions” article in this issue of Outdoor Photographer to see our quick guide to packing for a day of shooting black-and-white landscapes. Whether you’re going to be hiking in Yosemite or taking a morning walk on a local trail, we’ll give you some advice on what to have in your bag to make the day successful.

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Wayne Lederer h “Clouds, Yosemite National Park” While photographing at Half Dome in February 2014, I noticed some nice clouds moving in and wanted a wider view of the valley, so I moved to Tunnel View. I decided to change from shooting color to black-and-white IR so I could go to a 300-second exposure to get a streaking effect of the clouds. Using Lightroom, I converted the RAW color image to blackand-white and moved the contrast up, then worked with the highlights and shadows. Canon EOS 5D Mark III, Canon 35mm ƒ/1.4L, Singh-Ray IR filter, Manfrotto tripod, Vello camera release cable

j Valerie Millett “In The Spirit” I had never been to Yosemite before, but it had long been a dream to see the playground of the great master himself, Ansel Adams. I’ve been previsualizing my future trip to Yosemite for almost a year, but the atmospherics were way more than I ever could have hoped for in March 2014. Even though California had been in drought conditions for some time, I knew a major storm was approaching, so I headed that way from Phoenix, Arizona, to try to catch the dramatic weather. I caught this image stepping out of the car for the first time in Yosemite, and I stayed there for hours. I spent three days in Yosemite with some beautiful dramatic weather. I did basic postprocessing for my RAW image in Lightroom and a light unsharp mask in Photoshop. Canon EOS 5D Mark II, Canon EF 24-105mm ƒ/4L IS USM, Induro tripod, Benro ballhead

Blair Pountney i “Yosemite Falls” Living so close to Yosemite affords me the opportunity to capture the constant changing light and seasons of the Sierras. I visualized this image from Yosemite Village during the dry season in September and waited for the spring runoff in June 2013 to take this shot. I shot in RAW and converted it to black-and-white in Lightroom. Pentax K5, Pentax-DA 55-300mm 68 Outdoor Photographer outdoorphotographer.com

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A look at the essential gear you need for making your best black-and-white landscape, wildlife and travel photos

# 8 &TTFOUJBMT While most landscape photography today is done in color, thereâ&#x20AC;&#x2122;s a long tradition of magnificent black-and-white landscapes. From the likes of William Henry Jackson and Carleton E. Watkins in the 19th century through Ansel Adams and many others in the 20th to todayâ&#x20AC;&#x2122;s landscape masters working with film and digital, black-and-white offers a classic way to picture the grand vistas, stunning for70 Outdoor Photographer outdoorphotographer.com

mations and amazing lighting of nature. Without color, attention is directed to light and shadow, shapes and forms. You can shoot black-and-white (monochrome), as well as color images, with your digital camera. Most DSLRs have a built-in monochrome mode, and this offers several benefits. First, the image you see on the LCD monitor in Live View mode, and on playback, WorldMags.net

will be monochrome, making it easier to judge what the image looks like in black-and-white. Second, you can apply built-in digital color filters and see the results on-screen (see the section on Filters). Third, if you shoot RAW rather than JPEG, you can process the resulting images to monochrome or color with your RAW converter (if you shoot JPEGs in monochrome mode, they will

'PWFPO 4FOTPS

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TOP TO BOTTOM: Canon PIXMA PRO-10; Epson Stylus Pro 4900

be forever monochrome; you canâ&#x20AC;&#x2122;t later process them into color images). With a regular digital camera, you can also take a regular color image, and then in Photoshop, go to Image > Adjustments > Channel Mixer, click the Monochrome box, and adjust the color channels individually in postprocessing, giving you lots of control over the look of the monochrome image.

There are also special monochrome digital cameras. These eliminate the color filter grid that covers the sensor pixels in conventional digital cameras, which can produce sharper monochrome images and better performance at higher ISOs. But, of course, they canâ&#x20AC;&#x2122;t shoot color images. Check the accompanying sidebar to see if a monochrome camera might be for you. WorldMags.net

Printers The soul of any great black-and-white image is revealed in the print. Computer monitors and tablet displays do a beautiful job of rendering glowing images, but color shifts, brightness settings and the many unknowns of viewing conditions make these digital devices unreliable for showing the detail and tonality of a beautiful black-and-white image. Even outdoorphotographer.com August 2014 71

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pigment-based inks. At one time, dyebased inks (consisting of fine colorant particles and additives dissolved in liquid) produced better colors, while pigment-based inks (with larger colorant particles and additives suspended in liquid) provided longer life and better water-resistance. Today, both types of inks can produce excellent colors (and monochrome tonal range) and long life. Most higher-end inkjet printers today use pigment-based inks. Canon’s PIXMA PRO-1 ($999.99) is the company’s top 13-inch inkjet, featuring a

12-color Canon Lucia pigment inkset (including five monochrome inks— matte black, photo black, dark gray, gray and light gray—for deep blacks and smooth grayscale tones) in 36ml cartridges. The PIXMA PRO-10 ($699.99) features a wireless WiFi connection and a 10-color Lucia pigment inkset (with three monochrome inks—photo black, matte black and gray) in 14ml cartridges, plus multiple monochrome inks and Chroma Optimizer minimize bronzing. Epson’s Stylus Pro 3880 ($1,295) is a 17-inch inkjet printer that uses Epson’s eight-color UltraChrome K3 with Vivid Magenta pigment inkset in 80ml cartridges (including three monochrome inks—light black, light light black and either photo black or matte black, automatically chosen to suit the paper being used). Advanced Black & White Photo Mode provides presets for neutral, cool, warm and sepia prints, with custom controls that allow you to fine-tune the results (and even save your custom settings for future use). Epson’s Stylus Pro 4900 ($1,995) is faster than the 3880 and uses the company’s 10-color Ultrachrome HDR pigment inkset in 200ml cartridges (with the same three monochrome inks). Again, the multiple black inks improve image quality and minimize bronzing. You can print color images in blackand-white, letting the printer driver do the conversion, but likely will get bet-

interpolation, using data from neighboring pixels and complex proprietary algorithms in a process known as demosaicing. The problem with this is that each pixel receives light of just one primary color, which cuts down on resolution (because a portion of the data for each pixel is interpolated) and sensitivity (because the filters absorb some of the light that would otherwise reach each pixel). And the demosaicing process creates moiré and exacerbates aliasing that occurs when a pattern in the subject or scene conflicts with the pixel grid of the sensor. To reduce the moiré and aliasing problems, most sensors have an anti-aliasing (AA) filter (also known as an optical low-pass filter, or OLPF), which reduces those problems by slightly blurring the image at the sub-pixel level. Obviously, this further reduces resolution. If you convert

one of these images to monochrome or shoot in monochrome mode, you still have these problems of reduced resolution and sensitivity, and aliasing. To solve these problems, a few manufacturers offer dedicated monochrome digital cameras. These omit the Bayer filter grid, since color data isn’t needed, just luminance (brightness) data, and eliminates demosaicing and its problems. So every pixel receives all the light possible, improving sensitivity, and every pixel provides luminance data. Since there’s no demosaicing, there’s no need for the resolution-reducing AA filter, further enhancing sharpness. These monochrome cameras are ideal for photographers who specialize in monochrome, providing increased pixel-level sharpness, enhanced contrast, smoother tonal transitions and increased sensitivity (higher ISOs). Their primary drawbacks are cost (they start at $7,950), and the fact that you can’t shoot normal color images with them.

A collection of B+W ﬁlters

today, in a world of Retina displays, the well-crafted print is the very best expression of a well-made photograph. Today’s color inkjet printers from Canon and Epson can deliver excellent monochrome prints because their standard inksets include multiple gray inks along with the black and color inks, and printer driver technology has advanced a lot. Some printers use color ink along with the multiple monochrome inks to produce top monochrome results on a variety of papers. Some inkjet printers use dye-based inks, while others use

Leica M Monochrom

he photodiodes (“pixels”) in digital image sensors can’t detect color; they detect the amount of light that strikes them, but not what the wavelengths are. To obtain color information, most digital cameras use a grid of red, green and blue filters—a Bayer array (named for the Kodak scientist who came up with the concept) over the sensor—so that each pixel receives light of only one of these primary colors (see the “Sigma Foveon” sidebar). The missing colors for each pixel are then derived by 72 Outdoor Photographer outdoorphotographer.com

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ter results by converting the image to monochrome yourself and fine-tuning it, as desired, then printing the resulting image. You can always try it both ways to see which works best with your printer; today’s printer drivers are very good.

Papers For B&W If the printer is the engine for a wellcrafted black-and-white print, the paper is where the rubber meets the road. The finest inkjet printers need paper that reacts properly to the printhead and the inks. This has been true since the days of the wet darkroom when master photographers experimented with papers like Oriental Seagull, Agfa Portriga Rapid, Zone VI, Ilford and more. All inkjet papers can produce color or monochrome prints; it’s a matter of finding the paper whose surface, weight and brightness synergize with your printer and your project. High-gloss surfaces work well for some subjects, while others look best on matte surfaces. Textured surfaces hide fine details, so aren’t the best choices when fine detail is required. You must select a paper suited to your printer’s inkset, of course. If your printer uses pigment inks, get papers suited to pigment inks; if the printer uses dye-based inks, use a paper suited to those. Some papers work well with both ink types. Some paper-ink combinations provide longer life than others.

Leica M Monochrom. The M Monochrom features an 18-megapixel, full-frame (35.8x23.9mm) CCD sensor that was designed specifically for monochrome digital imaging with legendary Leica M-series lenses. It delivers 14-bit uncompressed or losslessly compressed RAW (DNG) files or lightly compressed JPEGs. A special layout of microlenses atop the sensor helps produce uniform exposure and excellent sharpness from corner to corner. A special glass sensor cover blocks infrared radiation above 700nm. Because there’s no demosaicing, the M Monochrom can provide a histogram of the RAW data. This is useful, and much better than conventional Bayer-sensor cameras, which can only display histograms for camera-created JPEG images from the RAW data because it shows actual clipping points, not JPEG clipping points. The camera also allow you to apply toning effects to JPEG images, in-camera. Estimated Street Price: $7,950. Contact: Leica, us.leica-camera.com.

Check the specs for those you’re considering, and if several papers look good to you, pick the one that produces the longest-lasting prints (keeping in mind that manufacturer’s specs may be somewhat optimistic). Wilhelm Imaging Research (wilhelm-research.com) offers objective appraisals of print life with many inkpaper combinations and other information of print longevity. Filters

Color Filters. Old-school film shoot-

ers know the value of color filters for shooting black-and-white. Many photographers have shunned color filters in the age of software that can simulate their effects, but color filters still have value today. While your intended image may be black-and-white, the light isn’t. Color filters transmit light of their own color and absorb light of a complementary color, so a color filter will render objects of its own color lighter and objects of a complementary color darker in a black-and-white image. If you photograph red flowers against green leaves in black-and-white without a filter, you’ll probably get a dull gray image because the flowers and leaves both reflect about the same total amount of light. But if you shoot through a red filter, the red flowers will photograph lighter and the green leaves darker, providing a more dynamic

Phase One IQ260 Achromatic.

