Professional Photographer Magazine Web Exclusives

So happy together? 3 tips for working side-by-side with your spouse

2008-07-22T13:18:49Z

By Julia Woods

Is it possible to make living and working together a happy affair? “How do you do it?” It’s a question my husband, Jeff Woods, and I get asked on a regular basis.

Being side-by-side 24/7 is definitely not for the weak at heart.

Jeff and I got married seventeen years ago this month and stumbled into photography a few years later. Our greatest desire was to work together side-by-side while doing something we both enjoyed. Photography seemed to be the perfect solution. “Perfect” was not going to be achieved easily. Trying to be happily married and come together with similar visions in the work place has proven much harder than we could have imagined.

We have experienced a lot of emotional, mental, and physical strain while trying to find a sense of peace. I’ll touch briefly on our key solutions:

1. Making time for us. Two people fall in love while investing their time and energy into each other’s lives. If every night during our courtship Jeff had sat at one end of the sofa with his work while I sat on the other with my work, wedding bells would not have followed. However, once we got married and started our business, we could not understand why that same type of behavior did not create wedded bliss. After some counseling, we realized that “falling in love” is a fundamental quality that has to be sought after throughout an entire marriage if happiness is the goal. Ten years after it’s start, date night still remains on our calendar every other Thursday evening. The babysitter is set and investing in each other and our relationship is the goal. Most of the time, it is just a movie or dinner, but the results are astounding.

2. Making our business work for us. This was one of the hardest solutions to figure out. Our business controlled our lives. We worked non-stop and our family was suffering because of it. With some help in business education from Ann Monteith, PPA’s Studio Management Services, and a lot of hard work, we learned how to properly price and attract a higher level of clientele. This allowed us to work less but make more money. We now work four days a week at the office and about twenty Saturdays a year at weddings. Some workdays are very long, but play days are revitalizing for our relationship and our young family of four children.

3. Allowing each other to be authentic. As individuals, we have the tendency to assume our thoughts and passions are the right ones. However, when you choose to partner with your spouse, the art of blending your thoughts and passions is necessary. Jeff and I face this challenge both in art and business because we choose to photograph everything together. Within the business, we have come to respect each other’s gifts and give each other ownership in our respective roles.

However, about 25 percent of the business is left to joint efforts. Intermingling our creative vision and opinions has gotten easier over time, but it continues to be a work in progress.

The application of these solutions has been extremely helpful. We know that surrounding ourselves with other couples in similar life situations is vital to gain new ideas and fresh perspectives for continued happiness.

Jeff and Julia Woods have launched a marriage workshop called ”One” to help address the struggles married couples face while working together. The first workshop will be held September 15-17, in Washington, Ill. For more information, go to www.sidebyside247.com or call 309-444-8514.

Video Review: OnOne Software FocalPoint

2008-07-18T14:31:08Z

By Joan Sherwood, Senior Editor

OnOne Software recently released FocalPoint, a new plug-in for Adobe Photoshop or Photoshop Elements that makes it quick and easy to add selective focus and vignetting effects to your images.

OnOne has done an outstanding job of giving new users plenty of help in understanding how to use their plug-ins. There are pages of video software tutorials, including an in-depth introduction to FocalPoint, and a page with a video demo of each Focal Point feature.

Launch includes a simple step-by-step how-to that walks you through the basic functions. You can turn that off when you don't need it any more.

This is a great plug-in if you want to incorporate selective focus and vignetting effects. It's priced at $159.95, and you can try it out first with a free 30-day trial version.

Here I've created a QuickTime movie demonstration for you just to show FocalPoint in action and demonstrate how easy it is to use. I'm using a photo I took of my niece and her new husband last Thanksgiving.

Click on the image below to play. (QuickTime, 02:57)

Review: "The Creative Digital Darkroom" by Katrin Eismann and Sean Duggan

2008-07-17T20:26:07Z

By Ron Eggers

So many new digital photography books reach the market that it's sometimes difficult to tell one from another. Every once in a while, though, a new title comes along that distinguishes itself, either by the author’s slant or how the subject matter is covered. Katrin Eismann and Seán Duggan's new book, “The Creative Digital Darkroom” (O’Reilly, $49.99) is one of those books. It’s a comprehensive how-to and reference guide that can help even experienced photographers work more effectively with digital images.

I don't know Seán Duggan, but for the sake of full disclosure, I've known Katrin for a number of years, and I’m always impressed with the quality of her writing. “Real World Digital Photography,” which she wrote with Duggan and Tim Grey, became a must-have guide for photographers.

The 400-some pages of “Creative Digital Darkroom” are loaded with useful information, creative techniques and interesting projects. To get the most out of a book like this requires a considerable investment of time. It's not something you read once and go on to the next section. The 10-chapter book includes a foreword by Stephen Johnson, the photographer, author and educator. He says of the edition, "It is a workbook for today's photographer, providing needed detail to process the image and the reasoning behind the procedure." You have to go over the techniques carefully and actually try the suggested approaches, on either the images featured in the book, which are available for download, or your images.

]]> The manuscript comes largely out of the authors’ personal experience: "In this book, we share some of the essential creative concepts and techniques that we use when working in the digital darkroom," Eismann notes in the preface. That’s one feature that distinguishes this book from others on the topic, that it stresses specific simulated darkroom techniques and darkroom terminology.

After presenting the authors' view on the relationship between seeing and photography, and providing an overview of the concepts of digital imaging (Chapter 1), the book gets into the nuts and bolts of digital imaging (Chapter 2). There's a complete run down of the hardware and software required for professional digital imaging, and in keeping with the theme of comparing conventional and digital photography, the focus is on building a digital darkroom rather than configuring a digital imaging system.

Most of the major hardware components of the digital darkroom are covered, but briefly—this isn’t a book on computers—yet the info is more than sufficient. As you’d expect, the primary focus of the software section is Adobe Photoshop. In fact, the rest of the text concentrates primarily on Photoshop, with a bit about Adobe Lightroom and Camera Raw, and an occasional mention of third-party applications and plug-ins.

Readers with only cursory exposure to Photoshop will appreciate the section, "Under the Hood: Essential Photoshop Preferences and Color Settings." The many, sometimes confusing, settings and adjustments are presented in an easy-to-read and understand manner. Such Photoshop tasks as setting preferences, customizing the interface and adjusting color settings are explained, without losing the reader with excess detail.

One of the underlying concepts of this book is the importance of the quality of the original image. "Digital images, whether they're from a digital camera or scanner, are all about information … your goal is to capture as much tonal, color and detail information as possible." To that end, both scanning film and digital camera image capture are explained. In both cases, the preparation of the file for its intended output is all-essential. Among the many tasks explained are increasing and decreasing image size, cropping, reducing electronic noise, sharpening, correcting optical distortion and adjusting the perspective.

The next six chapters cover all the tools required for optimizing and manipulating images. The sections on levels and histograms alone are worth the price of the book. The authors also explain how to use creative filters, toning, dodging, burning, simulated cross-processing effects, and present step-by-step instructions for applying a variety of creative digital effects.

There’s a discussion of concepts that are applicable to most of the creative techniques. One of the fundamentals is to use non-destructive editing techniques whenever possible. For example, Photoshop often provides a number of ways to achieve a desired effect, some of them destructive. In almost all cases where there’s an option, adding non-destructive layers over the original image is preferable to applying destructive techniques directly to the image.

The section on color theory is quite useful. One of the things that makes color so difficult is that it’s highly subjective. To obtain consistent color it's important to understand at least some scientific color theory, color models and the differences between working in the additive RGB and subtractive CMY (or CMYK) color spaces. With digital images, the basic building blocks of color are hue, saturation and luminosity, and the book goes into considerable detail about how to control these elements to achieve optimum color.

