Photo Pro mag

8/10/2019 Photo Pro mag

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italphotopro.comRetro-Cool Nik

See

Art Streiber Coaxing PerformancesFor The Still Frame

essons For Directing Talent &

Crafting Elaborate Ensembles

LocationLighting! Mobile Monolights ComparedQuick Guide To SoftboxesGo BTS On A Corey Rich Shoot

UseInstagramBuzz To BoostYour Biz

The Photo Hit Man! Howard Huang Makes His Mark

rom Here To China

Go-To GLeading Sh

On Their EsEquipment S

InLightr

Pros &

Of CuDef


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Photographed on the 7R. Exposure: 35mm / 1/ 125 sec / f/ 5.6 / ISO 400


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2014 Sony Electronics Inc. The Sony logo is a trademark of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited.All other trademarks are trademarks of their respective owners.

Introducing the no-compromise full-frame thats so small, youll take it everywhere.Interchangeable lenses. 36MP. OLED viewnder. Wi-Fi sharingall in a compact bodythat will change your perspective entirely. Power of imaging. Be moved.

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A NEW FRAME of MIND.Sony 7R Compact Full-Frame Interchangeable Lens Camera


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Trevor Hiatt airs it out in the JacksonHole, Wyoming backcountry showing offhis unique style on a cold winter daywhere the temperature hovered aroundzero all day. Photo by Lucas Gilman.


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I SHOOT THE WORLDS TOP ATHLETES, AND MY WORKFLONEEDS TO BEJUST AS FLUID AND DYNAMIC AS THEY ARE.

Lucas Gilman, Adventure Photographer and Filmmaker

Up to 136MB/sUSB 3.0 Hard D

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The hub of the system is the G-DOCK ev with Thunderbolt , plustwo stand-alone G-DRIVE ev USB 3.0 portable drives that each moveup to 1TB seamlessly from capture to post to distribution. Use thedrives out on location. Then, once back at your workstation, insert thedrives into the dock to transfer your work with its ultra-fast Thunderboltinterface. And the whole solution is RAID 0 and 1 congurable.

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Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. Design by G-Technology in California. G-DRIVE and G-Technology are registered trademarks of HGST, Inc.and its afliates in the U.S. and other countries. G-DOCK ev is a led trademark of HGST, Inc. and its afliates in the U.S. and other countries. 2013 G-Technology, a division of HGST, Inc. All rights reserved.

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8 I Digital Photo Pro digitalphotopro.com

JANUARY/FEBRUARY 2014 Vol. 12 No. 1 digitalphotopro.com

Editors Note As we kick off 2014, things arelooking up. After some tumultuous years,the U.S. economy is trending upward, andIve heard from several photographers whoare seeing significant increases in their busi-ness bottom lines. Its anecdotal research, tobe sure, but just a few years ago, everyone Ispoke with was either down or way down.There are still plenty of challenges, but therealways will be at least some challenges. Afterall, if it was easy to make a living as a pho-tographer, everyone would do it.

The Great Recession has trained us all to

through the use of battery power. Freeingyou from the wall socket, these monolightsalso let you use your full arsenal of studio-style light modifiers. They dont have thesame output as a full-on strobe pack, but fora lot of shoots, the combination of power,mobility and control is hard to beat.

Of course, there always will be situationswhen you just need power, pure and simple.Art Streiber was in that position when he wascalled upon to shoot a 100th Anniversaryphoto for Paramount Pictures. The famousphoto is an impressive ensemble image. Inthis issue, we have an excellent interview with

FeaturesPORTFOLIOS

42 THE PHOTO HIT MANInfluenced by graphic novels andscience-fiction movies, Howard Huangsvibrant urban fashion and celebrity workis turning heads from here to ChinaBy Mark Edward Harris Photography By Howard Huang

50 TELL ME WHAT YOU

WANT ME TO DOIn his photography of HollywoodsA-list, Art Streiber coaxes the artistsinto performing for his cameraBy Mark Edward Harris Photography By Art Streiber

58 7TH ANNUAL EMERGINGPRO WINNERWith an eye for creating austereprojects, Maria Burns shows thatyou can make a tremendous impactwith the simplest of ideas

Contents

do more with less. As studio spaces havebeen relinquished because of high costs,more photographers are keeping their inter-ests mobile. Instead of a room full of equip-ment, weve pared down to the essentials. Inlighting, there has been a shift to usingportable on-camera flashes instead of heavy,bulky power packs, when possible. Some-times, the small flash just doesnt have theoutput you need, though, and between thestudio power pack and the small handheldflash, monolights have risen as a sweet-spotalternative. Today, manufacturers are makingthese powerful lights even more useful

A r t

S t r e

i b e r


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digitalphotopro.com January/February 2014 I 9

Streiber, where he talks about how he workswith some of the most talented and famousactors and actresses as a photographer.Streiber is one of my favorite photographersbecause of his ability to draw a performanceout of a person and capture that in a stillframe. Take a look at the article TellMe WhatYou Want Me To Do to see more of his workand learn more about his approach.

I cant recall of any photo-related compa-ny that has been as divisive among profes-sional photographers as Instagram. Betweenthe filters and the changes to the Terms Of Use, many pros have been vocal and vehe-

ment about their overall disapproval of thecompany. This has gone on even as usage bythe overall population has soared. Forall of itsfoibles, Instagram, like the rest of the social-media landscape, isnt the enemy anymorethan digital was the enemy in the film era or35mm was the enemy in the large-formatera. People love photographs, and they wantto be able to take more pictures and do morewith them. Instagram is simply serving thatdemand. As professional photographers, weshouldnt be resentful of Instagram. In fact,pros should embrace it as another vehicle forhelping your business. Think about it: This is

an enormously popular service with the solepurpose of circulating images withattribution.If youve been steadfastly opposed to par-ticipating in Instagram, check out JimGoldsteins article. Hell give you some newthings to think about and ideas on how youcan make use of Instagram on your terms.

As I gear up for the 2014 issues, I wantto hear from DPP readers about article top-ics that would be of interest. Let me knowwhats on your mind. You can find me onTwitter @DPPRobinson or send me an emailat [email protected].

Christopher Robinson, Editor


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Member, Alliance forAudited Media Member

EDITORIAL

CHRISTOPHER ROBINSONEditor

WESLEY G. PITTSManaging Editor

MAGGIE DEVCICHAssociate Editor

DAVID WILLISAssociate Editor

ASHLEY MYERS-TURNERAssociate Editor

MIKE STENSVOLDSenior Editor

J. ANA FLORES, SAVA ALCANTARACopy Editors

JOHN PAUL CAPONIGRO, ROBERT HAWK,MICHAEL GUNCHEON, WILLIAM SAWALICHContributing Editors

JEFF SCHEWE, DOUG SPERLING, RYAN STEVENSProfessional Advisors

ART

KURT R. SMITHArt Director

ERIC BECKETTAssistant Art Director

CANDICE OTAGraphic Designer

WWW.DIGITALPHOTOPRO.COM

WESLEY G. PITTSOnline Director

MIKE DECKERWeb Art DirectorDAMIAN GREENEWeb Developer

LISETTE ROSEWeb Production Associate

PHOTO MEDIA GROUP

STEVEN D. WERNERPublisher/Editor In Chief

CHRISTOPHER ROBINSONPhotography Group Editorial Director

KURT R. SMITHExecutive Art DirectorEDITORIAL OFFICES

Werner Publishing Corporation12121 Wilshire Blvd., Suite 1200Los Angeles, CA 90025-1176(310) 820-1500