The IQ260 Achromatic is a medium-format digital back with a huge 60-megapixel, 53.7x40.3mm CCD sensor designed for black-and-white photography. Not only is there no RGB Bayer filter grid or AA filter on the sensor, there’s no IR cutoff filter, so the camera can be used for infrared and UV, as well as visible-light photography. The IQ260 captures 16-bit losslessly compressed RAW monochromatic black-and-white files, and outputs TIFF-RGB, TIFF-CMYK and JPEG. ISO range is 200-3200 (vs. 50-800 for the Bayer-array IQ260 in full-res mode), a two-stop improvement. Dynamic range is 13 stops. The back can be used on a wide range of medium-format and technical cameras, including the Phase One 645DF+, Mamiya 645DF+, Hasselblad H1, H2 and H4, and Contax 645AF, and via FlexAdapter, 4x5-inch Arca-Swiss, Cambo Linhof, Toyo, Sinar, Plaubel and Horseman. Estimated Street Price: $45,000. Contact: Phase One, phaseone.com. WorldMags.net

TOP TO BOTTOM: Nik Silver Efex Pro 2; DxO Optics Pro 4; Tiffen Dfx 3.0

RED EPIC Monochrome. Maker of high-end pro DSMC (Digital Still & Motion Camera) devices popular with pro filmmakers, RED offers monochrome versions of its EPIC camera. The EPIC-M DRAGON Monochrome ($31,500, body only) features a 6K DRAGON monochrome sensor, and the EPIC-M Monochrome ($25,000, body only) and EPIC-X Monochrome ($20,000, body only) feature a 5K Mysterium-X monochrome sensor. These are great devices for shooting professional black-and-white video, of course, but they also deliver excellent still frames: 6K is 6144x3160 pixels, or 19.4 megapixels (the DRAGON can record 6K at up to 100 fps); 5K is 5120x2700 pixels, or 13.8 megapixels (the EPIC-M and EPIC-X Monochrome can record 5K at up to 120 fps). Dynamic range for the DRAGON is 16.5 stops, for the others, 13.5 stops. Focusing is manual; mounts are available for Canon, Nikon, Leica and PL lenses. Contact: RED, red.com. outdoorphotographer.com August 2014 73

Sigma Foveon

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igma’s digital cameras (the SD1 Merrill DSLR, the DP1, DP2 and DP3 Merrill, and the DP2 Quattro compacts) use unique Foveon sensors, which don’t employ the Bayer filter grid used by most other sensors. Instead, the Foveon sensors stack three pixel layers, taking advantage of the fact the light penetrates silicon to different depths, depending on wavelength: short (blue) wavelengths penetrate a little, medium (green) wavelengths, deeper, and long (red) wavelengths, still deeper. Thus, the top layer records mostly blue, the middle layer, mostly green, and the bottom layer, mostly red light. It’s really more complicated than that, but this simplified explanation makes the point: Unlike Bayer sensors, Foveon sensors record all three primary colors of light at every pixel site, so there’s no need for RGB filters, demosaicing or an anti-aliasing filter. The result is better resolution than a Bayer sensor of similar horizontal-by-vertical pixel count provides. A side benefit is that monochrome images are also sharper than those from a Bayer sensor of equal pixel count. And, unlike the monochrome digital cameras, the Sigma bodies with Foveon sensors are affordable (they start at under $1,000) and provide three color channels, allowing you to adjust each individually for optimum control over the final monochrome image. The drawbacks are that there’s some light loss (i.e., high ISO performance isn’t as good as with the monochrome cameras), and the Foveon sensors are all APS-C—smaller than the sensors in the monochrome cameras. Contact: Sigma, sigmaphoto.com

One key advantage of monochrome cameras: no Bayer array on the sensor, thus no interpolation. The Sigma Foveon sensor is full-color, yet due to its unique technology, there’s no Bayer array so it has that same advantage.

rendering. Landscape shooters use a yellow, orange or red filter to darken a blue sky so white clouds will really stand out. You can also use color filters to adjust skin tones—green to darken them, yellow or light red to lighten them and minimize blemishes. Since color filters absorb some of the light, you have to increase exposure when using them. The amount by which you must increase exposure when using a color filter is given as a filter factor: A factor of 4X, for example, means you must increase exposure four times normal (+2 stops) when using the filter so colorless objects will be reproduced normally in the resulting photo (and so objects of the filter’s color will be reproduced lighter, and objects of complementary color, darker). If you don’t apply the filter factor, objects of the filter’s color will appear slightly too dark, neutral objects, moderately too dark, and objects of the filter’s complementary color, way too dark, in the resulting image. One nice thing about digital is that, in monochrome mode, you can apply color filters digitally, with no need to deal with filter factors (and with the ability to later undo the effect, if you 74 Outdoor Photographer outdoorphotographer.com

shoot RAW). Note that monochrome digital cameras don’t have such built-in digital filters; with those cameras, you must use actual color filters over the lens to get these effects. Polarizers & ND Filters. Color filters aren’t the only ones of use to the black-and-white photographer. A polarizer will work in black-and-white as it does in color, reducing or eliminating reflections from nonmetallic surfaces (an effect that’s really difficult to duplicate in the digital darkroom), darkening blue skies and cutting through some atmospheric haze to improve contrast. Neutral-density (ND) filters reduce the amount of light reaching the sensor without otherwise altering it, handy when you want to make very long exposures in bright light, as when blurring a waterfall. Graduated ND filters can reduce sky brightness so you can hold detail in both sky and dark foreground in landscapes. Good filter sources include B+W, Cokin, Heliopan, Hoya, Kenko, Pro-Optic, Singh-Ray and Tiffen. Software While you can do a lot with a monochrome image in your usual imageWorldMags.net

editing program, there are a number of software programs dedicated to monochrome, which provide more control over monochrome images. These include DxO FilmPack 4, Nik Silver Efex Pro 2, onOne Software Perfect B&W 8 and Topaz B&W Effects 2, and for filters, Tiffen Dfx v3. Nik Silver Efex Pro, for example, incorporates unique algorithms that produce such effects as Dynamic Brightness, Soft Contrast, Amplify Whites and Amplify Blacks, and an advanced Grain Engine. You can emulate nearly 20 film types, use such presets as Hi Contrast Red Filter, Antique Plate 1 and Warm Split Tone, and compare different edited states and undo adjustments at anytime via the built-in History Browser. onOne Perfect B&W, part of Perfect Photo Suite 8.5, makes it easy to replicate the looks and moods of classic black-and-white films and darkroom techniques, using brushes designed specifically for black-and-white photo processing. There are tools to optimize the balance of tones and contrast, and to adjust shadows, midtones and highlights. Finish images with vignettes, darkroom edge effects and borders. There’s also HDR (High Dynamic Range) software. Some cameras have HDR built in, but postprocessing HDR software provides much more control and capability. HDR can produce some creative, yet unreal artistic effects, but it also can be used to produce images with detail from darkest area through brightest—far beyond what film can do. With HDR, you shoot several bracketed frames, then use the HDR software to combine the best of each—highlight detail from the underexposed image(s), midtones from the “properly” exposed one and shadow detail from the overexposed image(s). Many recent cameras have in-camera HDR; if yours does, try it, but combining the bracketed images in postproduction provides much more capability and control. Nik HDR Efex Pro, HDRsoft Photomatix Pro and Unified Color HDR Expose 3 are effective HDR programs. OP

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WorldMags.net Go with lightweight, comfortable shoes to keep you energized and ready to take photos on those long, rewarding summer hikes

BY RYAN JORDAN

Foot

You know the routine. Hike all day in

“state-of-the-art” waterproof leather trekking boots carrying a “state-of-the-art” backpack filled with 60 pounds of “state-of-the-art” equipment. Arrive in camp. What are your first three tasks? Get rid of the pack (“thud”), remove your boots (“ahhh”) and pop a few ibuprofen (“unnngghh”). The rest of the night is spent in recovery. You’ll take photos tomorrow. There’s no single piece of backpacking equipment so adored and loathed by hikers as their trekking boots. Adoration most often reaches its peak when trying them on in the store. Loathing tends to be directly proportional to pack weight and mileage traveled. Traditional backpacking footwear (“trekking boots”) is defined by the mid- to high-cuff leather, synthetic leather or otherwise waterproof boot. Trekking boots have stiff soles that are resistant to flex, weigh more than four pounds per pair and have nonpliable uppers that won’t mold to the shape of your foot without an extensive break-in period. The primary advantage of trekking boots is their durability (my trekking boots are so uncomfortable that they last for years because I won’t wear them!). However, the perception that “bomber durability” equates to “performance in rugged terrain” has now been challenged enough in the backpacking community that traditional beliefs about the utility of trekking boots for backpacking are now crumbling.

78 Outdoor Photographer outdoorphotographer.com

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wear The Trekking Boot Problem A plethora of disadvantages of using trekking boots has been discovered by backpackers (especially, long-distance and expedition trekkers) in recent years. Trekking boots are bulky and heavy. They require more energy for careful foot placement on rough terrain (tripping and stumbling are more common among boot-clad trekkers). Also, trekking boots require more energy simply to lift them up with every step: Weight carried on the feet requires disproportionately more energy to propel than weight carried on the torso (most scientific studies claim between four and seven times more!). Trekking boots (because of their waterproof construction) don’t breathe well. Consequently, the warm and moist environment inside a boot predisposes the hiker to a host of foot problems, including blisters, fungal infections and outrageously stinky feet. Trekking boots don’t drain water well. Consequently, they aren’t the best choice for river crossings. The traditional solution is to bring a second pair of footwear, which adds weight to your pack, and time and fuss spent on both sides of the river changing shoes. Trekking boots are stiff, so they don’t promote healthy biomechanical walking motion. Stresses from walking with a pack can’t be distributed in a foot and ankle that aren’t allowed to fully flex, so the stresses are concentrated into the knees, hips and back. A long day of trekking in a stiff boot is often greeted at the end of the day with muscle aches and pains caused by footwear that’s too stiff. The Trail-Running Shoe Solution In response to these disadvantages, more and more backpackers are trekking in lighter footwear. Trail-running shoes that weigh less than a pound per

foot are rapidly becoming the most popular footwear among modern backpackers. Their advantages are outlined in the chart below. The combination of lighter weight, more flexibility and better foot health has significant impacts for the backcountry hiker. You can hike longer days and more miles with less stress on the body. Ultimately, this leaves you with more energy at the end of the day to do the things you love to do—like taking photos (instead of recovering from hiking in boots!). Likewise, the ability to hike farther means you can access areas of the backcountry you may not normally be able to access when clad in boots that limit your range and physical abilities. Boots, Shoes And Blisters Three factors are required for blister development: heat, moisture and friction. Boots with stiff uppers don’t mold to the shape of your foot; this creates friction. Lack of breathability creates both moisture and warmth. In other words, boots are blister factories. Trailrunning shoes that dry fast, breathe well and form to your feet result in minimal blister development.