Wherever there's a mouse icon next to an image in the book, it signals that the image is available for downloaded at www.creativedigitaldarkroom.com, so you can practice the covered techniques. The book is so richly illustrated and graphically interesting that the actual Web site is a little disappointing. Its simple, logical design comes off as relatively boring. Depending on your display size, the dark blue menu options in the black bar that extends across the top of the screen can be difficult to see. Fortunately, the menu option changes to yellow on mouseover.

All 128 sample images can be downloaded in one massive 246MB zip file. Images for the individual chapters come in sets of 14 to 23, and can also be downloaded in zip files, and you can access single images as well by file name. (All images are copyrighted, and cannot be used for any purpose other than following the tutorials.) I tried downloading a couple of the images just to see how the process worked. Once you download the images, you just follow the numbered instructions in the book under the file name. It couldn't be simpler.

There's some special content on the site that's not in the book. Chapter 11, “The Print,” is available as a bonus 20-page PDF. That's actually an important chapter that shouldn't be missed. As the authors note, "... for most photographers, especially those who come from a traditional darkroom background, the ultimate destination for their creative expression is the print."

The chapter covers such important items as working with profiles, which isn't covered in the color correction chapter, soft-proofing, printing within Photoshop and working with outside vendors. Soft-proofing is under-utilized by photographers because they are often dissatisfied with the results. After reading this section, your results should improve.

If the objective is to come up with the best digital images possible, this book will propel you in the right direction.

Roundup: Entry-level DSLR Cameras

2008-07-17T19:28:52Z

By Ron Eggers

It’s difficult to get a clear picture of what's available in entry-level digital SLR cameras before another generation comes along. There are still considerable differences in feature sets, performance and potential image quality between entry-level models and professional DSLRs, but the resolution gap gets smaller and smaller all the time. All but the least expensive entry-level models have 10-megapixel or larger sensors. Some have resolutions topping 14 megapixels. But resolution doesn’t equal image quality.

The technological advances of the high-end models trickle down to entry-level DSLRs over time, bringing better responsiveness and less shutter lag to the current generation. Focusing is still slower on lower-end models, but again, the performance of the least expensive models is getting closer to that of the mid-range pro cameras.

Entry-level DSLR features such as scene modes, which aren't all that important to professionals, help less experienced shooters get better shots by allowing the photographer to set the type of picture to be taken (e.g. night shot, portrait, action) and having the camera makes all the technical decisions, like aperture size and shutter speed.

Photographers can increase image quality with entry-level models by upgrading the glass. Low-end models frequently come with inexpensive kit lenses. For their price, they're quite good, but no one claims that they match the quality of professional lenses. Sometimes just upgrading a lens can make a noticeable difference in image quality.]]> Our list of entry-level DSLR cameras is arranged in reverse alphabetical order by company name. I've played with most of the models included here at various trade shows, but I haven't tested them sufficiently to develop strong opinions. The prices quoted here are street prices, which vary considerably from vendor to vendor, sometimes by as much as 40 to 50 percent, so it pays to shop reputable sellers for the best buy.

Sony alpha DSLR-A350
Sony recently introduced a very affordable high-resolution digital camera, the alpha DSLR-A350. Equipped with a a 14.2-megapixel APS-sized CCD imaging sensor, the A350 has the highest resolution of any camera in its class. The new sensor has an expanded dynamic range and minimizes noise more effectively. It can capture up to 2.5 frames per second (fps) in the viewfinder mode and 2 fps in the Live View mode. Live View image preview makes it possible to frame and compose on the camera's large 2.7-inch tiltable LCD. In JPEG mode, the burst will go on until the memory card is filled. You can shoot a burst up to four frames in RAW mode.

The A350 features quick AF response, ISO 100 to 3200, and in-camera Super SteadyShot image stabilization. The built-in image stabilization provides an advantage of two to three stops, enhancing depth of field and significantly reducing camera blur, particularly when shooting in low light situations.

The two-channel data transfer Sony Bionz Image Processor uses hardware-based Large Scale Integrated (LSI) circuitry to enhance images. Image sensor information is divided into 1,200 zones of luminance and RGB color information. Autofocus begins when you raise the camera to your eye rather than with a half-press on the shutter button. The camera also offers a Dynamic Range Optimizer and advanced anti-dust technology.

Like all the Sony alpha DSLRs, it comes equipped with a lens mount that can accommodate Sony, Carl Zeiss and legacy Minolta a-mount lenses. The body alone has a list price of $700. With the 18-70mm lens, the package costs $800. A two-lens bundle adding a 55-200mm zoom is priced at $1,000.

Sigma SD14
Sigma’s most recent DSLR model is the SD14, which has a 14-megapixel Foveon X3 CMOS image sensor with an actual resolution of 2,652 x 1,768 pixels. The X3 sensor is different than any other sensor on the market. Rather than capturing all pixels on one level, and using a mosaic filter to differentiate colors, the X3 chip is designed in three stacked layers. The wavelengths of red, green and blue penetrate the silicon to different depths, so that separate RGB pixels can be captured at each position. That ensures optimum image quality. There is a Super-High resolution available with the SD14, but that's actually an interpolated resolution.

When shooting at the maximum capture resolution, the SD14 can fire at 3 fps for two seconds. One of the enhancements for the SD14 is the ability to capture JPEG files. The previous model, the SD10, only took RAW images. The new camera is also a little more compact than the previous model. Since it utilizes its own proprietary bayonet lens mount, it ties into the Sigma system. It has a street price of $800 for the body only.

Samsung GX-20
Samsung is marketing the GX-20, which is a close cousin to the Pentax K20D (see below). While it has a slightly different body design, and some modifications to its internal electronics, the new Samsung has many of the same features and capabilities developed by Pentax for the K20D, including a 14.6 megapixel APS-C sized CMOS sensor. It can capture images with a maximum resolution of 4,688 x 3,120 pixels. Like the K20D, the GX-20 handles image processing through the Pentax Real IMage Engine (PRIME) image processor.

The GX-20 can capture both JPEG and RAW files at a maximum rate of 3 fps for up to 9 frames. Its Enhanced Digital Filter provides for a greater dynamic range. It can also be used to add various effects or compensate for missing pixels after a picture has been taken. There are a variety of digital filters, including four types of black and white, three sepia types, 18 different color options, and several other types. It has the standard Pentax lens mount, so all the Pentax DSLR lenses will couple. Samsung also has its own set of Schneider D-Xenon and D-Xenogon lenses. The GX-20 is going for $1,299 with a D-Xenon 18-55mm lens.

Pentax K20D
Pentax introduced the K20D just before the GX-20 was rolled out. While it has the same 14.6-megapixel CMOS sensor as the Samsung, the K20D's maximum resolution is slightly different, 4,672 x 3,104 pixels. The maximum frame rate is also 3 fps, but it has a longer burst rate. It can shoot continuously for up to 12 seconds for JPEGs or 16 images when shooting RAW. Its expanded dynamic range function makes it possible to gain additional contrast and detail in bright areas of a composition.

Like the Samsung GX-20, it features the PRIME image processor. It also incorporates enhanced noise-reduction technology. There's a new custom image function for adding different finishing touches to an image. They include Bright, Natural, Portrait, Landscape, and Vibrant modes, each with its own gamut radar and fine-tuning adjustments of saturation, hue, contrast, and sharpness.

Its improved dust reduction system features both dust prevention and removal capabilities. The Pentax proprietary Shake Reduction (SR) system makes it possible to pick up an additional stop or two, regardless of which lens is attached to the body. It supports Live View for direct LCD framing. The moisture and dust resistant body makes it possible to keep shooting even in harsh weather conditions. The K20D costs around $1,299 or less for the body only.