Printed in the U.S.A.Digital Photo Pro is published by Werner Publishing Corp. Executive, editorial andadvertising offices: 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-1176,(310)820-1500.Email us (editorialmatters only)at [email protected] our website at www.digitalphotopro.com Copyright 2014 by WernerPublishing Corp. No material may be reproduced without written permission. Thispublication is purchased with the understanding that information presented is frommany sources for which there can be no warranty or responsibility by the publisheras to accuracy, originality or completeness.It is soldwith theunderstandingthat thepublisher is not engaged in rendering product endorsements or providing instruc-tion as a substitute for appropriate training by qualified sources. EDITORIALSUBMISSION: Digital Photo Pro assumes no responsibility for solicited or unsolicitedcontributions and materials. Submissions for review should be limited to no morethan40 photographs.Pleasesubmitduplicates forour review.Otherwise,insurancefor such materials, in transit or in our possession, must be the responsibility of thewriter or photographer. Digital Photo Pro does not accept or agree to the conditionsand stipulations printed on delivery memos, packing slips and related correspon-dence as they are presented without prior notice accompanying submission mate-rials. Exceptions to this disclaimer of liability on the part of Digital Photo Pro must beprearranged, executed in writing and signed by both parties prior to the shipmentofmaterialsin question.All submissionsmust beaccompaniedby a self-addressed,stamped envelope (SASE) with sufficient postage to cover the cost of return. Theclass of mail and insurance coverage for returns will be determined by the amountprovided for on the SASE. Writer/photographer guidelines are available on request,with the enclosure of an SASE. SUBSCRIBERS: Any obligation we owe to you, includ-

ingdeliveryof yourmagazine, is contingentuponyou providingus withyour correctmailing address. If the Post Office notifies us that your magazine is undeliverable,wehave nofurtherobligation to youunlesswe receive a correctedaddressfromyouwithin two years of the Post Office notification. BACK ISSUES are available for one yearprior to the current issue. To order within U.S., send $9.00 plus $4.00 postage andhandling (Canada: $9.00 plus $5.00; International: $9.00 plus $10.00) for eachissue to Back Issue Dept., Digital Photo Pro , 12121 Wilshire Blvd., Suite 1200, LosAngeles, CA 90025-1176, or go online and visit the eStore. No orders processedwithout proper funds and specific issue information.Digital Photo Pro is a registered trademark of Werner Publishing Corp. Copyright 2014 Werner Publishing Corp. All rights reserved. Reproduction in whole or inpart without permission is prohibited.

To Subscribe Or For Subscription Questions:www.digitalphotopro.com or (800) 814-2993or email [email protected]

ContentsEquipment

76 BATTERY-POWERED MONOLIGHTSWith a combination of portability, power, versatility and theability to be used away from an AC outlet, battery-poweredmonolights are gaining an increasing following amongprofessional photographersBy The Editors

82 THE FUTURE OF C-PRINTSUsing a massive, new Polielettronica HD C-printer,Duggal Visual Solutions is producing jumbo-sizedphotographs with an apparent resolution of 6100 dpiBy David Schloss

84 THE ESSENTIALSTop pros share the gear they cant live without

TECH

62 DEFAULTS: A DOUBLE-EDGED SWORDThe pros and cons of using Develop defaults in AdobeLightroom and Camera RawText And Photography By George Jardine

70 THE HERO IMAGE

The evolution of a shoot with Corey RichBy David Willis Photography By Corey Rich

PHOTO BUSINESS

66 MAKE USE OF INSTAGRAMThe service is frequently scoffed at by professionalphotographers, but it can be a boon for your businessBy Jim Goldstein


22

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Fully equipped with a higher resolution Full Frame CMOS sensorthan its predecessor. Not to mention, Full HD video and our most

innovative low light system, with an ISO range of 100-25600,expandable up to 102400. Long Live Imagination.

THE FILMMAKERS CAMERA.

22 13 C3 C noanon U.S.A., IncI . Al. l rights resr erver e d.. Ca on nnd EOS eare er g ististe edr d tradt emar ks o f Ca non Inc. in the iUnited S tateate s and malsolso beb regi ster ed t tr ade marks or tra d mad a rks in o t er th coucou ntr tr es... Came ra sr shown with co mpat ible thi rd p artyacc essosoriesr . Al l othe r

prodpr uctst , brand names, a nd l go s are trar e a rksr of tt eir h ir ress ecte ive owne rs. Cert ain imag es and effects a re ssimimulated ..


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12 I Digital Photo Pro


Digital Photo Pro (ISSN: 1545-8520)Vol. 12 No. 1is published bimonthly except monthly in November and December by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. PerioLosAngeles,Calif., andat additionalmailingoffices. Single-copy price$5.99. Annualsubscriptionin U.S.,Possessions, APO/FPO$24.97.Canada$39.97;other foreign$39.97,including postageand taxes. Payablein U.S.funds.For orders, addresschangesandall othercustoll-free (800) 814-2993. POSTMASTER: Send address changes to Digital Photo Pro , 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

ADVERTISING/SALES

Los Angeles(310) 820-1500, Fax (310) 826-5008

DEBRA I. LEVINEAssociate Publisher

SCOTT LUKSHEastern Advertising Sales Manager

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MARKETINGBASAK PRINCEMarketing Manager

MATTHEW WILKINSONMarketing Coordinator

PRODUCTION/MANUFACTURINGJESSE GARCIAProduction Director

MAGGIE DEVCICHEditorial Production Manager

TAMMY REYESProduction Manager

CONSUMER MARKETINGDAN REGANConsumer Marketing Director

LIZ ENGELConsumer Marketing Manager

SUE C. WILBUR

Web Audience ManagerJOANNA RUTKOWSKAOnline Advertising Operations Manager

TOM FERRUGGIANewsstand Sales Manager

BUSINESS/OPERATIONSLYNNE IRVINEGeneral Manager

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WERNER PUBLISHING CORPORATION12121 Wilshire Blvd., Suite 1200Los Angeles, CA 90025-1176(310) 820-1500

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To sell Digital Photo Pro at yourestablishment, contact: RetailVision ,(800) 381-1288 or rvmags.com/contact.asp

For reprint information, contact:Advertising/Sales, (310) 820-1500

For digital editions:zinio.com/digitalphotopro

For an extensive archive of back issues:www.digitalphotopro.com

For website help:[email protected]

ContentsDPP SOLUTIONS

90 JIBBINGGet a cool move in motion shots and a new perspectivein still shots with these versatile camera supports

COLUMNS

30 VISIONEERS GALLERYThe Wave Sliding ClubBy Baldev Duggal

36 (R)EVOLUTIONPhotoshop Blur Filters, Part 2

By John Paul Caponigro

Departments14 FIRST TAKES 22 DPP IN FOCUS 32 HI-TECHSTUDIO: THE SOFTBOX 94 DPP MARKETPLACE98 MISINFORMATION: MOVING TARGETS

ON THE COVER: Emmy Rossum by Art Streiber

26

27

24


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F i r s t T a k e s


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For Paramount Pictures 100th Anniversary, Art Streiber was called on to take a single, epic photograph. In my experience, explains Streiber, the massively

successful celebrity portraitist, nobody really enjoys having their picture taken except for models. I liken it to dentistry. Its something you have to and

should do every year. I try and make it as easy as possible on my subjects. A shoot with the photographer is much like putting together a film. He

collaborates with a set designer and lights for mood rather than to show off his formidable technical skills. Streiber is also famously adept at working with

group portraits, as you can see in this shot of 116 very famous subjects captured for the studios historic anniversary. The set alone took three weeks to build,

and he and his team ultimately employed 56 Profoto heads. He explains in the portfolio article in this issue that he keeps from getting overwhelmed in shots

like this by dividing larger groups into smaller ones, which hes then able to piece together into a final cohesive composition.