Limitations Of Lightweight Footwear The primary limitation of lightweight footwear such as trail-running shoes is their durability. You can generally expect a pair of high-quality trail-running shoes to survive 250 to 500 trail miles before the sole lugs wear out. In contrast, a fullleather boot might last for 800 to 1,000 miles, and can often be resoled. Most lightweight backpackers accept this limitation, however, and they would prefer to spend $300 on three pairs of trail-running shoes than the same amount of money on a pair of fullleather trekking boots. A second limitation with lightweight footwear is that their key biomechanical advantage—their flexibility—can require some physiological adaptation. If you’re used to hiking in a stiff trekking boot, then expect to undergo a transition period when you switch to trail-running shoes. You’ll work new muscle groups in response to trekking in more flexible footwear, and those muscles must adapt to a new (expanded) range of biomechanical motion (i.e., a change in your gait). This takes time. Start by hiking in trail-running shoes a few miles a week without a pack, and then begin to add pack weight and mileage week by week until you’re hiking several miles a few days a week with a full pack. This transition period normally requires 4 to 12 weeks of adaptation if trekking boots were your normal hiking footwear.

Advantages of Trail-Running Shoes vs. Trekking Boots Trekking Boots

Trail-Running Shoes

Advantage

Heavy

Light

Less energy required for walking

Bulky

Streamlined

Foot placements are more precise

Waterproof upper

Mesh upper

More breathable, drains water more rapidly, dries faster

Stiff sole

Flexible sole

More natural biomechanics, less stress on muscles and joints

Mid- or high-top

Low-top

More ankle flexibility for better foot placement on uneven terrain, less knee/hip/back stress

Hard rubber soles

Soft rubber soles

Better grip on rock, especially in wet conditions

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outdoorphotographer.com August 2014 79

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Mythbusting Lightweight Footwear Assumptions Hikers who have covenant relationships with their Big Boots tend to be more skeptical about the advantages of lightweight footwear for backpacking. Here are a few of their common concerns, with some counterpoints to consider as you make your own decisions about backpacking footwear. Myth #1: Trail-running shoes don’t offer the ankle support required for backpacking with a heavy pack. My first response: Stop backpacking with a heavy pack. Lighten up! However, even if we lighten up much of our camping gear, professional photographers may still be required to carry a heavy pack full of equipment, so this advice may not be practical for everyone. So, instead, I’ll make the argument that ankle support isn’t a benefit. Preventing normal flex of the ankle by cladding it in a boot cuff inhibits the distribution of biomechanical stress through the entire musculoskeletal system of the lower body. This places more stress on other joints—especially, the knees, hips and back—increasing the risk of fatigue and injury in those areas. In addition, ankle flexibility allows for more precise foot placement on uneven terrain. Keep in mind, the risk of ankle injury is high if you have weak ankles and are carrying a heavy pack. So if your ankles are used to being immobilized in a trekking boot and you wish to make the transition to trail-running shoes, I encourage you to develop ankle fitness (flexibility and strength) before you embark on a long or remote expedition. Myth #2: Hiking in mesh trail-running shoes without a second pair of footwear for stream crossings means wet, cold feet! During summer, the refreshment of walking through a cold stream not only reduces foot temperature (a good thing for preventing blisters, which form in response to heat), but minimizes the time required to change footwear and dry your feet only to imprison them back into the festering cesspool of your boot when you reach the river’s other side. Myth #3: Trail-running shoes aren’t burly enough for off-trail backpacking. Off-trail backpacking involves a variety of terrain types—scree, talus, tundra, bush and river gravel come to mind. Don’t expect to travel efficiently over rough terrain without intentionally and discriminately placing your foot down

80 Outdoor Photographer outdoorphotographer.com

carefully with every step. Boot trekkers get lazy at this because their feet get tired from being bogged down by pounds of footwear, especially late in the day. The hiker wearing trail-running shoes has a distinct advantage during off-trail travel. More flexible footwear allows for more sole contact with uneven surfaces and more precise foot placement. The key to off-trail travel isn’t footwear burliness, but walking technique and precision. Lighter footwear naturally lends itself to more careful walking technique. Conclusion There are a lot of ways to save pack weight and go lighter in the backcountry. Saving weight off of your feet is one of the most effective. Replacing heavy trekking boots with lightweight trail-running shoes will result in more comfortable walking, fewer blisters and better musculoskeletal health. Most

importantly, hiking in lightweight footwear will leave you with more energy at the end of the day to do the things you love to do—fish the evening bite, prepare a gourmet backcountry meal or take photographs during magic hour. OP

Ryan Jordan is the founder of Backpacking Light (backpackinglight. com), an online community dedicated to promoting lightweight backcountry travel. He lives in Bozeman, Montana, with his wife and teenage son. Connect with Ryan on Twitter or Instagram (@bigskyry) or at ryanjordan.com.

Essential Equipment Shoes: The ideal trail-running

Socks: The primary purpose

Gaiters: Full waterproof gaiters

shoe for backpacking offers the following features: A high level of underfoot cushioning for shock absorption while carrying a heavy pack over rocky terrain; A lightweight, breathable, mesh upper that drains water rapidly while being durable enough to resist tears from sharp rocks and poky brush; An aggressive lug sole for traction over a wide variety of terrain, including mud, snow and dirt; A wide toebox and minimal heel-to-forefoot drop to maximize natural biomechanical motion; A semi-flexible midsole (flexible enough to promote the full range of foot flexion, but stiff enough to resist overuse injuries of the plantar fascia on long treks). Few brands and models address this balance perfectly, so you may have to hunt around for footwear that offers the most important of these features for you. As a starting point, check out Altra (altrarunning.com), Inov-8 (inov-8. com), Patagonia (patagonia.com) and La Sportiva (lasportiva.com).

of socks in a trail-running shoe is to distribute moisture and keep the surface of your feet as dry as possible. Merino wool is the most effective fiber at absorbing moisture while maintaining its form-fitting fiber structure (unlike cotton, which absorbs moisture, but collapses into a sloppy mess of bunched wrinkles). Merino wool blends (usually merino wool in combination with either nylon or polyester) are more durable than pure merino socks, but the addition of synthetic fibers compromises moisture management and increases the probability of foul odors accumulating after a few days. Socks that are too thick will be too hot for summer hiking, and socks that are too thin will be overwhelmed with moisture. Look for a sock that has plenty of cushioning underfoot, but is still thin enough to remain cool in warm weather. I prefer socks that come up over the ankle; they provide some protection for the ankle bone when bushwhacking and traveling off-trail in rocky terrain, such as talus. Some brands, like SmartWool, refer to this stye as a “light hiking sock.”

aren’t necessary for summer hiking, but short breathable gaiters that keep dirt and debris out can be very useful. My favorite styles are those made of stretchy materials such as spandex. Ultralight stretchy gaiters are available from Dirty Girl (dirtygirlgaiters.com), Mountain Hardwear (mountainhardwear.com) and Rab (rab.uk.com). Lubricant: No other footcare product has revolutionized my ability to travel long distances in extreme conditions (e.g., wet, cold or heat) than a quality foot lubricant such as Bodyglide Liquified Powder (bodyglide.com). This type of lubricant is non-water-soluble (and, thus, remains active even in the sweaty environment of a shoe). Obviously, lubricants minimize friction, which helps prevent blisters. However, the greatest benefit of a quality lubricant is its ability to protect the skin from overhydration, which causes separation of the epidermal layers that leads to blisters and cracking. Trekking Poles: I’m not really a trekking pole guy, but I’m a fan of using them when I’m wearing light shoes and carrying a heavy pack (more than 40 pounds) on rough terrain. Using trekking poles to maintain an upright position and good balance seems to save a lot of energy. I find them less useful when hiking on easy trails with a light pack (less than 30 pounds).

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Traveling

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World B&W

The

Though it was overcast with cloudy skies, the rich diversity of tones provided an ideal backdrop for a black-and-white image of these young lovers on a bridge in the middle of Paris. The light was fairly flat, but the couple and the surrounding scenes were rich with a range of light and dark tones, which I accentuated once I brought the image into Adobe Lightroom. I didn’t concern myself that the resulting original file likely would look a little flat. Instead, I focused on carefully composing my shot to capture the momentary gesture of the young girl touching her companion’s cheek.

Eliminate color to create richer images and more evocative stories of people, places and cultures TEXT & PHOTOGRAPHY BY IBARIONEX PERELLO

82 Outdoor Photographer outdoorphotographer.com

When we think of travel photography, the first images that flash in our minds are likely in color. Whether the destination is Paris, Morocco, Honolulu or Rio de Janeiro, the images we imagine are undoubtedly influenced by the photographs we’ve seen in magazines, not least of which is National Geographic, whose photographers have made the use of light and color an art form. As evocaWorldMags.net

tive as those color photos are, there are times when a scene is even stronger if it’s rendered in black-and-white. The natural world is rich with saturated greens, reds and blues, but sometimes the monochromatic image more adeptly expresses our personal experience of a scene and a moment. It’s no less so when we’re traveling, even in largely urban environments.

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Use Your Nature Skills The great thing about producing black-and-white travel photography is that you’re utilizing the very same experience and skills you practice when you’re photographing nature. Your ability to see light and shadow and to build strong, effective photographs of nature are the same skills you need to produce great black-and-white travel images. I realized the truth of this when I began to photograph nature. I thought I was at a severe disadvantage because I rarely photographed natural landscapes, macro subjects or wildlife. I was nervous that anything I produced would be a bust, but I quickly discovered that everything I had learned about light, contrast, color, composition and foreground and background relationships from travel photography was still at play even though I was photographing in Death Valley or Yosemite. Yes, the subjects were different, but the concepts that make a good photograph were still the same. It’s Still About Light A great way to begin seeing and photographing in black-and-white is to simply pay attention to the light. Just as with color photography, the early morning and late afternoon deliver strong directional light, which produces strong points of contrast between light and dark. The resulting contrast can help reveal shapes and textures that otherwise would be lost under flatter, even light. Though it’s easy to want to sleep in,

For my image of the “Love Locks” on the Pont de l’Archevêché, I knew I wanted to make a photograph of more than just a cluster of locks. I wanted to have a storytelling element that included a couple attaching a lock to the bridge. After choosing a lock that would be prominent in the frame, I chose a wide aperture to achieve a very shallow depth of ﬁeld. The resulting shot serves not only as a good storytelling image, but eliminated the strong distracting color of the man’s jacket. To me, the black-and-white more truthfully conveyed my experience of the moment than the color shot ever could.

especially during our vacations, the choice to rise early and stay up later has its advantages. The magic light during those times is just as magical when color is no longer a factor. Though you may not use it to take advantage of the vibrancy of reds and blues, you’re still using that same light to create a different relationship of tones, shapes and patterns. Whether the shadows are stark or hard as a result of strong directional light or flatter because of a rainy overcast day, the photographs become as much about the range of tones than just the subject or elements within the frame. In fact, the tones themselves become the critical concern as you explore the world in black-and-white. Use Your Camera To See In B&W Though an understanding of color theory is always an advantage, it’s not a requirement. This is because we can easily set the camera’s Picture Style mode to monochrome or black-andwhite. This results in the image being played back on the LCD or the electronic viewfinder as a black-and-white. You immediately have a sense of how greens, reds, yellows and other colors will appear in your photograph. If you’re shooting and saving your images as RAW files, you maintain your color originals. The image played back on your screen refers only to the JPEG, which, if you want to retain, means setting your camera to the RAW+JPEG setting. This is a viable choice if you’re

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starting to learn to see in black-andwhite. Additionally, you may be quite happy with the black-and-white version created by the camera. Your camera may provide filter options for its black-and-white setting, including a yellow, green or red filter. I suggest using only the yellow filter if your images include people. Otherwise, the green or red filter can make the resulting skin tones look rather unnatural. Of course, you can use a traditional glass filter, if you prefer. Pay Attention To The Shadows One of the best ways to evaluate the quality and the direction of the light is simply to pay attention to what’s happening with the shadows. The shadows reveal whether the light is hard or soft and from what direction the light is coming. That information alone can easily determine things as simple as on what side of the street to walk or even in what direction to go exploring. Shape And Form The presence of strong shadows can help to accentuate shape and line, but it’s not absolutely necessary. Such was the case during several days of my recent trip to Paris, when rain and cloudy skies were the norm. Rather than allow such weather to dissuade me from making good photographs, I chose to emphasize shapes, lines and patterns and micro-contrasts to produce good images of architecture.