Panasonic Lumix DMC-L10K
The Panasonic Lumix DMC-L10K is a 10.1-megapixel camera with an articulated LCD that supports full time Live View. Able to write both JPEG and RAW file formats, it can capture images at a maximum resolution of 3,648 x 2,736 pixels at up to 2 fps. With its bayonet-mounted lens, it's part of the Four-Thirds System. It ships as a kit with a Leica-branded 14-50mm f/3.8-5.6 lens D Vario-Elmar lens. Targeted at novice photographers, the L10K is being received better than Panasonic's initial entry into the DSLR market, the Lumix DMC-L1.

With either the kit lens that ships with it, or the lens that shipped with the L1, the newer Lumix utilizes contrast-based autofocus. Other Four Thirds System lenses will fit the body, but the camera switches to phase difference autofocus. Special scene modes include Pet, Food, Baby1, Baby2, Macro, Scene, Sunset, Scenery, Sports, Portrait and Night portrait. One of the things that it can do, that most DSLRs can't, is capture MPEG video. The DMC-L10K's street price is $1,099.

Olympus E-520
Olympus recently released the E-520, a 10.1-megapixel consumer-oriented DSLR with a Live MOS sensor that's part of the Four Thirds System E-series. It has a maximum pixel resolution of 3,648 x 2,736. Image processing is handled through the camera’s TruePic III Image Processor. Advanced Supersonic Wave Drive image stabilization technology provides blur-free images when using any of the more than 30 digital-specific Zuiko lenses, even at relatively slow shutter speeds.

There are three image stabilization modes. IS-1 is for general shooting. It adjusts the sensor on both the X and Y axes to compensate for camera movement. IS-2 is ideal for capturing action moving horizontally. It preserves the sense of motion while panning with the moving subject. IS-3 lets a photographer hold the camera vertically while panning.

Autofocus Live View brings subjects into sharp focus on the camera's bright LCD. It can shoot at 3.5 fps for up to 8 frames when shooting RAW. It includes sophisticated face detection technology that targets and locks on faces to ensure they are in focus and blur-free for superior portraiture. Shadow adjustment technology opens up detail in the shadows that otherwise might be rendered too dark or underexposed, while still maintaining detail in the highlights. The E-520 has a street price of $599 for the body only.

Nikon D60
Nikon's newest entry-level DSLR is the D60, a 10.2-megapixel camera with a CCD sensor and a maximum resolution of 3,872 x 2,592 pixels. Featuring many of the capabilities found in Nikon's mid-range DSLRs, the D60 is quick and responsive. It takes just a fraction of a second to power-up, and it can shoot long bursts. It can capture both JPEG and RAW images at a maximum frame rate of 3 fps with bursts up to 100 JPEG frames.

Exposure modes include Digital Vari-program, Portrait, Landscape, Child, Sports, Close up and Night portrait. It accepts and supports all functions of AF-S and AF-I Nikkor lenses. The D60 includes multiple dust-reduction options, including image sensor cleaning and an airflow control system. There's also a software fix to reduce any dust that occurs on an image by using a dust off reference image.

Image processing includes a variety of retouch options, including Quick Retouch, directly in the camera. Internal NEF (RAW) processing makes it possible to create duplicate images with different photo effects. The D60 also has the capability to create stop-motion movies. It sells for around $660 for the body only.

Canon EOS Rebel XSi
Of this entry-level camera selection, I've had the most experience with the Canon EOS Rebel XSi. (Digital technology has become so ubiquitous that Canon dropped the "Digital" part of the Rebel's name.) I was amazed how well it handled and how responsive it was. It shot like the mid-range professional cameras of just a year or two ago.

The XSi is equipped with a 12.1-megapixel CMOS sensor that has a maximum resolution of 4,272 x 2,848 pixels. It can take capture images at a rate of 3.5 fps in a burst up to 53 for JPEG and 6 for RAW. Canon has incorporated many of the advanced features and capabilities found in its higher-end models, such as white balance bracketing, dioptric eyepiece adjustment correction and exposure compensation. Scene options include Portrait, Landscape, Close-up, Sports and Night Portrait.

Anyone who's previously shot with a Canon DSLR will find the menu structure familiar, and the extra large LCD on the back of the compact body is a real pleasure to work with. While it's not really being targeted at professionals, the XSi would be a good choice to replace an aging 10D or 20D as a back-up body. It sells for $799.

All the DSLRs covered here have their pros and cons. If you're happy with your high-end camera, you'll probably like that company's entry-level model, too.

Review: Backpack Camera Cases

2008-07-01T20:05:37Z

By Ron Eggers

Camera case designs range from compact belt packs that are just big enough for one body and one lens to massive hard cases that are big and sturdy enough to ship an entire camera system around the world.

With advantages in capacity, comfort and portability, backpack-style camera bags are currently dominating the market. A backpack is easier and more comfortable to carry than a shoulder or sling bag with similar capacities. It's relatively easy to carry a backpack with a couple of camera bodies, a selection of lenses and whatever other gear might be required for a shoot.

The weight is distributed evenly and, with the right backpack and proper adjustment, the bag frame fits comfortably without straining your back. With the design technology that allows backpackers to carry 60 to 80 pounds of gear for weeks and months at a time, a photographer can go all day with a camera bag backpack without getting unnecessarily tired. Shoulder and sling bags put the load on one shoulder, and an equivalent amount of weight in gear will tire the carrier much more quickly than a backpack.

Many photographers now carry laptops along when they're shooting in the field, and most of the new backpack cases have a laptop compartment with appropriate protective padding. There are a few shoulder bags available that are large enough to carry a laptop, but they're the exception.

]]> But there are also disadvantages to backpack camera cases. Photographers frequently carry backpacks slung over one shoulder. Carried incorrectly, they can cause more aches and pains than shoulder bags, especially since photographers frequently pack them heavier than similar sized sling bags.

Access is less convenient. Gear in shoulder/sling bags is accessible on the go, with many models designed to let you switch and store lenses or reach other gear without having to set the bag down. That's not possible with most backpacks, even if they're just slung over one shoulder. Switching lenses usually means having to take the bag off and set it down on a stable surface or the ground before you can access the contents. There are backpacks designed with workarounds to this issue, like Lowepro's Primus AW and Flipside packs and Tenba's Shootout line, but the solutions are still a bit awkward compared to easy-access shoulder bags.

One thing to consider with backpack camera bags is the carrying frame and strap configuration. Frames are the solid superstructures of backpacks that the straps and carrying compartments are connected to. Chest straps and waist belts are used to distribute the weight of the pack more evenly. Some packs are designed to let you tuck away the straps in a separate compartment.

While heavy-duty traveling backpacks have removable frames, making it possible to disconnect the frame stays and straps from the main pack, most camera backpacks don't. Some larger ones do have frames, or at least metal stays to provide support. Usually they use a flexible superstructure that strenthens the structure but gives to the body's countours.

Rolling backpacks offer an option to have the best of both worlds. They have the advantage of a backpack with the convenience of rolling luggage. Tenba is marketing the Large Rolling Shootout backpack, a roomy 13W x 18H x 7D inches. The case, with its large reconfigurable storage compartment, is the largest and heaviest backpack that I looked at for this review. It has heavy-duty shoulder straps and an extra wide waist belt, and a storage compartment to hide them in.

The black Shootout can accommodate multiple SLR bodies and an assortment of lenses. It comes configured so to store a body mounted with a long telephoto lens, but the interior partitions can be reconfigured. If you don't need it, the entire padded interior unit can be removed from its Velcro attachments. Strong interior aluminum stays keep the unit aligned, even when fully loaded.

The laptop compartment, which will accommodate a 17-inch laptop, is accessible on the top. There are small separate compartments on each side of the pack that can be used to store smaller items. In one side compartment, there's a tethered media wallet for memory cards. In the other, there's a cell phone/music player pouch, also tethered to the main case.