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F i r s t T a k e s


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Howard Huangs explosive color

palette, urban set design and gangster

sensibilities have made him a popular

portraitist for clients like VIBE ,Billboard , Maxim , Panasonic and

Nintendo. Hes a master composite

artist, and the photographer will often

shoot a background separately and

then set the studio lighting to match

the scene, which allows him to work

as quickly as possible during the

portrait aspect of the shoot. This

gives him a big leg up when workingaround the limited time schedules of

celebrities like Nicki Minaj, with

whom he has collaborated on a

number of projects over the course of

several years. Find out more about the

Hasselblad/Leaf and Canon shooter in

the portfolio article in this issue.

H o w a r d H u a n g



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C o

l i n

F i n l a y


After years as a war and conflict photojournalist, Colin Finlay is exploring a new outlet for bringing his personal creative touch to photography through the

combination of original painting. I wanted to bring the uniqueness of creating a one-on-one piece. I envisioned [this image] to be more like a pencil outline

drawing with his eyes, his nose and just a tear, explains Finlay of his Brock Baker portrait. But the process of creating the piece was more than just Finlays

vision. After a stint on the hit TV show Glee , Baker was ready to reinvent his image and eager to engage in Finlays process. Finlay explains, This is an

exchange between both of us. Something we both create. That communication. That bond that goes beyond just language. And it was a lot of improvisation.

F i r s t T a k e s


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Shoot the next Hollywood blockbuster with theworlds most amazing digital cinema camera!

Film Industry Quality

Every feature of the Blackmagic Cinema Camera has beendesigned for quality. With 2 separate models, you can

choose from the worlds most amazing EF or MFT lenses from crafters suchas Canon , Zeiss and more. For extreme high end work, you can shoot full

ELW &LQHPD'1* 5$: XQFRPSUHVVHG OHV IRU LQFUHGLEOH FUHDWLDaVinci Resolve color correction, as well as the worlds best chroma keying!

High end cinema cameras often require thousands ofdollars of extra accessories to make them work, however theBlackmagic Cinema Camera includes accessories you need

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F i r s t T a k e s


A u g u s t B r a

d l e y

Dramatic, cirque-inspired themes moved August Bradley to collaborate with the performance group Lucent Dossier on a new collection of short films and

conceptual images. They blend classic portraiture in a flavor along the lines of Irving Penn, with a theatrical over-the-top approach to costume, makeup and

performance, says Bradley. The project was shot over a few days in a 100-year-old vaudeville theater called The Palace in Los Angeles, which has been

boarded up and hidden from the public for decades, and is just now coming back to life with public performances. Bradley and the Lucent Dossier performance

group have been committed to working together for some time. When we first met, after having been inspired by them for years, they said my images have

been on their computer wallpapers for years. That made it easy to flow into creative collaborations, he adds. The project will be launched on a micro-website

followed by physical exhibitions in Los Angeles and New York. For updates, visit Bradleys website at www.augustbradley.com.


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D P P I n

F o c u s

C

a m e r a s I D i g i t a l E q u i p

m e n t I S o

f t w a r e I P r i n

t i n g I S t o r a g e I L i g h t i n g

LED FresnelsLitepanels has added a 12-inch option to their Fresnel series. The Sola 12 (Daylight)and Inca 12 (Tungsten) provide a fixed lens, directional illumination and an outputnearing traditional 2K incandescents while integrating LED technology. Drawing o346W, the Sola 12 and Inca 12 are convenient low-energy units for location lightinwell as efficient studio lighting. The cool-to-the-touch LED technology makes ope

the lightweight housing possible without gloves. An integrated DMX module incluEthernet connectivity for remote dimming, from 100% to 0 without any noticeableshift or flicker, and focusing, with a 67-15 beam angle. List Price: $4,795. Contact:Litepanels, www.litepanels.com.

check out www.digitalphotopro.com/gear/in-focus for more info

New Tools Of The TradeDPPInFocus

Street ShooterThe Panasonic LUMIX DMC-GM1 is a mirrorless interchangeable-lens camera squeezed down to a pocket-sized profile. With ahigh-quality, 16-megapixel Digital Live MOS sensor, the GM1shoots both still photos and 1080 HD video at 60i/30p. The

metal-alloy frame, with aluminum dials and brushed metal, feelscomfortable in hand and has a stylish retro look. The 3-inch,1036K-dot LCD screen allows you to set focus and trigger theshutter via touch sensitivity. Silent Shutter mode reduces shutternoise while in the field during sensitive moments. Built-inWiFi connects to your smartphone and tablet for asset transfer,as well as remote triggering using the Panasonic Image App.The GM1 also has integrated creative filters, as well astime-lapse and stop-motion features. List Price: $749. Contact:Panasonic, www.shop.panasonic.com.

Nikon DfThe highly anticipated full-frame Nikon Df utilizes current digitaltechnology, such as the 16.2-megapixel FX-format CMOS sensor and

EXPEED 3 processor used in the D4, within a classic body designreminiscent of the Nikon 35mm film cameras. Solid mechanicalcontrols are used for setting adjustments and controls, returning to atraditional SLR feel and reducing the need for scrolling throughmenus. With a 3.2-inch LCD screen and a glass optical viewfinder,you utilize the 39-point AF system to shoot up to 5.5 fps for sharpaction shots. With an ISO range of 100-12,800, expandable to204,800, the Df performs well in low light. Wireless connectivity ispossible with the WU-1a Wireless Mobile Adapter for instant sharingor remote triggering. The Df is backward-compatible with classicAi and non-Ai Nikkor lenses, as well as current AF, AF-S, DX andAF-D lenses. Purists may appreciate that the camera doesntoffer video capabilities. List Price: $2,749 (body only). Contact:Nikon, www.nikonusa.com.


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With the E-M1s new Dual AF System,I get the stopping power and agilityI need for rock solid performance. -John S. Ruth, Olympus Visionary Shot with the E-M1, Zuiko ED 35-100mm f2.0 lens with MMF-3

I N T R O D U C I N G

A C A M E R A A S

F A S T A S Y O U A R E .

The blazing fast revolutionaryOlympus OM-D E-M1. The heart

of our OM-D E-M1 is our new TruePic VII image processordesigned for maximum performanceand speed. The E-M1s new 16MPImage Sensor, with a Dual FAST

Autofocus System, automaticallyswitches between ContrastDetection and Phase Detection soyou can focus at an astonishingspeedno matter which OlympusZuiko lens you use. This, pairedwith a 1/8000-second mechanical

shutter and 10fps sequentialshooting ensures youll haveall the speed you need to takeincredible images anywhere yougo. Move into a new world.www.getolympus.com/em1

One of the smallest and lightest

bodies in its class at 17.5 ounces*

Built-in Wi-Fi

Full system of premium,

interchangeable lenses

*E-M1 body only

Move into a New World


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D P P I n

F o c u s

C

a m e r a s I D i g i t a l E q u i p

m e n t I S o

f t w a r e I P r i n

t i n g I S t o r a g e I L i g h t i n g

All-In-One SuperzoomThe 20.2-megapixel Sony Cyber-shot DSC-RX10 with24-200mm /2.8 Carl Zeiss Vario Sonnar T*

high-zoom lens provides incredible variability in anall-in-one design, perfect for lightweight travel. Bycombining the RX100 IIs Exmor R CMOS sensor andnew BIONZ X processor, Sony continues to reducearea-specific noise and increase detail. Three differentsizes can be selected for autofocus, allowing you tomatch the size to your subject for accurate focusing.Fast action can be captured at up to 10 fps withcontinuous AF. The RX10 continues to advance in vidcapabilities, with 60p and 24p frame rates, HDMI out,

an adjustable audio level meter and headphone out foraudio monitoring. Additionally, its compatible with thXLR-K1M adapter for pro audio recording. List Price$1,299. Contact: Sony, www.sony.com.