Keeping an eye for a high-contrast scene resulted in my being able to create this dramatic image. When I think of shadows, I’m thinking of contrast, which is at the heart of many great black-and-white photographs. So, I’m often considering that even before I’ve discovered a subject. It was this same approach that allowed me to capture this image of a person exiting the London Underground. Though the day was overcast, the sunlight was still creating deep shadows as one moved down the stairway. It was just a matter of waiting for the right subject and choosing to purposely underexpose the frame. This allowed me to create a compelling photograph of a rather common occurrence.

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Young boys skating down the street might be an image that would work just as well in color as in black-and-white, but it often comes down to a personal preference. ALL IMAGES: Fujifilm X100S, Fujifilm XF 23mm F1.4 R lens

Foreground/Background Relationships When the photograph is stripped of color, the things we choose to include or exclude from the frame become all the more critical. Saturated colors such as reds and yellows can be big visual draws and we can build a composition on that fact. But when color is lacking, it’s things like brightness, contrast, pattern and sharpness that instruct the viewer where to look first and how to explore the rest of the frame. In fact, it’s the practice of shooting blackand-white that can truly challenge your skills to produce strong and effective compositions. Postprocessing The image produced by the camera should be considered a starting point for a final black-and-white photograph. Regardless of how good the image may look on the camera’s LCD screen, these images often will require a bit of refining in Lightroom or Photoshop. You want to avoid simply taking your color image and desaturating it to remove all the color. That just makes it a shot without any color. It doesn’t really make it a black-and-white image, which requires a more thoughtful conversion. In Lightroom’s RAW converter, I’ll make my global adjustments with respect to levels, curves, contrast and sharpness. Then I’ll move over to the Black & White Mix module, which allows me to make selective changes based on the original colors within the file. It’s a powerful tool, and it allows me to isolate adjustments of contrast in a fast and convenient way. I then can follow up with the Adjustment brush to selectively dodge and burn the image

to emphasize and de-emphasize certain elements in the frame. I’m also a fan of Nik Silver Efex Pro 2, which is one of my favorite plug-ins for converting color images to blackand-white. With its diverse range of presets and customizable adjustment tools, you easily can create unique looks. Both methods can be as easy or as complex as you want to make them. Dodging And Burning Remember that the human eye is drawn to the brightest element within the frame and you can use the art of dodging and burning to control the viewer’s experience of the photograph. Don’t be satisfied with hitting a preset to convert your image from color to black-and-white. The full expression of that moment, that shot, lies in your careful enhancements of the image. WorldMags.net

There’s an air of the classic, even romanticism, to black-and-white photographs, especially when making images abroad. The choice to document the places we’ve seen and the people we’ve encountered in blackand-white provides us with the opportunity to do more than make the typical snapshot. It’s a wonderful chance to hone our skills as photographers by making images that leave as much of an impression as the moments that help us to remember. OP Ibarionex Perello is a photographer, writer and host/producer of “The Candid Frame” photography podcast (thecandidframe.com). He’s also the author of five books, including Chasing the Light: Improving Your Photography with Available Light and his latest, Portraits of Strangers.

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Featured Tour

The Allure Of Antarctica | 2014 |

In the second part of our series on trekking to Antarctica, Joshua Holko describes the rare wildlife opportunities that await an intrepid photographer in the remote continent TEXT AND PHOTOGRAPHY BY JOSHUA HOLKO

Antarctica is miraculous—a continent of stark and beautiful desolation that teems with wildlife. Bird photographers will delight on the crossing of the Drake Passage, for there are many species of albatross that majestically glide and soar over the waves and swells. There 84 Outdoor Photographer outdoorphotographer.com

xcitement always builds to are also petrels, fulmars and a plethora fever pitch as we near Antarcof other sea birds to watch and phototica with the expectation of the graph during the crossing. It’s fantastic first iceberg sighting. Icebergs to stand on the back deck of our expeare incredible to photograph, with every dition ship and photograph the many single one being a unique sculpture of species of birds as they follow along on our journey toward Antarctica. WorldMags.net nature. Each one is like a diamond—

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WorldMags.net Out at sea, whales, seals and other marine life are frequently spotted. Whether it’s a pod of orca on the hunt for their next meal, or a well-fed Weddell seal basking on an iceberg, there’s wildlife at every turn.

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hours out on the deck of our ship photographing wildlife and icebergs as we sail slowly down the Antarctic coast. It’s all hands on deck for hours of photography at incredible locations such as the Lemaire Channel, where we slowly sail between towering mountains, icebergs and sea ice. We board Zodiacs and cruise through incredible iceberg graveyards, where a virtual treasure trove of photographs are just waiting to be taken. We also land ashore at dramatic locations, including the abandoned rusted and decayed whalers’ station at the surreal Deception Island. Antarctica is an awe-inspiring place of biblical magnitude. For the intrepid photographer, the opportunities in Antarctica are infinite beyond measure. The great white continent fuels the fires of inspiration with its dramatic landscapes, ever-changing weather and magnificent wildlife. With so many photographic opportunities, Antarctica is an incredible place to lead photography workshops. Whether your passion is landscape, nature, wildlife or macro, the continent has it all to offer in spades. I personally get a huge thrill out of sharing the experience with participants who

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unique and beautiful. Frequently found in shapes and sizes that defy belief, they may be polished smooth by the ocean or sharp and chiseled like a gemstone. They range in size from small growlers that grind past the ice-hardened hull of our expedition ship up to leviathan-like monsters many kilometers across. Juxtaposed against the black Antarctic waters, they gleam pristine white in the sun or glow an ominous blue under dark skies. The landscape of Antarctica is breathtaking. A sea of ice and snow with precipitous mountains of dark basalt that soar upward from the ocean and are dusted with snow and ice. Giant glaciers of blue ice hang between the mountains, and dramatic lenticular clouds streak across the sky. It’s an alien landscape of unhinged beauty, a shining example of nature at its most raw and powerful. Mother Nature is truly a mad scientist, and Antarctica is surely her greatest creation. Penguins, including gentoos, chinstraps and other species, go about their business on the islands and mainland of Antarctica. Grouping together in nesting rookeries, they’re fantastic fun to watch and photograph—the comedians of Antarctica. With no fear of

humans, we can approach within five meters and spend as many hours with them as we wish— often late into the evening under the spectacular midnight sun, when the sky turns a rosy pink, and the light is soft and luscious. Out at sea, whales, seals and other marine life are frequently spotted. Whether it’s a pod of orca on the hunt for their next meal, or a well-fed Weddell seal basking on an iceberg, there’s wildlife at every turn. Participants often spend and click on Classes, Tours & Workshops

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are experiencing the continent for the first time. Seeing the photographs produced during the trip in a collective group both inspires and motivates. With so much to see and photograph, Antarctica is a visual feast for the eyes of the photographer. It’s the ultimate photographic destination on Planet Earth, and in all likelihood, the closest most of us will ever come to visiting another planet. For more info on Joshua Holko’s workshops, visit www.jholko.com. outdoorphotographer.com August 2014 85

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| tion with Exotic Birds of the Prairie for seven continuous days of bird photography and save $300! Due to limited blind capacity, these workshops are limited to only six participants. For information, contact: (970) 403-5853, hello@scenicaperture.com, http://ScenicAperture.Photography. Grand Teton , Eastern Sierra & The Grand Canyon

Creative Macro Photography Workshop | September 6-7, 2014 |

If macro photography is your passion and you’ve always wanted to take your close-up photography to the next level, this weekend workshop is for you! Join Charles Needle, an award-winning fine-art nature photographer, workshop leader and author who specializes in artistic, innovative approaches to closeup photography, for an unforgettable two-day hands-on macro workshop in Bellevue, Wash. Learn how to shoot: flower reflections in iridescent glass or mylar, water-droplet “landscapes,” backlit shells, flowers behind textured glass, mind-blowing abstracts with the aid of specialized close-up filters, dramatic lighting effects for luminescent flowers, cross-polarized objects and much more in a fun indoor studio environment. Charles will take you deeper into the creative process and help you create more abstract, expressive closeup images that go beyond documentary subject rendition. He’ll share many of his own trade secrets learned after 15-plus years of capturing tiny worlds in his own home studio environment. The workshop includes group assignments, supportive image evaluations, lectures, live demos and one-on-one classroom instruction. All skill levels welcome. For more information, contact: (425) 86 Outdoor Photographer outdoorphotographer.com

968-2884, charles@charlesneedlephoto. com, www.charlesneedlephoto.com. Exotic And Ancient Birds Of The Prairie | March to April, 2015 |

Scenic Aperture is excited to announce two unique photo workshops for 2015. Ancient Migration (March 27-29, 2015) and Exotic Birds of the Prairie (March 29 to April 2, 2015) will take place at some of the best springtime birding hot spots in North America. Ancient Migration: Each spring, approximately 500,000 sandhill cranes use a tiny 60-mile stretch of the Platte River in south-central Nebraska to feed and rest during their annual spring migration. Cranes are some of the oldest creatures on Earth. You’ll photograph these birds from locations on banks of the Platte River. Exotic Birds of The Prairie: The vast Sandhills of Nebraska host many rare grassland birds. This area is home to some of North America’s few remaining booming grounds. Here, you’ll photograph the unique mating rituals of the greater prairie chicken and sharp-tailed grouse. Photography blinds will provide a ringside seat! Bundle Ancient MigraWorldMags.net

Bob Evans

Charles Needle

| Fall 2014 |

Scenic Light offers the best of fall workshops. Guided by pro Bob Evans, you’ll be provided with hands-on teaching of skills and techniques in every shoot, as well as daily critiques. They also offer lodging and some meals that many others don’t. Begin in the Eastern Sierra for Mono Lake, Bristlecone Pines, Alabama Hills and Aspen colors. The Grand Teton is one of their most popular offerings, with Swabacker’s Landing, Oxbow Bend, and Mormon Row. Finally, the Grand Canyon with two days in the Slots and three days in the Grand Canyon. Evans has been shooting these locations for 25 years and will show the best of all the best areas. He’ll teach you the skills you need for your next level in photography. Many events include up to 80% repeat participants. Five nights’ lodging and lunch and a dinner area all included. Workshops include daily lectures on composition, filters, HDR and Lightroom techniques from beginning to advance skills. For more information, contact: (916) 223-5211, info@sceniclight.com, www. sceniclight.com.