Removing the divider between the small and main compartments makes it possible to access the main compartment from either side. There's enough room to pull out a lens or flash unit, without having to open up the main compartment. By reconfiguring the dividers, you could also make this access into a single lens pocket that you can unzip and access without removing the pack.

The rolling Shootout comes with Tenba's Multi-Stage Tripod Carrying (MSTC) system that provides a range of tripod mounting, positioning and balancing options to fit a wide selection of tripods.

Since it's a roller, it has an extension handle. It's designed with a single extension tube for the handle, which looks good, but isn't as functional as a dual tube handle. With two extension tubes, it's possible to place another case on top of the rolling case and bungee cord it to the two extension tubes. That holds it in place. With a mono-tube, a second bag won't stay in place. The solid in-line skate wheels ensure a stable, quiet roll. It's obvious that a lot of thought went into the design and function of this backpack. It has a suggested retail price of $285.95. (www.tenba.com)

The Mountainsmith Parallax, with spacious configurable interior space, is designed for multiple camera bodies, lenses and accessories. With interior dimensions of 11W x 16H x 8D inches, it can take an SLR body with a long telephoto lens attached. The interior compartments can quickly be reconfigured as needed. The unit's outer padding is in zippered compartments, so it can be replaced if it should happen to get damaged or worn.

The main compartment is accessed from the side of the pack that has the shoulder straps on it, so you have to take the pack off to get at the camera gear inside. If you take your gear through crowded airports, public tansit and urban throngs, this makes it less accessible to potential thieves. The padded interior compartment cover is very comfortable resting on your back. The 16-inch laptop compartment is accessible from the top, without having to open the camera gear section, and contains smaller compartments.

An outer soft-side compartment is suitable for miscellaneous items, such as a light jacket, hat, sunscreen or snacks. A fold-down pouch supports a tripod and quick-release straps secure it to the exterior. Another pouch holds a weatherproof cover that protects the entire pack. Separate straps on the bottom can be used to attach additional gear. Mesh pockets on either side of the main compartment can be used to store accessories. Cinch cords ensure that nothing falls out.

Besides the shoulder straps, there's a waist belt with a small removable case. There are also handles on the top and side of the pack, making it easy to carry upright or like a suitcase. The Parallax costs $169. (www.mountainsmith.com)

Lowepro's new backpack is the Fastpack 350, the largest in the Fastpack line, which is available in black, arctic blue with black and red with black. It's more compact than the other two packs, with a 11W x 10.6H x 6.1D camera compartment interior and 12.4W x 9.6H x 19.3H pack exterior.

The bottom half of the storage area is devoted to camera space while the top is available for anything else. With its extra storage space and its heavily padded back, straps and waste belt, it's a good choice for an excursion that involves photography.

A rain flap protects a small outer compartment and the zippered camera compartment, which opens from one side and the top. The compartment cover has memory card pockets. Camera storage space is limited. There's enough room to stow one body with a short telephoto lens attached, as well as either another body and detached lens or a couple of lenses and a flash unit. The interior Velcro partitions can be reconfigured as needed.

The general storage compartment contains several pockets, as well as a Velcro fastened removable nylon pouch. The laptop compartment, which is underneath the camera and general storage compartments, can hold a 17-inch laptop. It is accessed from the same side as the camera compartment. A cinch-tied mesh pouch on the other side of the unit is suited for smaller miscellaneous items. There is a short loop strap on top, so the bag can be carried that way, but a real handle on top would have worked better. The Fastpack 350 lists for $149.99. (www.lowepro.com)

The Tamrac Expedition 3 Photo Backpack, available in rust or black, has modest interior dimensions at 8W x 11H x 4.625D, which is only about half the size of the other units. While it can't hold a laptop, it has a surprising amount of space inside. It's ideal for photographers who want a compact travel pack, but still want the maximum amount of protection for their camera gear.

The pack will hold an SLR body with a short telephoto lens attached, as well as a couple of additional lenses and accessories. The QuickClip tripod attachment system holds smaller tripods. There's a zippered pocket behind the tripod mount and zippered windowpane mesh pockets on the inside of the camera case cover.

Even though the pack is small, the padded straps are full size so that it sits comfortably on your back. The Expedition 3 has an MSRP of $59.95, though it's available for less online. It is compatible with Tamrac's optional SAS (strap accessory system) and MAS (modular accessory system) products that extend the functionality of the pack. This is one case where carrying it with one strap over the shoulder, for quick access, would work. (www.tamrac.com)

You generally don't think of needing documentation for a camera bag, but it is helpful. All the bags covered have cards attached that cover their features, but only the Tenba came with an instructional booklet. That was really helpful in getting the most out of the bag. For example, I probably wouldn't have figured out that the dividers between the small side compartments and the main compartments were removable without the documentation. They looked like they were sewn in. It would be good idea if the other companies did the same thing. Lowepro and Tenba offer helpful product demo videos on their Web site.

Almost every photographer has a selection of camera bags and cases. And almost all photographers have their favorite case. What works well for one photographer might not work at all for another. It's a matter of personal preferences. That's particularly the case with backpack camera bags.

Review: Olympus E-420

2008-07-01T15:49:46Z

By Joe Farace

The Olympus E-420 claims to be “the world's smallest digital SLR with all the features you need to take great pictures … .” With the rapidfire pace of DSLR introductions, that last caveat may be there so Big Oly can say, “Yours may be smaller, but is it as wonderful as ours?” So let’s get this out of the way first, the doggone thing is small and makes an ideal second camera for an Olympus-shooting pro or as an SLR for an assistant catching ceremony and candid shots during a wedding.

The E-420 has the Olympus Live View function that lets you use the large 2.7-inch LCD as a viewfinder to get color-balanced ceremony shots in church or synagogue, but there’s no image stabilization, so be sure to use a tripod. The camera’s Shadow Adjustment Technology and Face Detection make reception shots easy, ensuring that you can deliver sharper images to your clients.

How small is it? Measuring 5.1 x 3.6 x 2.1 inches and weighing just 13.4 ounces, the E-420 is small enough to fit into a purse or a jacket pocket and light enough to carry around and shoot comfortably all day. Face Detection is candid-photography friendly, distinguishes between people’s faces and the background, and will track up to eight faces within the image area while automatically focusing and optimizing exposure for portraits.

Dark sanctuaries? No problem. Shooting scenes with shadows can be tricky because of the extreme contrast between dark and bright areas but the E-420’s Shadow Adjustment Technology compensates for extreme contrast when shadow areas are underexposed and lack visible detail.

]]>
I was making photographs for a non-profit organization’s car show and used the Zuiko Digital ED l4-42mm f/3.5-5.6 kit lens to make images such as this of a rare street rod crafted from a Chrysler Airflow. Exposure was 1/640 sec. at f/8, ISO 200, in Aperture Priority mode. This image and lens is so sharp that when enlarged to extremely large sizes on my monitor you could see the sharply outlined shapes of the metallic content of this paint. © 2008 Joe Farace

The E-420 offers three auto focus modes: Sensor AF is the phase detection type that’s used by most SLRs. It works well in low-light situations when shooting without the flash and is also the fastest setting. Imager AF is a contrast detection type that calculates focus off the sensor and is the default. This mode is optimized for use with the Zuiko 14–42mm and 40–150mm lenses, which are the ones I used most during testing. Hybrid AF is new with the E-420 and seamlessly combines Imager (contrast) AF and Sensor (phase detection) AF and works with all of the Zuiko lenses. All autofocus modes work in Live View mode. Sure, it may be slower that the faster manual focus Live View option used by Canon, but in real-world use it’s more practical.