Personalized TripodNovoflexs modular tripod, the TrioPod, is available in five different sets. Additionally, eachpart is available individually for maximum flexibility and expandability to match your

changing needs. The system includes the 0.69-pound TrioPod tripod base, a center column,which extends the stand base height by 3.15 inches, 3- and 4-segment aluminum legs,3- and 4-segment carbon-fiber legs, mini-tripod legs and a 3-segment hiking stick. ListPrice: $585 (TrioPod with 3-section aluminum leg set); $657 (TrioPod with 4-sectionaluminum leg set); $887 (TrioPod with 3-section carbon-fiber leg set); $930 (TrioPodwith 4-section carbon-fiber leg set); $709 (TrioPod with Hikingstick II 3-section legset). Contact: Novoflex (HP Marketing Corp.), www.hpmarketingcorp.com.

check out www.digitalphotopro.com/gear/in-focus for more info


Ultratelephoto ZoomTamron has announced the development of the SP 150-600mm F/5-6.3 Di VC USD ultratelephotozoom, compatible with both full-frame and APS-C formats. With a large focal-length-rangeexpansion from the current 200-500mm lens offered, this lens is of particular interest for sports

and wildlife photographers who need a little extra length without losing quality (from extenders) ortime (by changing lenses). Including Vibration Compensation, a redesigned tripod mount and anUltrasonic Silent Drive for accurate AF, the lens is set up to shoot sharp images at a long focallength both mounted and handheld. List Price: TBA. Contact: Tamron, www.tamron-usa.com.

Perfect Photo Suite 8onOne Software has added newfeatures to their photo-editingsoftware with the release of PerfectPhoto Suite 8. Both the Standardversion (a stand-alone application)and the Premium version, whichalso integrates with Photoshop,Lightroom, Elements and Apple Aperture, use a unified interface of eight modules includingEffects, Enhance, B+W, Portrait, Mask, Layers, Resize and Browse. The new Enhance moduleincludes basic tools for brightness, contrast, sharpness, removing dust spots and vignettes. ThePerfect Eraser tool removes objects with content-fill technology. A re-engineered Effect moduleprovides custom filters and presets. The new Browse module makes it easy to scan throughimages on your computer, external drive, network and cloud-based storage, and work on multipleimages at once. List Price: $299 (Premium); $149 (Premium upgrade); $79 (Standard). Contact:onOne Software, www.ononesoftware.com.


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Profoto US | 220 Park Avenue, Florham Park NJ 07932 | PHONE (973) 822-1300, profoto.com/us

THE PROFOTO B1WITH TTLWITHOUT CORDSThe new Profoto B1 makes it easier than ever to use yourash off camera.

TTL achieves your light in an instant. With battery-power/ without cords, the 500w/s B1 goes wherever you go. Combiningperformance and the legendary Profoto light shaping systemthe B1 makes great light easy.

To learn more go to www.profoto.com/us


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26 I Digital Photo Pro digitalphotopro.com check out www.digitalphotopro.com/gear/in-focus for more info

D P P I n

F o c u s

Sling Strap For WomenDesigned specifically for thefemale body by female designers,the Kick strap by BlackRapidmakes slinging a camera morecomfortable for women. The shortshoulder pad includes a built-incurve that kicks webbingtoward the center of the chest,making the sling placement wellfitting. The shoulder pad is alsothicker and wider than theBlackRapid Elle, which alsomakes it compatible with the

Brad underarm system for extrastabilization. Estimated StreetPrice: $61. Contact: BlackRapid,www.blackrapid.com.

Sigma 35mm F/1.4 DG HSM ArtPhotographers looking for a fast prime lens will take note of the Sigma 35mm /1.4DG HSM Art lens. Designed for a full-frame sensor and compatible with an APS-Csensor, the lens features a Hyper Sonic Motor for quick and quiet focusing, as wa floating internal focusing system, allowing high performance, even at close shodistances. SLD and FLD glass elements correct axial and chromatic aberrations. Tlens is compatible with the Sigma USB dock for firmware updates and adjusting parameters. Estimated Street Price: $899. Contact: Sigma, www.sigmaphoto.com.


Versatile SupportWeighing a featherlight four pounds, yet supporting a full22-pound capacity, the versatile 3POD P5CRH 5-section Carbon

Fiber Compact Tripod with K3 Ballhead by Flashpoint is theperfect travel companion. With wear-resistant lock guards thatprovide against slippage due to wear and temperaturechanges, the 5-section legs individuallyfold and unfold with metal-jacketed twistlocks and have three position settings tocompensate for uneven surfaces. Eachfoot has a spike for outdoor trail use witha nonslip rubber cap. Quick moments andtight spaces may call for the P5CRHsmonopod configuration, utilizing thecenter columns reinforced twist-lock

technology. The included K3Ballhead provides smooth 360panning with two bubblelevels and a slidingquick-release plate. ListPrice: $124. Contact:Flashpoint (Adorama),www.adorama.com.

Pro Filter LineKenko Tokina USA, Inc. has designed a new line of Hoya PRONDfilters for both still photo and HDSLR video use. The nine filtersrange from two to 10 stops in light reduction. ACCU-ND metallictechnology coats the front and back of optical glass, creatingthe neutral-density effect for a neutral color balance that

doesnt add any additional color cast. A one-piece, thin,aluminum frame keeps the filter secure and parallel to thesensor. Available in ND4X through ND1000X densities and sizes49mm-82mm. Estimated Street Price: Varies by filter size.Contact: Kenko Tokina USA, Inc., www.kenkotokinausa.com.


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High Intensity, Low HeatA continuous light for both still and video shoots, the LED-200WA High-Intensity Series by Fotodioxproduces 15,000 lux/m of luminance, two times the brightness of the previous model, while consuming only200 watts of electricity. The 200WA runs onconstant power instead of alternating currentlike many equivalent models, allowing it torun twice as long. Though it provides highintensity, it generates very little heat, makingstudio sessions more comfortable. Availablein 5600K (Daylight) or 3200K (Tungsten), itshoused in a strobe-like package with aBowens S-type bayonet mount, making itcompatible with standard strobe accessories.A built-in glass diffuser creates soft andeven light with a high color-rendering indexfor proper color in all environments. ListPrice: $424. Contact: Fotodiox,www.fotodioxpro.com.

Manfrotto Shoulder 50The Shoulder 50 is a comfortable and sturdy shoulderbag thats part of the new Manfrotto Pro line. Thebag interior features a Camera Protection System(CPS) with thickly layered core center dividersthat mold to cradle your equipment and provideshock absorption for two DSLRs with lenses attached,a strobe, a tablet, accessories and additional personalgear. Featuring a rigid, multilayered Exo-Tough outerconstruction with thermo-formed areas and reinforcedfeet to protect against impact, the Shoulder 50 alsoprovides a back compartment for personal papers, atop zipper for quick gear access and a removable raincover. Estimated Street Price: $189. Contact:Manfrotto, www.manfrotto.us.

Glidecam VistaTrackAdd smooth, even movement toyour next video project with theGlidecam VistaTrack 10-48. Usethe track on flat or unevensurfaces alike or mounted to atripod to create vibration-free,high-quality movement. Whenusing the integrated adjustablelegs or a single tripod, the LinearTrack and Dolly System supportscameras weighing up to 10pounds, or provide added stability and support with two tripods for use with cameras weighing up to 30pounds. Two quick-release plates are included. One plate mounts the VistaTrack to a single tripod and theother mounts the camera to the track. The system is available in 48-inch, 36-inch and 24-inch lengths.List Price: $699 and up. Contact: Glidecam, www.glidecam.com.