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| expeditions, their goal is to provide opportunity and knowledge to empower you to imagine and create great images. At the end of your time together, you’ll enjoy a sense of accomplishment and a desire to let a new journey begin! For more information, please contact: Kevin, Wildside Workshops, (888) 875-9453, info@wildsidenaturetours.com, www.wildsideworkshops.com. Gary Ladd’s Photographic Adventure On Lake Powell

Russ Burden Nature Photography Tours | Year-Round |

Join Outdoor Photographer Tip Of The Week columnist, Russ Burden, on one of his nature photography tours across the U.S. and to the Serengeti in Tanzania. He’ll demo the techniques used to capture the photos he posts on the OP website. Burden’s enthusiasm is contagious. Experience his unrelenting energy and desire to share his photographic knowledge and passion. He’ll bring you to the best locations at the best times of the year and share the insight he has built up over his 30-plus years of teaching. Do you want a tour leader who’s intimately familiar with every location and loves what he does? Do you want a tour leader whose return rate of past participants is off the charts? Then join Burden for an experience of a lifetime. He’ll teach you how to read the light, create the optimum composition, improve your technical skills and motivate you to capture the ultimate image. Burden limits all but one of his domestic workshops to five participants so you’ll always be given individual attention. For his safari to Tanzania, each of the six photographers will have his/her own row in the two tour vehicles. Burden’s stock images are marketed worldwide through Getty Images and 88 Outdoor Photographer outdoorphotographer.com

Ultimate Guide To Workshop Listings Online Visit outdoorphotographer.com & click on the Locations tab for the ultimate guide to Classes, Travel & Workshops, plus photos. This directory will help you pick your next workshop from a listing that includes some of the best programs in the world!

constantly appear in ads and magazines around the world. For more information, contact: Russ Burden Nature Photography Tours, (720) 560-6123, rburden@ecentral. com, www.russburdenphotography.com. Wildside Workshops Photo Expeditions Worldwide | Year-Round |

Wilside Nature Tours will put you in the right spot at the right time to get the shot! Join Wildside leaders and instructors in some of the most amazing places on Earth and bring home images beyond your expectation! Wildside offers fun and inspirational wildlife adventures for all skill levels in North America and, well, every other continent, too! Their passionate and energetic leaders are experienced photographers and naturalists. They’ll help you learn your equipment and understand your subject. During these photo WorldMags.net

Gary Ladd

Russ Burden

| October 2014 or 2015 |

Nestled at the heart of the Colorado Plateau, amidst the graceful curvature of time-sculpted red-rock sandstone, lays the Glen Canyon National Recreation Area and Lake Powell. Take a journey on glistening blue water deep into canyons with soaring cliff walls for a magnificent view of the west that has enticed authors and artists for over a century. Tour Glen Canyon with this landscape’s premier photographer, Gary Ladd and his 40 years of experience photographing the region, as he guides photographers to the spectacular views and hidden gems only reachable by boat on Lake Powell. Explore the many side canyons of Glen Canyon or enjoy the view from the houseboat. This multi-day trip perfectly blends comfort with the wilderness experience, enabling photographers to capture all this spectacular landscape has to offer. For more information, contact: Glen Canyon Field School, (928) 640-3900, www.glencanyonfieldschool.org.

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out again the next day. I used gaffer’s tape to firmly fix the CamRanger to the tripod head. I also carried a threefoot step ladder to help me mount the camera and gear to the top of the tripod (the Manfrotto is 5’ 6” retracted). The CamRanger requires my Nikon to operate in Live View mode. To focus and compose photos in this mode, the camera drains power fast. I’ll carry a few spare batteries for a morning and evening shoot, and usually exhaust two of the batteries. On the ground, I controlled the camera via the CamRanger with my iPhone 5 fitted with a Mophie Juice Pack Air. This gave my phone enough power for the day before needing a recharge (I’ve used the CamRanger with an iPad and iPad mini, but my iPhone is easy to hold and thumb the camera controls; for hands-free, I have a JOBY bracket on the tripod.) The CamRanger battery is rated for five hours on a single charge. Leveling the tripod before the camera goes up is important. The Manfrotto tripod I used has one adjustable leg, called a lazy leg. On level ground, I directed this toward me so I could tilt the camera closer to the subject. I also carried a few small 2x4- and 1x4-inch wood blocks for additional leveling control on uneven ground. The morning I shot this photo, the air was dead-calm, but I found the Manfrotto tripod, when extended up high, moves slightly and takes a little time to calm down. To double-check that the subject and tripod weren’t moving, I can magnify the image on the iPhone. The settings on my Nikon D800 were ISO 250, 1⁄50 sec. at ƒ/11, with a 16-24mm lens set to 16mm. I was very pleased with how field-friendly this whole system worked. On occasion, I found the CamRanger would lose the signal to my iPhone, but this may have been due to my overzealous buttonpushing that seemed to slow or freeze the wireless connection. I figure this setup will come to play in many of my future shoots when I need a simple way to send my camera to high ground for an almost aerial photo. OP To see more of Bill Hatcher’s photography and read his blog, visit his website at www.billhatcher.com.

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emory Cards For

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Decode the package jargon to ensure you have the memory cards to keep pace with your camera’s high-quality video capabilities BY ASHLEY MYERS-TURNER

As we move forward in the digital space, technology manufacturers are listening to the desires of the independent multimedia creative. Not only are they increasing optics, low-light sensitivity and adding WiFi capabilities, but they’re also including high-quality HD and 4K video recording into DSLRs and compact cameras. This video functionality is allowing photographers to experiment with a new modality while still using familiar tools such as the Canon EOS 5D Mark III, Panasonic LUMIX DMC-GH4 or Sony’s new pocket-sized Alpha a7S. While there’s built-in comfort with the equipment mechanics when using traditional still camera bodies for video shooting, one needs practice and a few new tools. One particularly important, and perhaps overlooked, tool is the memory card. Of course, photographers understand the necessity for high write speeds so the card buffer can be quickly written and cleared when shooting in burst mode, but for shooters looking to enter the video field, you’ll need cards with quick sustained capture speeds. Professional DSLRs like the Canon EOS 5D Mark III and the Nikon D800 have both CompactFlash and SD card slots. While CF cards have traditionally had the upper hand in terms of storage size, SD cards have caught up while also providing weatherproofing. But some pros still prefer to use CF cards as their primary card due to their physical size, which makes them easier to maneuver with gloves while in the field. CF cards and SD cards have different 94 Outdoor Photographer outdoorphotographer.com

specifications and guidelines for denoting quick capture speeds, and differentiating between them will help you choose the card most compatible for your camera and your shooting preferences.

CF Cards One way to quickly note the difference between CF card speeds is to look for the VPG (Video Performance Guarantee) profile specification. The CompactFlash Association first created this guideline in 2011 to ensure that cards would be compatible with professional video capture requirements and that consumers could identify this ability easily. Cards with a VPG-20 profile are capable of a sustained capture speed of up to 20 MB/s, suitable for 1080p HD video recording without dropped frames. Since this initial profile announcement, an additional VPG-65 profile has been added, with a 65 MB/s sustained speed guideline that’s optimized for 4K capture. In terms of CF cards, photographers interested in multitasking the card for still use will want to look for cards with quick write speeds and the most updated Ultra Direct Mode Access, currently, UDMA 7, at 167 MB/s. The Extreme Pro CompactFlash from SanDisk is available in 16 GB to 256 GB storage sizes. With a VPG-65 spec, the card supports 4K recording and includes write speeds between 140 and 150 MB/s. The Extreme CompactFlash by SanDisk ranges in storage sizes from 16 GB to WorldMags.net

128 GB. With a VPG-20 profile, it’s best suited for 1080p HD video recording. A 60 MB/s write speed ensures quick still photo work. Each SanDisk CF card is UDMA 7-enabled, coated in RTV silicone for shock and vibration protection, and can operate in temperatures from -13° F to 185° F. Each card has a limited lifetime warranty. sandisk.com Lexar’s Professional 1066x CompactFlash card utilizes UDMA 7 technology and provides a VPG-65 profile for quality 4K recording, and is available in 16 GB to 128 GB storage sizes. The Professional 800x CompactFlash provides the same UDMA 7 technology with a VPG-20 profile for 1080p full HD shooting and is available in 8 GB to 256 GB storage sizes. Both card purchases include Image Rescue software to recover corrupt files, as well as a limited warranty. lexar.com Transcend’s Ultimate 1000x CompactFlash card is useful for HD video shooting with a VPG-20 profile and UDMA 7 technology. The 16 GB storage size provides a 70 MB/s write speed, while the 32 to 128 GB sizes have a 120 MB/s write speed. The Premium 800x UDMA CompactFlash cards also use UDMA 7 technology with a VPG-20 profile, but have a slightly slower write speed of 60 MB/s and offer larger storage sizes of 64 GB to 256 GB. Each card has a built-in Error Correcting Code to aid in finding and correcting any problems with transfers, operate in -13° F to 185° F temperatures

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SD Cards The slim, ultraportable SD card is the main memory card for mirrorless cameras like the Panasonic GH4 and Sony a7 series, and a second memory option for DSLRs. There are different types of SD cards, as well as different ratings to look at, depending on your desired video quality. SDHC cards have a 32 GB storage max. This is okay for many cameras that have a time limit on video shooting and may even be preferable so you can spread out your footage among cards in case a card is corrupt. SDXC cards have a 2 TB storage max. The SD Association created the Speed Class rating system to identify the baseline capabilities available for video recording applicable to SD, SDHC and SDXC cards—Speed Class ratings 2, 4, 6 or 10. Class 10 is considered the industry standard for reliable full 1080p HD video recording. Class 4 and 6 can be used for lower-resolution HD, and Class 2 should be reserved for SD or still images only. In November 2013, the SD Association announced a new label and symbol to designate 4K recording capabilities, UHS (Ultra High Speed) Speed Classes U1 and U3. The U1 Speed Class requires a 10 MB/s minimum write speed, which is needed for full HD video. U3 has a 30 MB/s write speed, which is needed for 4K video. UHS U1 and U3 Speed Classes

are available on SDHC UHS-I/UHS-II and SDXC UHS-I/UHS-II cards. The SanDisk Extreme PRO SDHC/ SDXC UHS-II is touted as the “world’s fastest” card. U3-rated, it has a sustained write speed of 30 MB/s for cinema-quality 4K footage, as well as 3D and 1080p HD video. Still photo write speed is 250 MB/s, with card storage capacity at 16 GB, 32 GB and 64 GB. The Extreme PRO SDHC/SDXC UHS-I has a U1 rating for full 1080p HD shooting. With a quick write speed of 90 MB/s and storage capacities from 8 GB to 64 GB, it also includes the built-in Error Correction Code to enhance endurance and reliability. The Extreme PLUS SDHC/SDXC UHS-I has a class 10/U1 rating with a write speed of 60 MB/s. It also includes the built-in Error Correction Code for storage sizes 8 GB to 128 GB. The Extreme SDHC/SDXC UHS-I has a class 10/U1 rating with a 45 MB/s write speed. The majority of SanDisk cards are shockproof, X-ray proof, waterproof and function at temperatures of -13° F to 185° F. All have a limited lifetime warranty. sandisk.com Lexar offers several high-quality cards for video. The Professional 600x SDXC/ SDHC UHS-I is rated Class 10 and U1 for full 1080p HD recording. With a 45 MB/s write speed, it’s available in 16 GB to 128 GB storage capacities. The Professional 400x SDXC UHS-I is class 10/U1rated with

Video Storage

ost photographers entering the video workspace explore technique by creating short video pieces, but even that requires a fresh look at current media storage solutions. 4K footage and multi-cam edits take up more space and need more speed for processing than full 1080p HD or lower-resolution files. The USB 3 connection has increased in speed recently. A more common interface, it’s also backward-compatible with USB 2 devices that you probably already have. An SSD USB 3 drive can usually handle single-camera HD video. The increasingly popular Thunderbolt technology provides a hefty increase in speed from USB 3, while also lending flexibility for shooters looking to expand into 4K shooting and complex workflow with multiple drives or devices. When shooting 4K, a Thunderbolt RAID will provide a quick, reliable system.