Mary borrowed the E-420 to shoot some images for her “Urban Macro” series of photographs. This was made at what used to be the local airport using the Zuiko Digital ED 14-42mm f/3.5-5.6 lens with an exposure of 1/640 sec. at F/6.3, ISO 100. ©2008 Mary Farace

Tip: Although the E-420 has three “official” autofocus points, here’s a trick that will extend their number and help you in fast-changing backlit situations: With Live View and Imager AF active, turn on the camera’s Face Detection mode to extend the AF area to eleven points and then turn on Shadow Adjustment. With this particular combination of settings, the camera will track and lock focus on the subject, and shadow adjustment will automatically extend the range of visible detail in the shadow areas.

This drummer with the dance troupe Chimatonali was captured during a Cinco de Mayo celebration. The lens was the compact and inexpensive ($200) Zuiko Digital ED 40-150mm f/4.0-5.6 that delivers an equivalent of 80-300mm focal length. Exposure in Aperture Preferred mode was 1/320 sec. at f/7.1, ISO 200. ©2008 Mary Farace

The new big 2.7-inch screen uses HyperCrystal II technology to deliver a broad range of color and a 176 degrees angle-of-view, making Live View usage even better. To keep image files clean, the E-420 uses Olympus’ Dust Reduction System with Supersonic Wave Filter to vibrate the image sensor and capture dust on a special adhesive membrane every time the camera is turned on. Of the hundreds of photos that I made with the E-420, all were spot-free. No real image stabilization is available, but the cryptically named DIS (Digital Image Stabilization), activated as one of the eighteen Scene Select Modes, automatically sets higher ISO sensitivity and faster shutter speeds. I’d say Professional Photographer readers have already figured out how to deal with these kinds of lighting situations and this feature points to the E-420’s consumer orientation.

I used the E-420 to capture this three-shot panorama of a new high school in my town. Exposure in Manual mode, to make sure exposure was consistent across all three frames, was 1/100 sec. at f/22, ISO 200. ©2008 Joe Farace

But it’s all about the pictures, and the E-420’s 10-megapixel sensor delivers high dynamic range, accurate color rendition, and relatively low noise characteristics that let you capture great images even at moderately high ISO settings. I have to say "relatively" because the small chip size and your choice of shutter speeds (longer ones will make more noise) ultimately dictate noise levels. If noise is a problem, I suggest using noise-reduction software such as my favorite, Neat Image, to rescue objectionably noisy images. Why not just use flash? Flash pictures will be better because the E-420 is compatible with the Olympus FL-50R and FL-36R wireless electronic flashes. These units wirelessly sync with either the camera’s pop-up flash or another FL-50R mounted onto in the E-420’s hot shoe.

Although the E-420 is, indeed, small, its ergonomics are excellent. The small size and high image quality make it a natural for travel photography when a large professional DSLR might intimidate the locals you want to photograph. The optional FL-50R wireless flash ($429.95) worked great off and on the hot shoe. In the studio and during an on-location shoot, I had trouble with a few different wireless (radio-controlled) transmitters that refused to fire monolights with the respective receiver hot shoe-mounted unless they were screwed down so tightly they were difficult to remove afterwards.

For this backyard portrait, Mary Farace used the FL-50R to fill the left side of the subject’s face to balance the strong light from the setting sun on the right. The lens was the incredibly sharp, versatile, Zuiko Digital ED l4-42mm f/3.5-5.6 kit lens. Exposure was 1/160 sec. at f/9, ISO 400. For soccer action shots, the E-420 can shoot at 3.5 frames per second. ©2008 Mary Farace

The E-420 lacks a traditional synch connection, but that shouldn’t keep you from using it with your studio lights. Traditionalists might want to use a hot shoe-to-PC adapter to connect the synch cord from camera to main light. Because of the high voltages across the tip of a synch cord, using a cheapo adapter might fry the electronics inside your digicam, so it’s a good idea to use one like Booth Photo’s High Voltage Safe Hot Shoe Adapter that only allows only three volts to touch the camera’s synch circuit.

This test shot of Mary was made with an exposure of 1/60 sec. at f/11, ISO 200 in my studio. It was slightly underexposed, but I liked this pose and expression the best from that test session. Lens was a Zuiko Digital ED 40-150mm f/4.0-5.6 at 53mm. Lighting was from a single 45-inch Westcott Round Halo Mono attached to a Westcott Strobelite monolight. Since the E-420 lacks a flash synch connection, the synch cord was connected via a Booth Photo Hot Voltage Safe Hot Shoe Adapter that only allows three volts to touch the camera’s synch circuit. ©2008 Joe Farace

Most Olympus digital SLRs I’ve tested over the years have had some sort of infrared sensitivity and the E-420 is no exception, although empirically it seems less sensitive than previous models that required shorter exposure time, but with IR you never really know. I tested the camera using Hoya Infrared R72 and Singh-Ray I-Ray filters, and both performed well, although because the I-Ray allows no visible light to pass through, it occasionally refused to allow the camera to autofocus. The other downside of the I-Ray is that it required longer shutter speeds (13 seconds at ISO 400 versus 5 seconds with the Hoya), producing somewhat higher noise levels. The upside is that the infrared effect was much more dramatic with the Singh Ray.

This view of the shoreline at Barr Lake State Park was captured directly in the E-420’s Vivid color mode. Exposure was 1/640 at f/10, ISO 400. Noise, while obvious with the long exposures produced when using an infrared filter is all but absent in this “normal” shutter speed obtained in the camera’s Program mode. ©2008 Joe Farace

The same scene Barr Lake State Park photographed in the E-420’s Monochrome mode with a Singh-Ray I-Ray filter attached to the tiny Zuiko Digital 14-42mm f/3.5-5.6 lens (28-84mm equivalent). Exposure was 6 seconds at f/3.5, ISO 400. The result was relatively noisy, but I selectively applied the Neat Image plug-in to tame the noise. ©2008 Joe Farace

While clearly aimed at consumers, the rugged construction of the Olympus E-420 and its extensive list of versatile features have much to recommend it to the working pro as a camera ideally suited as an adjunct to his or her E-3 professional SLR. The E-420 more than makes up for its lack of more upmarket features, such as image stabilization, with its extremely affordable price ($499), compatibility with Olympus’ wireless flash system, and its ability to capture great looking images. I rate it a “best buy.”

As of July 1, 2008, the current version of Adobe Camera Raw (4.4.1) software does not recognize the Olympus raw (.ORF) files captured by the E-420, although I’m betting that will change when the next update arrives. In the meantime, be glad that Olympus provides a Mac OS and Windows copy of Olympus Master software for viewing, opening, and tweaking raw files from the E-420. ©2008 Joe Farace

Olympus E-420 Specifications

Joe Farace is co-author of a new book entitled “Better Digital Available Light Photography,” published by Focal Press. It will be available in all the best bookstores, including Barnes & Noble and Amazon.com.

Software: Silkypix Developer Studio 3.0

2008-07-01T14:53:30Z

By Mark Levesque, CPP

Silkypix Developer Studio 3.0 is the latest release of raw converter software from Shortcut Software. Like competing raw image processing solutions, Silkypix can also process jpeg or tiff images, but it is really intended to be a raw processor.

Raw capture retains all of the image sensor data and allows the photographer to take advantage of the maximum tonality and detail when making adjustments to an image, which is particularly important if your artistic vision requires significant alteration. All of the decisions the camera makes to render an image are at your discretion with no loss of quality. Harnessing the control afforded by raw capture is what raw processing software is all about.

Silkypix allows you to open a single image or a folder of images in several preview layout options, including thumbnail, preview, and a split-screen that offers a little of both (Figure 1). You can delete, copy, move, batch process or color code the thumbnails. You can also add a comment that will be stored in the image’s EXIF data. For users accustomed to Adobe Lightroom’s intuitive and flexible interface, the Silkypix image annotation options will seem relatively primitive and awkward, but at least there are options.