PROFOTO RFiSOFTBOXES.ITS MORE THAN ASOFTBOX. ITS ALIGHT SHAPING TOOL.The Octa RFi is most commonly used for suchpurposes as fashion, beauty and portraitphotography. One of the most important reasonsfor this is that its unique shape creates a beautifulnatural looking catch light in the subjects eye.

RFi softboxes come in all sizes and shapes, and acompatible with all major ash brands. To ensurefull control for the photographer, they have a deepshape, a recessed front, double-layered diffusers a highly reective silver interior. Optional accessoare available for even more precise light shaping.

In short, an RFi softbox is more than just a softbo

Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us


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D P P I n

F o c u s

Zeiss Otus 1.4/55Zeiss has introduced the 55mm /1.4 as the first lens in the Otus lens line. Named

after an owl known for night vision, the Otus line is designed specifically for high-resolution-sensor DSLRs, prioritizing sharpness and high image contrast and reducinchromatic aberrations. The internal 12-element optical design creates images withoutcolor fringe or distortion, while the external metal barrel allows for smooth manualfocusing and comfortable operation. Available in F-bayonet and EF-bayonet mounts,the Otus line will be growing with additional lens lengths. List Price: $3,990. Contact:Zeiss, lenses.zeiss.com.

G-Tech EvolutionG-Technology has developed a dual-bay storage system

particularly useful for downloading files in the field, thenquickly backing up once you return to your studioworkspace. The G-DOCK ev with Thunderbolt hub shipswith two portable stand-alone G-DRIVE ev USB 3.0 driveswith 1 TB capacity each. The hub allows additional drivesto be swapped in and out for flexible and expandablebackup. Estimated Street Price: $749 ($199 for eachadditional 1 TB G-DRIVE ev portable USB 3.0 drive).Contact: G-Technology, www.g-technology.com.

Precision PanheadThe Induro PHD3 panhead provides quick and precise camerapositioning from a wide range of angles using a single-lockknob control. The one-lock knob gives full control over the 360rotation of the panning base, while a separate knob controls+90/-45 front-back tilt movement and +45/-45 side-to-sidetilt. A graduated scale and bubble level aid in accuracy. Adouble-safety lock is incorporated on the Quick Release clamp ofthe included Arca-Swiss-style top plate. Fits size 2- and 3-seriestripods. List Price: $385. Contact: Induro, www.indurogear.com.


28 I Digital Photo Pro digitalphotopro.com check out www.digitalphotopro.com/gear/in-focus for more info


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Canon Sensor UpgradeThe Canon EOS 70D DSLR uses new Dual Pixel CMOSAF technology, which reads phase-detection datafrom every pixel for smoother autofocus when shootingquick-moving subjects such as sports, wildlife andevents. Knowing the benefit of this technology forfilmmakers, Canon is offering a $500 Dual Pixel CMOSAF upgrade for the EOS C100 Cinema camera that was released in November 2012. After purchasing theC100, owners will be able to ship their cameras to the Canon Service Center to have the sensor upgraded.Upgrades will start in February. Contact: Canon, www.usa.canon.com.

Mobile Apps For Professionals

Formerly known as the app Trip Cubby, Mileage Log+ by Contrasthas received an upgrade, becoming a much-needed conveniencefor photographers tracking mileage for reimbursement or taxdeduction purposes. The app features auto-entry and auto-calculation and saves frequent trips to reduce filing time, as wellas quickly sorts and filters with customizable categories andreimbursement rates. Created keeping IRS compliance in mind,Mileage Log+ also compiles Excel-compatible email reportswith PDF and CSV attachments. List Price: $9.99. Contact:Contrast, contrast.co.

In photography, betweenscouting, setting upequipment and workingwith natural light, timing is incredibly important. When youre

traveling in a new city, even more factors play into timing. Thefree Embark app for iPhone helps manage city navigation withstep-by-step instructions so you can get to your location smoothly.Using real-time information about late trains, closures andadvisories, Embark gives you the best estimate as to when yourtrain will arrive and what your schedule will look like. And Embarkcontinues to work without an Internet or cellular connection whileyoure underground in a metro system. Currently available for 10transit systems, including Boston, Chicago, NYC, San Franciscoand Washington D.C., Embark is continuing to expand. Contact:Embark, letsembark.com.

Instead of single-image pseudo-HDR, bring true multi-imageHDR photography to your smartphone. The Pro HDR app byeyeApps LLC expands your dynamic range with multiple imagemerging from the palm of your hand. Compatible with front andrear phone cameras, you can use auto-capture or manual modefor exposure, digital zoom, self-timer and flash. Edit the imagesby adjusting brightness, contrast and saturation, then saveGPS and EXIF data. Compatible with iOS and Android devices.List Price: $1.99. Contact: eyeApps LLC, www.eyeapps.com.

PROFOTOUMBRELLAS12 MODELS.2 SHAPES.INFINITEPOSSIBILITIES.Available in 12 unique models and made withhigh-quality fabrics and surface-treated metallicelements, Profoto Umbrellas will provide a supelight for years to come.

Available in a deeper shape for photo-grapherswho want a broader range of possibilities, and inshallower shape for those who value portability aease-to-use.

For further information go towww.profoto.com/us/umbrellas



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express what is going on when thesurfers are on the land. The oceanusually serves as the background forsurfers. I chose the unrelated subjectfor the background intentionally, sothe surfers expressions could tell whatthey feel, says Seo. Choosing to printhis dramatic black-and-white imageson Duggals latest digital HD printerfor its unprecedented image and tonalresolution, the images of surfers weremounted on gallery plexi boxes forinstallation at the Onishi Gallery.

Seo grew up in a small town bythe seaside in Japan, so going to thebeach and hanging out there with

friends was a part of his lifestyle, andthis is what made him into a surfer forlife. In this exhibition, Seo presentsimages of surfers as they head towardthe oceans infinite horizon and as theyproudly stand on the shore embracingtheir ocean riding vehicles. The mono-chromatic images are both severe andgentle. The crisp lines and tangible tex-tures of the natural settings contrast


The WaveSliding Club

V i s i o n e e r s G a l l e r y

Akira Seo And The Fine Art Of Surfing By Baldev Duggal

VisioneersGallery

populated with sharks, and theirthrilling ride on the perfect wave atspeeds as high as 60 kilometers perhour, followed by the paddle back out,is a sight that epitomizes human free-dom and union with one of the mostuntameable forces on our planet.Surfing is a sport thats played, or ratherperformed, by artists. Its not simply atechnical process, it requires a state of mind that sees different possibilities inevery wave; it requires a faith in uncer-tainty and limitlessness, the skill anddeftness of dancing, and the confidenceof beautifully painted brushstrokes.

Photographer Akira Seo, who

moved to the U.S. from Japan 15 yearsago, recently opened his exhibitionFish Out of Water in New Yorkwith stunning portraits of surfers. As asurfer himself, Seos familiarity andintimacy with the surfing communityenabled him to create portraits thatallow people on the outside aglimpse into the otherworld of surf-ing. At this exhibition, I wanted to

P h o t o s c o u r t e s y o f D u g g a l V i s u a l S o l u t i o n s

ABOVE: Akira Seos Fish Out Of Water photos printed with Duggals new HD printer.

Utter weightlessness, flying through the air,transcendental, mystical, magical, thrilling,enlighteningthese are some of the waysthose who seek their balance atop oceanwaves express theeuphoria of surfing inwords. Surfing is more than a sport. Ithas come to define a subculture thatssynonymous with the spirit of soaringfreedom. Born in Polynesia, within acentury of its introduction in California,surfing has been embraced as a way of life by people around the world. Thesurf culture is much more than waveriding. It has had tremendous influencein shaping global fashion, language,lifestyle and music trends. Surfing

has its beginnings in spiritual practicesof the ancient Polynesiansa formof prayer through which they askedfor protection from the ocean. TheHawaiians refer to surfing as hee nalu ,which translates to wave sliding.