96 Outdoor Photographer outdoorphotographer.com

G-Technology G-RAID Studio Drive

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a write speed of 20 MB/s. Both cards include a free Image Rescue Software download that will help recover photos and videos if the card is erased or corrupted, and a limited lifetime warranty. lexar.com Transcend provides a wide range of high-speed SD cards. The SDXC/SDHC UHS-I U3 (R95, W85 MB/s) provides a Class 10/U3 sustained write speed for cinema-quality 4K video, as well as a write speed of 85 MB/s. It’s available in 32 GB and 64 GB capacities. The SDXC/SDHC UHS-I U3 (R95, W60 MB/s) gives the same quick Class 10/U3 sustained write speeds, with a slightly slower 60 MB/s write speed, but an increase in storage capacity to 64 GB and 128 GB. The SDXC Class 10 UHS-I 600x (Ultimate) is rated Class 10/U1 for full 1080p HD video shooting with up to a 60 MB/s write speed depending on the capacity. The SDHC Class 10 UHS-I 600x (Ultimate) has a write speed of up to 40 MB/s depending on the capacity. All Transcend cards include built-in error correcting code and RecoveRx software to prevent media loss. www.transcend-info.com Each company uses slightly different technology, part of the reason why there needed to be regulated speed requirement labels. Hoodman is one manufacturer that’s known for its particularly rugged product design. Specifically, Hoodman uses “Chip on Board” technology that miniaturizes the components, allowing for one singular circuit board instead of multiple boards with multiple joints. Reducing joints reduces possibilities for card failure. Hoodman adds a stainless-steel plate to the front for durability, and the RAW Steel Ultra High Speed UHS-I SDHC/SDXC card uses this technology. With a Class 10/U1 rating, it captures full 1080p HD video with a write speed of 60 MB/s. Waterproof and functional at temperatures of -13° F to 185° F, it comes with a lifetime warranty. Cards are available in storage sizes ranging from 8 GB to 64 GB. hoodmanusa.com Kingston offers high-speed SD cards for video. The SDHC/SDXC UHS-I U3 has the U3 rating for 4K video capture, as well as full HD and 3D shooting. Write speed is 80 MB/s with 16 GB to 64 GB storage capacities. The Class 10 UHS-I Ultimate SDHC/SDXC can handle 1080p HD shooting with a 45 MB/s write speed. Storage capacities range from 16 to 128 GB. Both cards have lifetime warranties and free tech support. kingston.com OP

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Visit our SuperStore - Over 70,000 square feet of the latest gear - The most knowledgeable Sales Professionals - Hands-on demos - Convenient free parking available

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MEMORY CARDS CF Compact Flash Delkin

16GB 32GB 64GB 128GB 256GB 512GB

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29.95 45.67 84.50 â&#x20AC;&#x201D; â&#x20AC;&#x201D; â&#x20AC;&#x201D;

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Kingston Class 10 233x â&#x20AC;&#x201D; 15.95 29.50

Lexar Class 10 200x 400x 600x â&#x20AC;&#x201D; 12.95 â&#x20AC;&#x201D; 12.95 17.95 24.95 23.95 28.95 36.95

Micro 633x â&#x20AC;&#x201D; 26.95 44.95

Ultra 30MBs 9.95 14.95 24.95

Sandisk Extreme Extrm Pro Micro 80MBs 95MBs 80MBs 17.95 21.95 â&#x20AC;&#x201D; 27.50 33.76 26.73 39.95 49.95 39.95

-UHS2 Sony Class 10 40MBs 94MBs Micro 8.39 13.49 8.99 12.95 19.90 11.95 18.99 36.00 19.95

Class 4 Backup â&#x20AC;&#x201D; 19.50 29.95

SDXC-UHS1 Extended Capacity Delkin 600x 633x 64GB 69.95 89.95 128GB 147.95 â&#x20AC;&#x201D; 256GB â&#x20AC;&#x201D; â&#x20AC;&#x201D;

Kingston Class 10 233x 54.95 â&#x20AC;&#x201D; â&#x20AC;&#x201D;

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120GB .. $1,199.95

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4GB 8GB 16GB 32GB

Delkin Kingston Pro Micro Class Class 4 10 Mobility 7.95 â&#x20AC;&#x201D; 9.95 6.95 13.95 9.95 23.95 17.99

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N Series 125MBs 99.95 189.95

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Ä&#x201E;Å&#x2022; . " & Å&#x2022; !Å&#x2022; ( Å&#x2022; )&/'(Å&#x2022; ),'Å&#x2022; )()*) Ä&#x201E;Å&#x2022; )(Ä&#x201D; ). .#(!Å&#x2022; 1#-.Ä&#x201D; ) %Å&#x2022; !Ä&#x201E;Å&#x2022; ,))0 Å&#x2022; (. ,Å&#x2022; )&/'(Å&#x2DC;Ä&#x201E;Å&#x2022; / & Å&#x2022; 0 &Ä&#x2014;Ä&#x201E;Å&#x2022; / ,Å&#x2022; .Å&#x2022;Ä&#x2026;Å&#x2022; ., . & Å&#x2022; . &Å&#x2022; *#% Ä&#x201E;Å&#x2022; ( &/ Å&#x2022;* Å&#x2022; ,,3Å&#x2022; !

You're On Steady Ground

Convenient free parking available CT-3481

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AT-3421 CT-3561

Page 2

60GB .......$649.95

Tripods with Ball Head

The most knowledgeable Sales Professionals

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Lexar Sandisk Sony Sandisk Class 10 Micro Class 10 Class 10 Class 4 Extreme Pro Micro 200x 400x 600x 633x 30MBs 80MBs 95MBs 80MBs 40MBs 94MBs Micro Backup 280MBs 38.84 53.95 69.95 68.50 62.95 79.95 98.95 74.95 35.95 74.28 39.99 57.50 229.99 99.95 97.95 135.95 â&#x20AC;&#x201D; 124.99 149.99 â&#x20AC;&#x201D; â&#x20AC;&#x201D; â&#x20AC;&#x201D; â&#x20AC;&#x201D; â&#x20AC;&#x201D; â&#x20AC;&#x201D; â&#x20AC;&#x201D; Note: Not all devices support SDXC cards â&#x20AC;&#x201D; â&#x20AC;&#x201D; â&#x20AC;&#x201D; 399.00 â&#x20AC;&#x201D;

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Anodized Aluminum Tripods AT-3421 AT-3431 AT-3441 AT-3451 AT-3461

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6x Carbon Fiber Tripods CT-3431 CT-3451 CT-3461 CT-3481 CT-3521 CT-3531 CT-3551 CT-3561 CT-3581

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Alpha A5000 Mirrorless System Camera t 5JMUJOH -$% t 6TFT 4POZ & NPVOU -FOTFT t . 4 1SP %VP )( %VP 9$ )( %VP 4% 4%)$ 4%9$ $BSE 4MPU t )BOE IFME 5XJMJHIU .PEF t *40 t 'VMM )% Q 7JEFP BU GQT t 1IPUP $SFBUJWJUZ BOE 1JDUVSF &GGFDUT t #VJMU *O 8J 'J $POOFDUJWJUZ XJUI /'$ t "WBJMBCMF JO #MBDL 4JMWFS PS 8IJUF

OM-D E-M1 Mirrorless System Camera

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Kit with 16-50mm OSS Lens ................#SOA5000*

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Lumix DMC-GH4 4K Mirrorless System Camera

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Kit with 16-50mm OSS Lens ................#SOA6000*

Mega Pixels

Body Only............................................ #PADMCGH4*

Alpha A7 Mirrorless System Camera

www.BandH.com 16

Mega Pixels

Lumix DMC-GX7 Mirrorless System Camera

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#PEZ 0OMZ #SOA7B Kit with 28-70mm Lens #SOA7KB

Flash System FL-300R Flash ...................................................... 169.95 FL-600R Flash ...................................................... 299.95 FL-50R Flash ........................................................ 499.95 RF-11 Ring Flash .................................................. 249.95 SRF-11 Ring Flash Set .......................................... 559.95 TF-22 Twin Flash .................................................. 449.95 STF-22 Twin Flash Set........................................... 739.95 Zuiko 4/3 System Digital Lenses 8/3.5 Fish-eye ED ................................................. 799.99 35/3.5 Macro ED (52Ă¸) ......................................... 229.95 50/2.0 Macro ED (77Ă¸) ......................................... 499.95 150/2.0 ED (82Ă¸) ............................................... 2,499.95 300/2.8 ED ....................................................... 6,999.95 7-14/4.0 ED (72Ă¸) ............................................. 1,799.95 11-22/2.8-3.5 ED (72Ă¸) ........................................ 799.95 12-60/2.8-4 ED SWD (72Ă¸)................................... 999.95 14-42/3.5-5.6 ED (58Ă¸) ........................................ 249.95 18-180/3.5-6.3 ED (62Ă¸) ...................................... 499.95 35-100/2.0 ED (77Ă¸) ......................................... 2,499.99 40-150/4-5.6 ED (58Ă¸) ......................................... 279.95 50-200/2.8-3.2 ED SWD (67Ă¸)........................... 1,199.95 90-250/2.8 ED (105Ă¸) ....................................... 5,999.95 EC-14 1.4x Teleconverter ...................................... 439.95 EC-20 2x Teleconverter ......................................... 479.95 MF-1 OM Lens Adapter ........................................... 83.95

The Professionalâ&#x20AC;&#x2122;s Sourceâ&#x201E;˘

Mega Pixels

with 14-42mm I ILens ........................ #PADMCGX7K*

AF Flash System AF-360FGZ ..................................................................... AF-540FGZ II ................................................................... DA Digital AF Lenses 14/2.8 ED IF (77Ă¸) ........................................................... 15/4.0 ED AL HD Limited (49Ă¸) ......................................... 35/2.8 Mac. HD Limited (49Ă¸) .......................................... 55/1.4 Limited (58Ă¸) ........................................................ 21/3.2 AL Limited â&#x20AC;&#x153;Pancakeâ&#x20AC;? (49Ă¸) ................................... 40/2.8 Limited â&#x20AC;&#x153;Pancakeâ&#x20AC;? (49Ă¸) ........................................ 70/2.4 HD Limited (49Ă¸)................................................... 200/2.8 ED IF .................................................................. 300/4.0 ED IF SDM (77Ă¸) ................................................. 10-17/3.5-4.5 ED IF (77Ă¸) ............................................... 12-24/4 ED AL IF (77Ă¸) .................................................... 16-50/2.8 ED AL IF SDM (77Ă¸) ......................................... 17-70/4.0 AL IF SDM (67Ă¸) .............................................. 20-40/2.8-4 HD Limited ED DC WR (55Ă¸) ......................... 50-135/2.8 ED IF SDM (67Ă¸)............................................ 50-200/4-5.6 ED WR (52Ă¸) .............................................. 55-300/4-5.8 ED (58Ă¸) .................................................... 60-250/4.0 ED IF SDM (67Ă¸)............................................ AF Lenses for 35mm & Digital SLRs 31/1.8 Limited (58Ă¸) ........................................................ 50/1.4 (49Ă¸) .................................................................... 43/1.9 Limited â&#x20AC;&#x153;Pancakeâ&#x20AC;? (49Ă¸) ........................................ 50/2.8 Macro (52Ă¸) with Case .......................................... 77/1.8 Limited (49Ă¸) ........................................................ 100/2.8 D FA AW Macro (49Ă¸) ..........................................