Figure 1

]]> Silkypix is a highly sophisticated program with a plethora of controls available to the photographer, mostly in development. The learning curve is rather steep if you want to take full advantage of the controls, but the software provides a number of automatic settings to allow new users to create effective conversions soon after installation.

For example, the software provides an Auto White Balance function that gives you a good starting point to accept or adjust to your artistic interpretation. Alternately Silkypix provides a number of white balance presets called tastes, which cover lighting conditions like sunset, daylight and tungsten (Figure 2).

Figure 2

More advanced users may opt for color temperature and color deflection sliders. An additional dark adjustment affects color casts in the dark tones of a scene, allowing for very precise white balance adjustment. If that’s not sufficient, Silkypix provides a white balance target with hue and saturation sliders (Figure 3). Additionally, you can use the skin color tool to select a patch of skin that will then be targeted for automatic adjustment to a pleasing skin tone.

Figure 3

Silkypix’s fine tonal controls are similarly advanced. Tastes are available for various strengths of contrast at the most basic level. For finer tuning, sliders control contrast amount, contrast center, gamma and black level. Final tweaks are possible with the tone curve, which can either affect RGB values as luminosity or as individual curves for R, G, and B.

Silkypix also includes various color tastes and variables for creative color control: two different black and white conversions, various color presets that emulate film emulsions (Figure 4), portrait styles, and other aesthetically pleasing color enhancements. A fine color enhancement tool is available for color tweaking.

Figure 4

Lesser-used yet high quality tools exist for addressing specific issues with images. Lens aberration correction is fairly robust, providing controls to reduce barrel or pincushion distortion as well as fringing effects. Rotation/digital shift is used to fix slightly off kilter images, or to correct perspective of, for example, tall objects photographed from the base. A cropping utility, referred to as trimming, is also provided.

Finalizing development provides additional options that can be quite helpful. In addition to saving at the images' native resolution, you have options to save interpolated files. Silkypix also allows for output sharpening (Figure 5), and this really helps improve the final appearance. Since it is incorporated into the software it saves a step, and can be adjusted according to output size. It is very useful indeed.

Figure 5

Silkypix provides an interesting new option for raw processing. With its sophisticated controls and fine image rendering, Silkypix offers photographers a powerful utility for enhancing and rendering raw captures. The flexibility offered by the software creates nearly limitless potential to adjust images, however it comes at a price, which is complexity. The software manual, clearly written or translated by a non-native English speaker, is reasonably complete, yet some nonstandard nomenclature and inexpert language usage tends to confuse matters. Seasoned veterans of raw capture may find much to explore and exploit in Silkypix, but novice users should be aware that the learning curve may be formidable.

Silkypix Developer Studio 3.0: $149

Pro Selection: Professional Digital SLR Camera Image Samples

2008-07-01T13:35:46Z

In the July issue of Professional Photographer magazine, Ron Eggers assessed the current top models of pro DSLR cameras. Here you can see sample images from those cameras along with a 1:1 pixel selection (click for full view). Images were saved in Photoshop for Web viewing as JPEGs at Quality: 85 in sRGB.

All images ©Ron Eggers unless otherwise noted. Eggers was not given access to a review unit of the Leica Digilux 3 to create independent sample images.

Canon EOS 40D: 1/250 second at f/11 (+.67), ISO 200

]]> Canon EOS-1Ds Mark III: 1/500 second at f/14, ISO 400

Fujifilm FinePix S5 Pro: 1/180 second at 7.1, ISO 640

Nikon D3: 1/200 second at f/2.8, ISO 200

Sony Alpha DLSR-A700: 1/640 second at f/9, ISO 200

Nikon Announces D700 FX-Format DSLR

2008-07-01T04:05:41Z

Also introducing Nikon SB-900 Speedlight with expansive zoom and user-applied firmware updates and new PC-E Micro Nikkor 45mm f/2.8D ED and PC-E Micro Nikkor 85mm f/2.8 lenses

Press Release—Nikon, Inc. has introduced the new D700 digital SLR camera featuring a 12.1-effective megapixel Nikon FX-format sensor (Nikon's full-frame) that measures 23.9 x 36mm, which is nearly identical to the size of 35mm film.

The D700 incorporates Nikon's EXPEED Image Processing System, Nikon’s renowned 51-point auto focus system with 3D Focus Tracking and two Live View shooting modes that allow photographers to frame a shot using the camera's three-inch high-resolution LCD monitor. The D700 also features Nikon’s sophisticated Scene Recognition System and a new active dust reduction system.

D700 Synopsis

Compiled by Ellis Vener

A 12.1 effective mp FX format (AKA Full Frame) DSLR capable of up to 8 fps when using the optional MB-D10 Multi Power Battery Pack.

Pricing and availability (USA): The FX-format Nikon D700 D-SLR camera will be available late July 2008, and will have an estimated selling price of $2,999.95* (body only).

Imaging pipeline: A 12.1 (effective – meaning image making) megapixel 23.9x36mm Nikon FX-format CMOS using 8.45 micrometer (micron) pixel pitch cells with a low signal-to-noise ratio and wide dynamic range (about 12 stops in the D3). A 12-channel readout for faster information transfer allows for a 5 to 8 full size, full resolution FPS rate (see more details below).

ISO range: nominally 200-6400 + down to ISO 100 (Lo-1) and up to ISO 25,600 (Hi-2).

Viewfinder: a bright .72x magnification eyelevel viewfinder utilizing a high refractive index pentaprism (I assume made of glass elements) wit ha 95% frame coverage. A framing grid can be super imposed on the finder screen per a photographer’s preferences of format size.

Shutter: Shutter curtains are formed of a Kevlar and carbon fiber composite hybrid material. This shutter has already been tested on full y assembled cameras through at least 150,000 cycles. Shutter unit has a self-diagnostic unit, which constantly monitors shutter performance to maintain precision.

Body Construction: The camera body, rear body and mirror box are made from a high-strength magnesium alloy. Connection points in the body are weather sealed with precision O-rings to keep out dust and moisture.

Start up, shutter lag times, buffer size and write speed: Start up from off is accomplished in .12 seconds. Shutter lag response time is 0.40 milliseconds. Nikon claims these makes the D700 currently the fastest in its class.

Full Resolution JPEGS: up to 5 frames per second (FPS) or up to 8 FPS with the optional MB-10D for up to 100 frames.

NEFs 17 14 bit per channel lossless compressed NEFS.

With the new high speed UDMA CompactFlash cards camera to media write speed is up to 35 megabytes per second.

Auto-focus: The D700 uses Nikon’s Multi-CAM 3500FX autofocus sensor module with 15 cross-type sensors and 36 horizontal sensors that can be used individually or in groups. In Single Area or Dynamic AF modes, users can select groups of 9, 21, or all 51 focus points. The system also utilizes 3D Focus tracking with automatic focus point switching using all 51 points in conjunction wit h the metering systems 1,005 pixel RGB sensor to accurately track moving objects using color content and light information.

]]> Self Cleaning mode: a first for a Nikon FX format camera, The self-cleaning system uses 4 distinct vibration frequencies to shake off dust particles from the camera’s low-pass filter. System is activated at start up, shut down, or on demand. Additionally the interior of the mirror box and the whole of the shutter mechanism are made of materials that inhibit debris creation in the first place.

Active D-lighting: Active D-Lighting lets photographers choose from various intensities during capture, while a new Automatic mode also applies varying levels of D-Lighting as, and when needed, to enhance photos while shooting. Active D-Lighting uses localized (very localized: as in on the individual sensor pixel) tone control technology to further optimize highlight and shadow detail while also maintaining natural contrast, giving photographers the ability to make better exposed photos, even in difficult lighting conditions.