For non-surfers, this culture is bothmysterious and awe-inspiring. Thefearless and graceful glide of a surferinto the ocean, no matter how cold or


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starkly with the tender human formsand curved shapes of the surfboards.Some models pose with their boards inloyal partnership, and others standunited as if one being. Seo notes thatthese surfers love the water, love to surf and love the lifestyle it enables. Theyfeel strong in their mastery of both landand sea, relating like fish to the water.He presents beautiful portraits of thesesurfers to communicate what thesurfers say theyd like others to seestrong, self-possessed, determined indi-viduals who ride, with grace, the linebetween solid and fluid, restrained andfree, powerful and vulnerable. On the

relationship between art and surfing,Seo states, I think surfing on the waveis like painting on the canvas. Eachsurfer draws their own line by usingtheir surfboard. They draw all differentlines.Being a partof the waveand flow-ing with itsurfing is not only just a

sport, but an artistic work. The modelsI shot were all very good artists, so Icarefully chose the location for eachone of them.

To exhibit portraits of surfers head-ing out into the ocean for countlesshours of joy and bliss is a gift to the peo-ple of New York City, a place that trulynever sleeps. I learned how to expressmyself from surfing, Seo told me.Surfing is truly an ideology and a phe-

nomenal art of personal expression forthose who have embraced it. Althoughthe East Coast has a very long traditionof surfing, the weather makes it a moreseasonal sport here than on the WestCoast. Perhaps theres a relationshipafter all between the experimental, rad-ical nature of West Coast-born ideas tothe culture of freedom and adventurethat year-round surfing represents. Forme, the most heartening part of Seosexhibition is the love for raw naturethats communicated through each por-trait.Each oneof thesurfers isnt simplya sportsman; hes at heart the guardianof the ocean. Kelly Slater, one of the

most famous surfers of all time, states,I think when a surferbecomes a surfer,its almost like an obligation to be anenvironmentalist at the same time.

If the ancient Hawaiians surfedthrough the waves as a prayer for pro-tection from the ocean, its encourag-

ing to know that with the growingpopularity of surfing and the growthof its culture around the world, wemay now be surfing for the protectionof the oceans instead. DPP

For more information on Duggal, visitwww.duggal.com or check out the blog atwww.duggal.com/connect and see their newest articles on the printing, photography and fine-art industries.

SHAPE SUNLIGHTWITH PROFOTOSCOLLAPSIBLEREFLECTORSThe latest addition to our assortment of LightShaping Tools is a powerful and cordless continulight source the sun.

Shape its light with one of ten collapsible reectoeach equipped with two ergonomically shapedhandles, to make them easy to hold and fold.

Available in two sizes and six surfaces for anylighting challenge.

For more information go to www.profoto.com/us



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The essential light modifier for allgenres of professional photographyBy Ashley Myers-Turner

Hi-TechStudi H i - T e c h S t u d i o

The Softbox

factors in your softbox decision.Ultimately, its the size of the lightsource (combined with its distancefrom the subject) that determines thehardness or softness of the light. Forphotographers shooting primarily

headshots, detail fashion shots, smallobjects or children, softboxes around24 inches or under usually will get thejob done. Larger softboxes spreadmore light and can be moved fartheraway from the subject, giving you andthe subject more room to work andmove or for softer shadow transitions.Large softboxes work well for full-length portraits, as well as shots withmany subjects.

Another important aspect to look

for is the interior lining. Many softbox-es have a standard white lining, whilesome are available with gold or silverinteriors, or have the ability to swapbetween colors. Metallic interiors gen-erally boost contrast and amplify yourlight output.

You also need to choose a diffuserthat will match your light source.Several factors may come into play. If youre shooting video, youll need aTOP: LumiQuest SoftBox. ABOVE: Glow Hexapop R-series; Interfit Strip Pro Softbox.

Softboxes create directional, diffuse, natural-looking light. The light quality might becompared to that of an overcast day,but using a softbox, you have controlover the size, shape and direction of the light. Incredibly versatile, you canuse a softbox as a key light, fill light orbacklight. Their adaptability makethem a favorite among professionalphotographers, from photojournalistswho use small ones on a handheldflash to fashion and beauty shootersworking on location to studio photog-raphers shooting a perfume ad. Asoftbox should be in every photograph-ers grip kit.

The basics of the design are simple.The softbox attaches to a strobe or con-tinuous light source. With four opaquesides made of fabric, the light bouncesaround the reflective inner lining, andits shaped and released out the oppo-

site side where a translucent piece of fabric spans the corners of the frame,creating the soft, even, diffuse light.Most are roughly rectangular in shape,but several manufacturers also makeoctagonal models, which will create amore round catchlight.

The translucent fabric can belayered or traded out for vari-ous thicknesses, allowing thelight to be customized for thespace and subject. Accessories, such asgrids, which limit light scatter, also addcustomized control, and you can uselarge gel sheets to color the light.

Size is one of the most important


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Light Once. Shoot Twice.

See the full listing at K5600.com/crossover Where to Rent or call 540.937.2291

Jokers deliver icker-free daylight to capture both stills and video on the same set,at the same time. They work just like a ash head. Their light shapers are incredible,and Jokers adapt to most of the reectors youre using today.

Jokers are in rental across North America:Brooklyn Brooklyn Studios CSi FastAshley Highline Locations LightspaceMilk Root TRECCalgary The Camera StoreChicago Dodd Camera ProGearMagnanimous MediaCincinnati Dodd CameraCleveland Dodd CameraDallas Bolt ProductionsLos Angeles Castex Jaman MilkPIX Quixote Samys Siren

Miami OneSource MAPS SplashlightMpls Flashlight Lyn-Lake Orbit Shelter New York ARC CSi Drive In GoHeadlight Hello World Jack K&MMetromotion Milk Pier 59 RootScheimpug Splashlight TRECOrlando Central Florida Strobe RentalSan Francisco DTC Berkeley SamysSeattle Voda StudiosToronto Album Studios S1 GroupVancouver Beau Photo Flashpoint

JOKERS1600 800 400 200

continuous light source opposed to astrobe. But if you primarily shoot stills,you have more flexibility and yourdecision may be based on portability,cost of power output or the equipmentyou already have in your arsenal.Heres a sampling of whats available.

The Chimera Mini Lightbank soft-box measures 12x16 inches and can beused with your on-camera strobewhile mounted to a light stand. Withwhite or silver interiors and a sewn-in

front screen, it comes with a carry sackfor complete portability. On the oppo-site end of the spectrum, the OverheadModular F2X Lightbank with a silverinterior uses bare-tube strobes forlighting large spaces and objects, suchas cars. Designed with no-tool quickassembly in mind, the F2X comeswith 60-inch duffle cases for mobility.For a mid-range softbox, the uniqueOctaPlus 57 Lightbank providesvariable sizes as it can convert from

5 to 7 feet. With a silver interior, itscompatible with most strobes andcontinuous lights up to 1200W.www.chimeralighting.com

The Glow R-series provides a vari-ety of standard softbox sizes for bothstudio and location work, ranging fromthe 20-inch Hexapop to the 24x36-inch Rectangle to the 71-inch GrandSoftbox. All modifiers are heat-resistantand designed from durable griddedfabric lining. www.adorama.com

For the mobile photographerwho needs a very small softbox,LumiQuest has created softbox acces-sories for your on-camera strobe. TheLumiQuest SoftBox (5x7 inches),LumiQuest SoftBox III (8x9 inches)and LumiQuest Mini SoftBox(3.25x4.5 inches) fold down to fitinside the laptop/tablet pocket of yourbag, but quickly unfold and attachto your strobe with Velcro or theoptional UltraStrap. An extra diffusersection in the center reduces the flashhot spot to produce even, soft light.The LumiQuest SoftBox has a bottomnotch so that it doesnt interfere withthe AF or triggering functionality of the strobe. www.lumiquest.com

Just as important as size is the shapeof the softbox, which dictates the shapeof the light. Square and rectangular

softboxes are often used for productshots and fashion photography.Compared to octaboxes, rectangleshave a shorter depth and can be posi-tioned into tight spaces more easily.Interfit provides a wide range of rec-tangular sizes, from a 24x24-inchsquare to a 55x79-inch rectangle. With


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Rodenstock: Vario NDFilters. Calibrated in actualF stops 1.5 to 5. 12 layermulticoated. Extremelysmooth rotation. Anodizedaluminum mount.