Mega Pixels

800-947-9953 212-444-6653 Fax:

Compatible with Maxxum DSLRs Flash System HVL-F20M............................................................ 149.99 HVL-F20S............................................................. 149.99 HVL-F43M............................................................ 398.00 HVL-F60M............................................................ 548.00 Digital Lenses 16/2.8 Fish-eye .................................................... 999.99 20/2.8 (72Ă¸) ......................................................... 749.99 24/2 Carl Zeiss (72Ă¸) ......................................... 1,399.99 35/1.4 G (55Ă¸)................................................... 1,499.99 50/1.4 (55Ă¸) ......................................................... 449.99 50/2.8 Macro (55Ă¸)............................................... 599.99 85/1.4 Carl Zeiss (72Ă¸) ...................................... 1,699.99 100/2.8 Macro (55Ă¸)............................................. 799.99 135/1.8 Carl Zeiss (77Ă¸) .................................... 1,799.99 135/2.8 STF (72Ă¸) ............................................. 1,399.99 300/2.8 G APO II ............................................... 7,498.99 11-18/4.5-5.6 DT (77Ă¸) ........................................ 799.99 16-35/2.8 ZA SSM Carl Zeiss (77Ă¸) .................... 1,999.99 16-80/3.5-4.5 DT Carl Zeiss (62Ă¸) ........................ 999.99 16-105/3.5-5.6 DT (62Ă¸) ...................................... 699.99 18-250/3.5-6.3 DT (62Ă¸) ...................................... 649.99 24-70/2.8 Carl Zeiss (77Ă¸) ................................. 1,999.99 70-200/2.8 G APO (77Ă¸) .................................... 1,999.99 70-300/4.5-5.6 G (62Ă¸) ........................................ 999.99 1.4x Teleconverter................................................. 549.99 2x Teleconverter.................................................... 549.99

50mm f/2 Macro ED Zuiko Digital Lens

HD DA 20-40mm f/2.8-4 ED Limited DC WR Digital Lens

HVL-F60M 4IPF .PVOU %JHJUBM 'MBTI

16-80mm f/3.5-4.5 Carl Zeiss T* DT Digital Lens

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WorldMags.net

212-239-7770 Store & Mail Order Hours:

Sunday 10-5 U Mon.-Thurs. 9-7 Friday 9-1 EST/9-2 DST Saturday Closed

August 5 ................... Closed

When in New York, Visit our SuperStore

420 Ninth Ave. Corner of 34th Street

New York, N.Y. 10001

We Buy, Sell and Trade

Used Us ed Equ q ippme ment nt

Page 3

082014

Digital Rebel T5i DSLR

EOS-6D DSLR

WorldMags.net $100 REBATE!

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Price

Rebate

When in New York, Visit our SuperStore

420 Ninth Ave. Corner of 34th Street

New York, N.Y. 10001

Mega Pixels

Final Cost

Kit with NN *4 45. #CAEDRT5IK .................... ........$100 ....... 749.99 T5 Kit XJUI NN *4 ** #CAEDRT5K..................... .........$50 ........499.99 T3 Kit XJUI NN *4 #CAEDRT3K ....................... .........$50 ........399.99 T3i Kit XJUI NN *4 #CAEDRT3IK ..................... .........$50 ........549.99

$200 REBATE!

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Rebates Expire 7-5-14

Pixels

Rebates Expire 7-5-14

Price

Rebate

Final Cost

#PEZ 0OMZ #CAE70D............................................... ........$200 .......999.00 Kit with NN 45. #CAE70D1855 .................. ........$200 .... 1,149.00 EOS 60D #PEZ 0OMZ #CAE60D .................................. ........$200 .......699.99 EOS 60D Kit XJUI NN *4 #CAE60D18135... ........$200 .......999.00

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D3300 DSLR

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,JU XJUI NN 73 ** #NID33001855*...................... ..... $50 ........596.95 D3200 ,JU #MBDL X NN 73 #NID32001855* .... ..... $50 ........ 479.95

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,JU XJUI NN 73 ** # ( 3 #NID53001855* ........ ..... $50 ........846.95 ,JU XJUI NN 73 #MBDL #NID530018140 ........ .... $250 ....1,049.95 D5200 ,JU XJUI NN 73 #NID52001855* .......... .... $100 .......699.95

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#PEZ 0OMZ #NID610................................................... .... $100 ....1,896.95 ,JU XJUI NN 73 -FOT #NID6102485 ................ .... $200 ....2,396.95

D800 DSLR t Y NN $.04 '9 'PSNBU 4FOTPS t -$% .POJUPS t 0QUJDBM -PX 1BTT 'JMUFS t $' 4% %VBM $BSE 4MPUT t /JLPO ' .PVOU -FOT .PVOU t &ZF -FWFM 1FOUBQSJTN 7JFXGJOEFS t Y Q )% 7JEFP t .BUSJY $FOUFS 8FJHIUFE 4QPU .FUFSJOH t /JLPO *OD MJNJUFE XBSSBOUZ JODMVEFE #PEZ 0OMZ #NID800 ..................................................2,996.95 D800E #PEZ 0OMZ #NID800E ..................................3,296.95

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D4s DSLR t '9 GPSNBU GVMM GSBNF $.04 4FOTPS t #JU 3"8 'JMFT #JU 3"8 4 'PSNBU t -$% t 'VMM )% Q 7JEFP BU GQT t &91&&% *NBHF 1SPDFTTPS t $PNQBUJCMF XJUI .PTU /JLLPS 0QUJDT t GQT 4IPPUJOH GPS 4IPUT XJUI "& "' t *40 t $' 5ZQF 92% $PNQBUJCMF t #BTF 5 (JHBCJU 8JSFE -"/ 4VQQPSU t /JLPO *OD MJNJUFE XBSSBOUZ JODMVEFE Body Only #NID4S ....................................6,496.95

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D-Type AF Lenses Price Rebate Final ( "' 4 $50 434.95 ( "' 4 % .JDSP ( "' 4 &% .JDSP $100 499.95 ( "' 4 $100 396.95 % *' ( "' 4 1$ & .JDSP ( "' 4 &% *' 73 .JDSP $135 849.95 %$ % XJUI )PPE % &% *' % &% *' .JDSP XJUI $BTF ( "' 4 &% *' 73 ** % "' 4 &% *' ( "' 4 73 3 ( "' 4 73 &% ( "' 4 73 &% ( "' 4 &% *' ( "' 4 &% 73 $260 996.95 % "' 4 &% *' "' 4 ( &% $100 646.95 ( "' 4 &% *' % *' ( "' 4 &% 73 $100 496.95 ( "' 4 &% 73 $300 996.95 ( "' 4 &% 73 $150 896.95 ( "' 4 &% 73 ( "' 4 &% *' 73 ** ( ( "'4 73 $200 386.95 % XJUI $PMMBS % 73 ( "' 4 &% 73 ( "' 4 &% 73 ** 5$ & ** Y 5FMFDPOWFSUFS $40 479.95 5$ & ** Y 5FMFDPOWFSUFS $50 499.95 5$ & *** Y 5FMFDPOWFSUFS

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082014

AF LENSES

Six-Year Warranty

Manual Focus Lenses

FLASHES

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Di GPS CPUI EJHJUBM BOE Ã½ MN 4-3 DBNFSBT t Di-II GPS %JHJUBM 4-3T 0OMZ t Di III for mirror-less cameras Only

C = Canon

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Di-II Di Di Di Di-II Di-II Di-II Di-II Di-II Di-III Di-II Di Di Di Di Di Di

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SM = Sony/Minolta

Available for C, N, SM C, N, P, SM C, N, SM C, N, SM C, N, P, SM C, N, SM C, N, P, SM C, N C, N, P, SM SE C, N, SM C, N, SM C, N, P, SM C, P, SM C, N C, N, SM C, N, SM C, N C, N

DX â&#x20AC;&#x201C; for Digital SLRs Only FX DX DX DX DX FX FX

100mm f/2.8 Pro D Macro (52Ã¸) 10-17mm f/3.5-4.5 ATX Fisheye 11-16mm f/2.8 Pro (77Ã¸) 11-16mm f/2.8 Pro II (77Ã¸) 12-28mm f/4.0 Pro (77Ã¸) 16-28mm f/2.8 Pro 17-35mm f/4 Pro (82Ã¸)

AF LENSES & FLASHES H â&#x20AC;&#x201C; HSM Model with Canon, Nikon, Sigma R â&#x20AC;&#x201C; Rear Slip-in Gelatin Filter Slot

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28 CS-2 Digital Slave Shoe Mount Flash ................ 139.99 24 AF-1 Digital Shoe Mount Flash ............................ 89.99 36 AF-5 Digital ..................................................... 129.99 44 AF-1 Digital Shoe Mount Flash .......................... 199.99 52 AF-1 TTL Touchscreen ...................................... 300.00 58 AF-2 TTL Digital Shoe Mount Flash ................... 399.99 45 CL-4 TTL Digital Handle Mount Flash ................ 519.99 76 MZ-5 TTL Digital Handle Mount Flash............. 1,039.99

Price 524.00 499.00 749.00 739.00 499.00 629.00 499.00 649.00 179.00** 739.00 379.00** 1,199.00** 499.00 419.00 629.00 1,399.00** 349.00** 224.00 254.00

Q-flash TRIO ......................................................... 875.00 Q-flash T5D-R ...................................................... 706.00 Q-flash T5D-R with Turbo SC Battery & Charger .... 1172.00 Q-flash T5D-R with Turbo 3 Battery Kit ................. 1330.00 Batteries Battery 1 ............... 224.00 Turbo Blade ........... 466.00 Turbo SC ............... 466.00 Turbo 3 ................. 624.00 E-Flash Flat Panel Kit #SUFP38 ............................... 58.95 PF20XD Digital Slave Shoe Mount Flash ................... 44.95 RD-2000 Shoe Mount Flash .................................... 64.95 DF3000 Digital for Canon, Nikon, Sony ..................... 69.95 PZ-4000 AF TTL Shoe Mount .................................. 84.95 PZ-40x II AF TTL Shoe Mount f/Nikon (Silver) ............ 69.95 PZ-42x AF TTL Shoe Mount for Canon, Nikon ......... 139.00 622 Super Pro TTL Handle Mount Flash ................. 179.95

FX â&#x20AC;&#x201C; Designed for full frame DSLRs Canon EOS #TO10028PCAF #TO101735CAF #TO111628PDXC #TO111628PCII #TO12284DXC #TO1628FXC #TO1735F4FXC