LCD monitor: A 3-inch (diagonal) 920,000-dot VGA TFT LCD display covered with tempered glass features a 170-degree viewing angle.

Live View and working tethered: Live View Hand held mode uses the TTL phase detection AF utilizing all 51 AF points and allows the photographer to reframe the image prior to making the photo.

Live View Tripod mode is for very precise focusing accuracy with the camera mounted on a tripod with still subjects. Focal plane contrast detection AF can be activated on any desired point with in a specific area. (Note: Using tripod mode Live View on the D3 I use the camera in manual focus mode and enlarge the preview on the LCD monitor if not working tethered to a computer using Nikon Camera Control Pro 2 software.)

Also new is the ability to superimpose the Virtual Horizon feature over the Live View monitor image.

The camera also outputs a video signal to an HD television using the new smaller HDMI-C standard, which clients and workshop participants will appreciate.

Press Release—The SB-900 Speedlight will provide Nikon digital SLR photographers with a flash capable of a wide zoom range, increased versatility, faster recycling time, and a wealth of intelligent features to enhance the already vast functionality of the Nikon Creative Lighting System (CLS). Building on the success of the popular SB-800 Speedlight, the SB-900 provides users with extensive creative lighting possibilities with a simplified interface and the ability to stay up to date with future technologies through user-applied firmware updates.*

The SB-900 offers unprecedented zoom range coverage from 17 to 200mm, to increase flexibility in a variety of shooting conditions, while automatically adapting itself to Nikon’s FX or DX-format cameras. Additionally, light output has been increased to a maximum guide number of 48/157.5 (ISO 200, meters/feet at 35mm FX-format and Standard). Photographers can now also select from three light patterns; “Center-weighted” provides the highest guide number and is suitable for images such as portraits, where light falloff at the image edges is of less importance. “Standard” provides a familiar pattern, similar to the SB-800, and is ideal for general photography and “Even” which delivers the most consistent edge-to-edge coverage, making it ideal for situations such as group photography. Additionally, Nikon’s newest flagship Speedlight provides photographers with advanced wireless i-TTL capabilities allowing the utilization of multiple Speedlights with ease and confidence on location or in the studio.

The SB-900 Speedlight is engineered to address the creative lighting challenges faced by today’s photographers including a need for fast, on-demand performance, and the ability to adapt seamlessly to nearly any lighting scenario. The SB-900’s innovative design has the
Xenon flash tube and reflector system moving independently – allowing for a wider zoom range from an extreme wide angle of 17mm (FX) to the telephoto setting which reaches 200mm without the aid of accessories or as wide as 12mm in DX mode with the built-in wide-angle panel engaged.

The SB-900 offers a quick recycle time of 4.0 seconds (at full power) with four Alkaline AA batteries which drops to a mere 2.3 seconds (at full power) while using four rechargeable NiMH batteries—about 25 percent faster than the SB-800 with its fifth battery attachment.

While ease of use has always been a defining hallmark of the Nikon CLS System, the user interface has been even further refined to simplify control and offer faster operation. Controls for setting the wireless Master and Remote have been relocated to the outside of the unit for easier access and frequently used functions are easily adjusted with a new Rotary Select Dial. A larger LCD screen is easy to read, even in direct sunlight, and photographers can assign “My Menu” hotkeys for quicker access to commonly used functions. A new thermal cut-out protection system monitors conditions when the flash might overheat due to excessive rapid bursts. Helpful operating temperature information is provided to the photographer with an innovative temperature gauge displayed on the LCD screen.

For the first time, Nikon SB-900 Speedlight users will have the ability to take advantage of future performance advancements, by way of user-uploadable firmware. The user will be able to download the firmware onto a flash media card and upload it to the flash through select digital SLR cameras.*

The SB-900 Speedlight is Nikon’s most intelligent Speedlight ever, created in response to the needs of today’s digital photographic professionals. When using the included fluorescent or incandescent filters and adaptor, the flash automatically recognizes what filter is being used and automatically adjusts white balance accordingly on the latest Nikon D-SLRs.* Additionally, the SB-900 aids auto focus with a broader AF assist beam that covers a wide 20-105mm that is matched to all of the D3, D700 and D300’s 51 focus points. The bounce and swivel capability of the SB-900 has been expanded to include: tilt up to 90 degrees, down minus 11 degrees, and a full 180-degree swivel left or right, allowing more creativity for on or off camera use, or as a remote Speedlight.

The SB-900 serves as the new core for the Nikon Creative Lighting System when used in combination with Nikon SLRs, and supports Advanced Wireless Lighting as a master or a remote Speedlight, inviting photographers to discover endless creative possibilities. While using one or more Nikon Speedlights wirelessly, photographers can artistically use shadows, highlight details, and light complicated angles with ease. Along with the SB-900, the Nikon Creative Lighting System features a comprehensive assortment of personal lighting tools that include the agile SB-600 and SB-400, and the remarkable R1 and R1C1 Wireless Close-up Speedlight systems.

Available accessories

The SD9 Battery Pack boosts flash recycle time to a mere one second (at full power). For faster recycling or all-day shooting it accepts up to eight AA batteries. To enhance the weatherproof ability of Nikon D-SLRs, optional Water Guards will be available for select cameras to protect the connection between the flash and camera, allowing users to utilize the flash when weather conditions are less than ideal.

Price and availability

The new Nikon SB-900 Speedlight is scheduled to be available in August 2008, and will have an estimated selling price of $499.95.** The SB-900 will come packaged with the Speedlight Stand, Bounce Adapter, Color Filter Holder, Intelligent Color Filter Kit, Diffuser Dome and the Soft Case. The SD9 Battery Pack is also scheduled to be available in August 2008 with an estimated selling price of $230.00.

For J.D. Power and Associates award information go to jdpower.com
* With D3 and D700 Cameras only
** Estimated selling price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.

Don Chick Workshop: How to Become a Confident Studio Photographer

2008-06-18T20:12:29Z

Press Release—Come and learn to see light as you never have before. Join Master Photographer Don Chick, M.Photog.Cr., CPP, D.C.Ph., for a daylong workshop to deepen your understanding of the art and craft of studio portraiture. This class will immerse you in the qualities and characteristics of light and shadow through a series of creative and easy-to-understand object lessons and demonstrations.

You will see the various classic lighting patterns, step-by-step, as they unfold before you on a “human” form, and then experience the transformation of light on a real human face for yourself through hands-on studio practicum.

Open your eyes, challenge your intellect, and stir your heart with determination to return to your studio as a more confident portrait photographer.

July 19, Fort White, Forida
9:00 a.m. – 5:00 p.m.
592 South West Steadman Glen
Fort White, FL 32038

July 27, Tarpon Springs, Florida
9:00 a.m. – 5:00 p.m.
Hampton Inn
39284 US Hwy 19 North
Tarpon Springs, FL 34689

Seating is limited. Early bird registration: $175
Ft. White $200 after June 30
Tarpon Springs $200 after July 12

To register, or for more information call 603-335-4448 or write don@donchick.com.

PPA C/E: PPA members will receive one PPA service merit for attending.

Nation-wide David Jay Tour to Reveal Secrets of Freedom and Success

2008-06-16T15:43:47Z

David Jay and guests will showcase successful solutions to improve photographers' marketing, workflow, and product fulfillment in "Free To Succeed" tour

Press Release—David Jay, joined by special guests including Jasmine Star, will host one-day training sessions for wedding photographers to offer proven techniques to reach greater business success in less time. Backed by Showit, Adobe, and Couture Book, these training sessions will also reveal powerful tools to improve marketing, streamline workflow, and improve quality and efficiency in product fulfillment.