Giottos: Aegis LCD Pro Screen Protectors.Schott German optical glass. 0.5mmthick 0.05mm.Light transmission: 98%.Resists 4KG pressure per square CM. 12 layermulticoating protects against scratches. Nanocoatings repel moisture, dust, fingerprints.

Linhof: Techno Digital/Roll-Film field camera system.Made in Germany.

Gepe: ProLightstands.Anodizedblackaluminum.5/8" top studwith 1/4"thread. Modelshave variousleg spreads,min/maxheights,capacities,weights.

Giottos: MH621 Quick Release. 2bubble levels. Sliding plate w/safety lockbutton. Adjustable locking lever. Dualrubber pads. 1/4 & 3/8" slotted camera

screws w/lift-up handle foreasy mounting. Video pin.1/4 & 3/8" threadedmounting holes. Sideof base has threadedmounting holes tostore extra screws.Mounting plate3.54 x 1.96 x 0.59",weight 3.52 oz.

GreatGear, #5.

Bringing you great brands .800/735-4373 hpmarketingcorp.com

Giottos: MH1300-657ballhead with QR. Arcacompatible. 2 levels.Supports 20 lbs.

flexible aluminum rods and speciallytreated heat-resistant fabrics, the boxesare made for durable, wide-range use.www.interfitphotographic.com

Octaboxes are most often used forfashion photography, as they provide alarge, full-length coverage area, aswell as a circular catchlight in the eyes.Along with rectangular softboxoptions, Fotodiox provides theFotodiox Pro 36-, 48-, 60- and 70-inchOctagon. The interior dome featurespro-grade omni-bounce silver fabricand includes a white baffle for softerlighting. The rotating speed ring can

be used with other shaped softboxes,as well. www.fotodioxpro.com

Along with traditional softboxshapes, Dynalite offers the unique 16-sided Grand Softbox. Made fromRimelite grid fabric, its UV-coatedand waterproof, providing color con-sistency, fade resistance and easyclean-up. The parabolic shape of thesoftbox sculpts the light all the wayaround the subject and provides a nat-ural round catchlight for the eye. The

Grand Softbox comes in sizes from 35to 91 inches and can be used withlights up to 650W. www.dynalite.com

The strip softbox has a narrow rec-tangular shape, allowing light to carveout edges and provide contrast to high-light a particular area of the frame.Bowens offers the Lumiair Strip 100(29.5x15 inches) and Lumiair Strip 140(55x15 inches). The reflective interior iscolor-calibrated and the box design

LEFT: Fotodiox Pro Softbox, 36-inch Octagon;TOP: Westcott Pro 18x42-inch Bruce DornAsymmetrical Stripbank; ABOVE: Profoto SoftboxRFi 3-inch Octa (90cm).

(Contd on page 95)


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Photoshop Blur Filters

How to use Smart Filters, Blur Tools and Blur Effects to control blur in your images By John Paul Caponigro

( R ) e v o l u t i o n

(R)evolution

This is the second of a two-part column aboutcreative blur techniques.Inducing blur in asharp photo seems counterintuitive,but its incredibly useful for guid-ing the viewer and eliminatingdistractions. There are several pow-erful digital tools that help youmanage blur with preci-sion. In this column, weexplore Photoshops SmartFilters, Blur Tools andBlur Effects.

Smart FiltersSmart Filters allow you

to change the settings of fil-ter effects in Photoshop at anytime,providing a significantly more flexiblenondestructive file structure. SmartFilters can only be applied to SmartObjects. Convert a rasterized layer orgroup of layers to a Smart Object byhighlighting it/them and going toLayer > Smart Objects > Convert ToSmart Object.1) Radial Blur 2) Surface Blur 3) Lens Blur

You can do many things withSmart Filtersswitch them on or off,change their Opacity or Blend mode,mask them or combine multiple filtereffects (you only get one mask for all

>> More On The Web John Paul Caponigrosin-depth instructionalson image-processing andprinting techniques areavailable as an extensivearchive online atdigitalphotopro.com/ technique/revolution.

1)

3


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creative freedom without compromise

Gemini by Bowens

Step up to consistent color stability and precision lightingcontrol. With unmatched durability, Bowens has been apremier lighting brand for over 50 years.

Gemini is available in six models, from 400Ws to 1500Ws.Choose AC power or optional battery pack for the mostversatile flash lighting system available today.

BowensUSA.comDistributed by MAC Group 914 347 3300

Bowens and the power behind the picture are registered trademarks of Bowens International Ltd.Photo by Ian McManus Model: Vera Bartsch @ Nemesis Model Management Hair: Lisa Booth MUA: LucieMUA Styling: Bernard Connolly


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of the Smart Filters applied to oneSmart Object); using Layer Blend If sliders isnt one of them.

Use Smart Filters spar-ingly, as the price youllpay for this flexibility is asignificant increase in filesize, as much as fourtimes, which slows pro-cessing and saving timebut dont write them off because of this.

Blur Tools filtersTilt-Shift, Field Blur, IrisBluroffer simplified in-terfaces, easier filter setting selectivi-ty (though limited to hexagonal irisshapes), stronger intensity and fasterperformance than the Lens Blur fil-ter. Not only can these filters be eas-ily applied as Smart Filters, buttheyre best applied as Smart Filters;apply one filter, and two newpalettes will appear, BlurTools and Blur Effects,which can be furtheradjusted in the future if the effects are applied asSmart Filters.

The Blur Tools paletteallows you to activate one,two or all three of thesefilters and adjust the slid-ers that control eacheffect. The Blur Effectspalette offers three sliders: LightBokeh (this slider brightens bokeheffects), Bokeh Color (this sliderincreases the saturation of affectedareas) and Light Range (this slideradjusts the range of levels affected,allowing you to target effects intoshadows, midtones or

highlightsmore effec-tively than Lens BlursThreshold sliderandit intensifies the tonalrange between the slid-ers, producing a morerealistic effect).

Sooner or later, youllwonder how applying afilter selectively through

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its controls is different than applyinga filter to a duplicate layer uniformlyand then adding a mask. Sliders thatprovide selective application of aneffect offer variable intensity, blurringan area more or less, while a layer

mask selectively reduces the opacityof a uniform effect revealing thefocused image below. The effect pro-duced by these two methods can besignificantly different.

Its the type of selectivity, not thequality of the blur, that differentiatesthe Blur Tools filters from oneanother. Field Blur produces anoverall effect. Iris Blur adds selectiv-ity through a radial gradient. Tilt-Shift adds selectivity through areflected gradient.

Each filter has a blur ring. Thecentral point controls the position of the effect; the outer ring dynamicallyadjusts the Blur slider. Pins can beused to place additional blur ringswith overlapping fields of influencethat will feather into one anothergradually, making it easy to apply dif-ferent filter settings to differentimage areas.