DC o GPS %JHJUBM 4-3T 0OMZ t DG â&#x20AC;&#x201C; Optimized for Digital SLRs

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SE = Sony E Mount

SKU # #TA602DI* #TA9028M* #TA9028VC* #TA18035* #TA102435* #TA16300* #TA175028* #TA175028*Q #TA1820035* #TA1820035S* #TA18270* #TA247028* #TA287528* #TA2830035XD* #TA2830035* #TA7020028* #TA70300* #TA14XP* #TA2XP*

AF LENSES

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N = Nikon

60mm f/2.0 LD IF Macro (55Ã¸) 90mm f/2.8 Macro (55Ã¸) 90mm f/2.8 SP Macro VC USD (58Ã¸) 180mm f/3.5 LD IF Macro (72Ã¸) 10-24mm f/3.5-4.5 (77Ã¸) 16-300mm f/3.5-6.3 VC PZD Macro (67Ã¸) 17-50mm f/2.8 XR LD IF Aspherical (67Ã¸) 17-50mm f/2.8 XR VC LD IF Asph. (67Ã¸) 18-200mm f/3.5-6.3 (62Ã¸) 18-200mm f/3.5-6.3 VC (62Ã¸) Black or Silver 18-270mm f/3.5-6.3 VC PZD (62Ã¸) 24-70mm f/2.8 VC USD (82Ã¸) 28-75mm f/2.8 XR (67Ã¸) 28-300mm f/3.5-6.3 XR LD (62Ã¸) 28-300mm f/3.5-6.3 XR VC (62Ã¸) 70-200mm f/2.8 SP VC USD (77Ã¸) 70-300mm f/4.0-5.6 VC USD (62Ã¸) 1.4x SP AF Pro Teleconverter 2x SP AF Pro Teleconverter

DC DG DC DG DG DG DG DC DG DG DG DG DG DG DG DG DG DG DC DC DC DG DC DC DC DC DC DC DG DG DC DG DG DG DG DG DG DG DG DG DG DG DG

4.5mm f/2.8 EX Circular Fisheye HSM R 8mm f/3.5 EX Circular Fisheye R 10mm f/2.8 EX Fisheye HSM R 15mm f/2.8 EX Diagonal Fisheye R 20mm f/1.8 EX DF RF Aspherical (82Ã¸) 24mm f/1.8 EX DF Aspherical Macro (77Ã¸) 28mm f/1.8 EX DF Aspherical Macro (77Ã¸) 30mm f/1.4 HSM (62Ã¸) 35mm f/1.4 HSM (67Ã¸) 50mm f/2.8 EX Macro (55Ã¸) 50mm f/1.4 EX (77Ã¸) H 70mm f/2.8 EX Macro (62Ã¸) 85mm f/1.4 EX HSM (77Ã¸) 105mm f/2.8 EX Macro OS HSM (62Ã¸) 150mm f/2.8 EX APO Macro OS HSM (72Ã¸) 180mm f/2.8 EX APO Macro OS HSM (86Ã¸) 300mm f/2.8 APO EX HSM (46Ã¸ Rear) 500mm f/4.5 APO EX HSM (46Ã¸ Rear) 8-16mm f/4.5-5.6 HSM 10-20mm f/4-5.6 EX HSM (77Ã¸) 10-20mm f/3.5 EX HSM (82Ã¸) 12-24mm f/4.5-5.6 EX Aspherical HSM II 17-50mm f/2.8 EX OS HSM (77Ã¸) 17-70mm f/2.8-4.0 OS Macro HSM TSC (72Ã¸) 18-35mm f/1.8 HSM (72Ã¸) 18-200mm f/3.5-6.3 OS II HSM (72Ã¸) 18-200mm f/3.5-6.3 OS Macro HSM (62Ã¸) 18-250mm f/3.5-6.3 OS Macro HSM (62Ã¸) 24-70mm f/2.8 EX IF HSM (82Ã¸) 24-105mm f/4.0 OS HSM (82Ã¸) 50-150mm f/2.8 EX APO OS HSM (77Ã¸) 50-500mm f/4.5-6.3 APO OS HSM (95Ã¸) 70-200mm f/2.8 EX APO OS HSM (77Ã¸) 70-300mm f/4-5.6 Macro (58Ã¸) 70-300mm f/4-5.6 APO Macro (58Ã¸) 120-300mm f/2.8 OS HSM (105Ã¸) 120-400mm f/4.5-5.6 APO OS HSM (77Ã¸ Rear) 150-500mm f/5-6.3 APO OS HSM (86Ã¸) 1.4x EX APO Tele-Converter 2x EX APO Tele-Converter EF-610 ST EF-610 Super Flash EM-140 TTL Ringlight

Nikon AF #TO10028PNAF #TO101735NAF #TO111628PDXN #TO111628PNII #TO12284DXN #TO1628FXN #TO1735F4FXN

285HV Professional Auto ......................................... 79.95 Pearstone SB-4 AC Adapter for 285HV #PESB4 ........ 14.95

6-30-14 New!! Ins Ne nstta tantt Reb bat ates tes up to to $30 300 0 **Expires Price After Rebate

Canon #SI4528EXDCC #SI835CA #SI1028EXDCC #SI1528DGCAF #SI2018CAF #SI2418MCAF #SI2818MCAF #SI3014DCHSMC #SI3514C #SI5028MDGCAF #SI5014C #SI7028MDGCA #SI8514C #SI10528MDGCE #SI15028AMOC #SI18028AMEOC #SI30028DGCAF #SI50045DGCAF #SI8164556CA #SI102045DCAF #SI102035C #SI122445C #SI175028CA #SI1770284DCC #SI183518DCC #SI1820035CQ #SI1820035DCA #SI1825035MC #SI247028C #SI24105C #SI5015028CA #SI505004563C #SI7020028CQ #SI703004SCAF #SI703004DGCA #SI120300C #SI120400C #SI150500C #SI1.4XDGCAF #SI2XDGCAF #SIEF610STC #SIEF610C #SIEM140DGC

10-20mm f/4-5.6 D EX DC HSM Digital Lens

70-200mm f/2.8 EX APO OS HSM DG Lens

t %FTJHOFE FYDMVTJWFMZ GPS %JHJUBM 4-3T t "TQIFSJD 4-% Lens Elements t )JHI 4QFFE Sonic Motor t NN Ã½ MUFS diameter t 8FJHIU MC

t %FTJSBCMF GPS %JHJUBM 4-3T t .JOJNVN focus: 4.59' t Â¡ angle of view t NN Ã½ MUFS diameter t 5SJQPE DPMMBS t 8FJHIU P[

$50 REBATE!

Price 399.00 559.00 449.00 521.00 489.00 629.00 489.00

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Page 7

082014

Solutions... WorldMags.net What’s In The Bag:

B&W

In The Field Pack your bag with the right gear to get your best monochrome photos

The essence of black-and-white lies in tonality and texture. When you look at a print by one of the great landscape masters, you’re drawn into details like the softness of a flower petal, the jagged ridges of tree bark and the smooth surface of a still mountain lake. Bringing out these textures requires particular attention to detail in your shooting technique and having the right gear with you in the field. The first thing you want to be sure to have with you is a black-and-white mind-set. A lot of photographers head into the field with only a partial idea of what and how they’re going to photograph. That’s not necessarily a bad thing; after all, it’s good to keep an open mind and work with what’s given to you. There’s a fine line between keeping an open mind and having some focus to your thinking. Firm Shooting Platform Sharpness and depth of field are hallmarks of classic black-and-white landscape photography. To get tack-sharp images, a tripod and a sturdy head are mandatory. If you see a pro landscape photographer at work, you’ll invariably see a large, heavy-duty ballhead supporting the camera. This isn’t the place where you want to be saving ounces of weight and flirt with the limits of the head’s capacity. A good ballhead will lock securely and stay locked no matter what position the camera is in. Remote Shutter Release To achieve the maximum sharpness we seek in a black-and-white image, using some kind of a remote is neces104 Outdoor Photographer outdoorphotographer.com

1) Mirrorless cameras like the Samsung NX30 have high resolution and no moving mirror to create vibration during the exposure. 2) A solid, heavy-duty ballhead like the Really Right Stuff BH-40 locks securely to keep the camera steady. 3) Zoom lenses offer a lot of versatility, but a prime lens like the Zeiss Touit 32mm can give you super-sharpness for your black-andwhite photography.

sary, either a cable release or an electronic remote. Use your body to shelter the camera from any wind, and use the remote to trigger the shutter. While you’re at it, shooting in Live View with the mirror locked up is definitely a good idea because, as the mirror flops in the mirror box, it can cause some vibration. Obviously, mirrorless cameras don’t WorldMags.net

have the problem of a moving mirror, but even with a mirrorless camera, tripping the shutter remotely is much preferable to depressing the shutter button with a finger. In a pinch, you can use the auto timer to fire the shutter without touching the camera. Lenses Shooting a landscape with the camera firmly anchored doesn’t require ƒ/2.8; it requires ƒ/11 or ƒ/16. While most fast pro lenses will be even sharper at these smaller apertures than wide open, you also can think about bringing an allin-one zoom to save weight because the all-in-one lens likely will be plenty sharp at the ƒ-stops you’ll be using. As good as modern lenses are at smaller apertures, the thing you need to be most aware of is diffraction. It’s tempting to stop down to ƒ/22 or smaller, but doing so usually will result in a softer image. Ansel Adams and Group f/64 took their name from that tiny aperture, but remember that they were using large-format cameras, where a 120mm lens was wide-angle. The physical size of the aperture (which determines the occurrence of diffraction) is larger for a 120mm lens stopped down to ƒ/64 than a 24mm lens stopped down to ƒ/22. Filters For many photographers, software has replaced glass filters, but even if you’re using the latest digital camera, a color filter or a polarizer can be beneficial when you’re shooting. They weigh little, and they take up almost no space. For more about filters, see the article “B&W Essentials” in this issue. OP

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WorldMags.net

Page 8

082014

106 Outdoor Photographer outdoorphotographer.com

WorldMags.net

Earning His Stripes

Laurent Baheux

Sometimes it’s alright to jump the lines, as in this case, where a playful young zebra is testing newfound strengths in the Ngorongoro Crater of Tanzania. The Ngorongoro Conservation Area is home to a seasonal salt lake near the center of the crater as well as the Ngoitokitok Spring, so a large variety of African animals congregate and even live there—an estimated 25,000 animals, representing the majority of species found throughout East Africa. The crater houses a dense population of lions, hippos, wildebeests and zebras, and though it’s an enclosed area, half of the zebra population will jump many hurdles of their own on the annual ungulate migrations that arrive at the area with the rains between December and June.

last frame

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WorldMags.net The moment when your lens opens your eyes. This is the moment we work for.

// PERFECTION MADE BY ZEISS

The Touit lens family for Sony Alpha NEX Cameras. Take your photography up a level, with high-performance optics speciﬁcally designed to expand your camera’s capabilities. Compact yet robust, Touit lenses render images with exceptional detail even in difﬁcult lighting conditions, so that you can step bravely into new situations knowing you have the right tool in hand. Be warned, once you try one, you may never go back. www.zeiss.com/touitforsony

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Image shot with the Olympus OM-D E-M10 with the M.Zuiko 75mm f/1.8 lens by Olympus Trailblazer, Laura Hicks.

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Move into a New World