After being named one of the top 15 Wedding Photojournalists in the world by the WPJA and the #1 Portrait photographer in the world, David Jay created a wedding business that gave him freedom and fulfillment and now he's sharing his secrets with others. David was the first photographer to use a "FreeStyle" approach to marketing while using a "Hands-Free" workflow that allowed him to grow a business charging $15,000 per wedding and shooting weddings all over the world, all in less than four years.

The training sessions will last a half day and will cover the following topics:

• Freedom Packet - David Jay's step-by-step formula on how to set up your business in a way that serves you.
• Three P's of Pricing - How to ensure your pricing structure doesn't put you out of business in the years to come.
• FreeStyle Marketing - Tested techniques used by the top industry leaders that will gain you credibility and get you the dollars you deserve - fast!
• Scale yourself with Webonomics - Creating your unique web identity with the powerfully simple Showit Sites to get yourself in front of thousands of clients!
• Lightroom 2.0 - Be the first to see how to use the power of Lightroom 2.0 and "Find and Fix" correcting to edit your weddings in less than two hours!
• The Final Product - Providing your client with the revolutionary new Couture Book without lifting a finger!

The "Free to Succeed" tour will span three months and hit 21 cities in 16 states across the U.S.

Jul 29, 2008   Houston, TX
Jul 30, 2008   Austin, TX
Jul 31, 2008   Dallas, TX
Aug 3, 2008   Phoenix, AZ
Aug 4, 2008 San Diego, CA
Aug 6, 2008   Los Angeles, CA
Aug 7, 2008   Santa Barbara, CA
Aug 11, 2008 San Francisco, CA
Aug 13, 2008 Salt Lake City, UT
Aug 14, 2008 Denver, CO
Aug 18, 2008 Kansas City, KS
Aug 19, 2008 Chicago, IL
Aug 21, 2008 Indianapolis, IN
Aug 25, 2008 New York City, NY
Aug 26, 2008 Boston, MA
Aug 28, 2008 Washington D.C.
Sep 2, 2008   Charolette, NC
Sep 3, 2008   Charleston, SC
Sep 4, 2008   Orlando, FL
Sep 8, 2008   Atlanta, GA
Sep 9, 2008   Nashville, TN

]]> Attendees will receive over $500 in savings including $100 off of Showit Web, $30 off of Lightroom 2.0, and 30% off of a Couture Book. Attendees at each location will also have a shot at winning free gear and software.

The cost to attend is $99 per person.

Special guests will include noted wedding photographers including Jasmine Star (in select cities). Jasmine has been a wedding photographer for just over a year, and has already experienced huge success, booking 36 wedding in her first year. Members of the Showit development team will also be in attendance to answer questions and offer technical (and moral) support for Showit software and services.

Transylvania: Travel Photographer Manages File Backup and Language Barrier with Epson Multimedia Storage Viewer

2008-06-13T13:45:11Z

Travel photographer Bob Krist uses his photo viewers to secure backups and gain access to locals' lives in rural Transylvania.

What do a freelance travel photographer and a Transylvanian count have in common? Both are making sure that Transylvanian culture does not vanish into thin air. As Count Tibor Kálnoky preserves his family’s 13th century ancestral home seized during the communist regime, photographer Bob Krist is busy making “backups of backups of backups,” archiving his many digital photographs to document the story for future generations.

The count and photographer recently crossed paths when Krist stayed on assignment at a luxury guesthouse on Count Kálnoky’s estate in Miklosvar, Romania, a remote spot in the foothills of the Carpathian Mountains. Miklosvar is only an hour’s drive from the tourist trap known as “Dracula’s Castle,” but this little village of 500 souls seems frozen in time.

During his many trips abroad, Krist has had a variety of interesting adventures, including being stranded on a glacier in Iceland, knighted with a cutlass during a Trinidad voodoo ceremony, and nearly run down by charging bulls in southern India.

Krist found himself on yet another adventure on the eastern edge of Transylvanian countryside. Despite the thrill of the chase, Krist admits that a travel photographer’s life has its challenges, with inevitable airport delays, lonely hotel rooms, weeks away from his family, and constant worry about how to effectively save the digital images he shoots on the road. He readily confesses that he is a “maniac” about backing up his photographs. “After years of shooting chrome, I know that the slides in my storage cabinets will be there, short of a flood or fire," he said. “But I didn’t have the same confidence when it came to digital media.”

]]> Krist found a way to eliminate that worry so he could focus on capturing the perfect shot. He started packing Epson Multimedia Storage Viewers in his camera bag and uses them to download, store and display thousands of photos on the spot. He can also use the device as an external drive when connected to the USB 2.0 port on his laptop. When traveling to remote or hostile environments, he no longer has to bring his usual two laptops, which was a challenge at airport baggage check-in security points. “This little device, packed with 80GB of memory, gives me the assurance I need, and the ability to see what I’m doing, back up my work and just keep going,” said Krist.

After his first day wandering the streets of Miklosvar with his camera in hand, Krist followed the faithful practice of backing up his images on an Epson Multimedia Storage Viewer. Despite scrolling through idyllic shots of cows coming home and peasants drawing water from wells, Krist still had the nagging feeling that he was missing something.

“No matter how good I felt about my routine, I just wasn’t making a connection with the Hungarian-speaking inhabitants,” he said. Linguistic barriers allowed for little communication between visitors and the villagers.

The photographer had no trouble, however, relating to Count Kálnoky, a former veterinarian and ornithologist who was proud to show how he was preserving his dynasty’s home of 25 generations through responsible and eco-friendly tourism. But Krist’s story was also about many other families who live in Miklosvar, the region’s oldest documented settlement. The village is home to many descendents of the original inhabitants. Still plowing their fields with horses, these people are known as the Szeklers, an ethnic Hungarian minority to which Count Kálnoky also belongs.

©Bob Krist

“As any working travel photojournalist will tell you, access is a huge part of the equation,” said Krist. “Taking the photographs is easy for me. The real test is getting the locals to accept you, to let you into their world, and to be comfortable in front of your camera.”

Krist decided to let his own photographs do the talking through the high quality LCD on his multimedia storage viewer. He found that he could break through the language barrier by taking the storage viewer to a nearby local pub each afternoon as the farmers came home from the fields. “They crowded around the bar and thought it was fantastic to see themselves and their village on a slide show,” said Krist. “They were won over by the excitement and immediacy of the images, and by the vibrant color and rich detail that seemed to jump right off the 4-inch screen.”

From that moment on, several townspeople invited the photographer into their homes and fed him many a serving of tokan, a traditional potato and sausage stew with red Romanian wine. “The people were extraordinary, with classic peasant faces, living in a kind of Grimm’s fairy tale world that no longer even exists in Western Europe,” said Krist. As he meandered through the village during his weeklong visit, he would often pull the storage viewer out of his camera bag to share a shot he took the previous day. The long rechargeable battery life meant that he could depend on the viewer for hours at a time without worry.

©Bob Krist

It took Count Kálnoky eight years to reclaim his family’s land after collapse of the Soviet Union. With funds from his guesthouses, the count is continually at work restoring his family’s hunting manor and preserving the region’s architecture, local wildlife and environmental splendor. Krist’s images will also serve to preserve part of Miklosvar’s culture. “My experience in Miklosvar gave a whole new meaning to back up,” said Krist. The Transylvanian village will remember the American photographer who used his Epson storage viewer to reach out across a cultural divide and document their story for future generations.

Working regularly for top magazines, Bob Krist has received many awards for his work as a photographer, educator, writer and television presenter, including the prestigious Travel Photographer of the Year award from the Society of American Travel Writers.

For more information on Epson Multimedia Storage Viewers, visit www.epson.com.