Radial Blur surrounds each blurring with a second larger double ring.The outer line can be used to adjustthe size of the blur field, and it hasone square radius roundness knobthat makes the field rounder or squar-er, and four outer ellipse points toadjust the shape and angle of theradius field. Between the outer lineand the center double ring are fourinner ellipse points that control thegradient effect between the center andthe outer ring; dragging one pointwill move them all equally unless you

hold the Shift and Option/Alt keys tocontrol a single point.

Tilt-Shift adds a reflected gradientwith two solid center lines that definea region of clarity between them (thecenter points on them control rotation)and two dotted outer lines that controlthe gradation of that region of clarityinto blurred areas.

You can easily combine Iris and

(R)EVOLUTION

(Contd on page 93)

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Influenced by graphic novels and science-fictionmovies, Howard Huangs vibrant urban fashion andcelebrity work is turning heads from here to ChinaBy Mark Edward Harris Photography By Howard Huang


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(Taiwan-born, Hawaiian-raised,New York-based HowardHuang considers himself an urban fashion/celebrity

photographer. Comics andJapanese anime are building blocksfor the fantasy sets he creates for mu-sicians, models and actors, from LilWayne and Jacki-O to Ice-T andNicki Minaj. Huang often compositesphotographs to achieve his inner visionor an art directors storyboard idea.

Huang creates color-bursting mag-azine features for publications rangingfrom VIBE and Billboard to Maxim

and The New Yorker. His corporateclients include Panasonic, Nintendoand Verizon. His book Urban Girls,published by Taschen, shows off his

work in the niche market of African-American and Latina bikini models,collectively known as urban girls.

DPP: Where do the ideas come fromfor your vibrant, high-energy setups?

Howard Huang: I grew up inTaiwan and was fascinated withcomic books and anime, so a lot of theideas come from that. As I got older,sci-fi films like Star Wars, Blade Runner and such also had an influence

on me. While most little boys wantedto be a fireman or an astronaut whenthey grew up, I wanted to be a graph-ic novel artist or a hit man.

DPP: A hit man?Huang: Action films and comic

books portrayed hit men in black suitsor trench coats with sunglasses andguns. I think I was more into becom-ing an Armani hit man with a flair forfashion. Maybe I should say that Iwanted to look cool and feel like asuperhero. I was never a bad boy. Igrew up in a very normal middle-classChinese family. If anything, I was the


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I

Words like gritty, graphic,action-packed, moody, sexy andmesmerizing can all be used todescribe Howard Huangs style.OPENING SPREAD: Huang has workedextensively with hip-hop diva NickiMinaj, and their collaboration hascontributed to her extraordinary talentfor inventing multiple identities.ABOVE: Busta Rhymes on Wall Street.RIGHT: One of the images from Huangs2012 Leila Shams Lookbook shoot.

bad ass among nerds. I never thoughtI would be a photographer.

DPP: How did your evolution intophotography develop?

Huang: I actually wanted to be afine artist when I was in high school,you know, the kind that smokes anddrinks at a caf all day, has an attic stu-dio in Paris and paints beautiful

women for a living. That was, of course, an unrealistic fantasy to myChinese parents at that time. So themiddle ground of what my parentsthought was good for megoing toschool and majoring in business versusmy fantasy of being a fine artistwas

that I learn graphic design as a real jobskill to prevent me from ending up onthe streets. My design courses led meto discover photography. Once I did, Iwas hooked.

DPP: What was it about photogra-phy that attracted you?

Huang: In my first basic photogra-phy classes at the Academy of Art

University in San Francisco, I discov-ered that the actual process of photog-raphy amazed me. Its like magicwhen you first see your image comingup in the developer in the darkroom.Though Ive gone over to digital, thatfeeling of magic has never left me.


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Digital imaging technology hasevolved to the point where we cannow do it all better and faster, exertingmuch more control over each individ-ual aspect of the finished work thanwe could in a traditional darkroom. Ilike to be able to produce the entireprocess from start to finish. I use digi-tal manipulation and composite workto enhance my inner vision, but Irework an image in Photoshop in away that the treatment isnt obvious.

DPP: How did your style evolve?Huang: Since I came from a tradi-

tional darkroom background, thiswhole new computer graphic thingopened up brand-new possibilities forme. Even in the traditional wet dark-room, where I would spend hoursdeveloping and printing, I was drawnto alternative processes like cross-processing, cyanotypes and Polaroidtransfers. While in college, I wouldexperiment with different back-grounds and combine them withthe model I photographed usingPhotoshop. I created mostly alien fan-tasy types of images. After college, Ikept on experimenting while I was adigital assistant for photographerMichel Tcherevkoff in New York.

DPP: When you went out on your

own, you became known as a masterof photographing urban girls. Whythe fascination?

Huang: I didnt choose to be in thisniche market. It kind of just happenedfor me. I wanted to do fantasy-themedshoots with agency models for fashion,but it turned out the urban fans lovemy vibrant color and style. I started toshoot for XXL Magazine, and onemagazine feature led to another. I was

Born in Taipei, raised in Hawaii and now based in NewYork, Huang worked with commercial photographylegend Michel Tcherevkoff. His digital skills are honedto a fine edge, but Huang cut his teeth in a filmdarkroom. Regardless of the process, Huang createsa narrative in his mind when hes conceptualizinga shot, and hes always striving to make work with anemotional impact. ABOVE: Part of a recent fashionshoot in Shanghai, China. NEXT PAGE: Rapper Flo Ridaphotographed in a meat locker.


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soon doing photo shoots with urbangirls on a regular basis. Years later,Taschen saw my work and decided topublish my body of work in a coffee-table book called Urban Girls , featur-ing African-American and Latinawomen with nice curves. I had the

pleasure of working with hundreds of sexy women, most of the time gettingto execute my vision. Hey, I cant com-plain about that.

DPP: How would you describeyour style?

Huang: I have a taste for the dra-matic, and I often see photography asa still frame of a movie. I love actionand a single frozen moment of timethat engages you.

DPP: Tell us about your experiencesworking with rapper, singer, song-writer and actress Nicki Minaj. Doyou suggest ideas to her, or does shecome in with her own ideas, or is italways collaboration? Your photo-graphs are able to capture and culti-vate her multiple identities.

Huang: I started working withNicki a few years ago before she wasinternationally known. From the firsttime I met her, I felt that she wasgoing to be a big star. Shes not onlytalented, but she has a big presenceand a very exhilarating attitude on set.We hit it off right away. I presentedmy ideas to her and she loved themand totally went into character. Nickiis still the same creative eccentric artisteven after her album Pink Fridaydropped and she made a big name forherself. The difference is, now the setshave become more elaborate and shehas moreideas of her own. But we justplay like we always do. We have agreat collaboration. To me, photogra-

phy is to create a fantasy in a stillframe, and her multiple identities fitperfectly into this approach. BothNicki and I believe that photographswith a story behind them are the mostinteresting kind of image.

DPP: What equipment do youwork with?

Huang: The Hasselblad H2 withthe Leaf Aptus back or a Canon EOS5D Mark III, depending on the job.

>> More On The WebVisit the Profiles tab of ourwebsite at www.digitalphotopro.com for moreexciting imagery fromworld-famous celebrity andfashion photographers.


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I have a bunch of cameras like anyphotographer, and the camera I usethe most is my iPhone. We had abeautiful girl last year, and Ive beentrigger-happy with my phonescamera. She has her own Facebookpage, and I Instagram almost daily.Someone said the best camera is the

one you have on you at the time. Itsso true.DPP: Between the medium-format

and the 35mm, when do you go withone system over the other?

Huang: Whenever Im in the studio,I try to use my medium-format cam-era with the Leaf back. But when I

need fast focus or Im shooting in low

light on location, I use my Canon. Thething is, I shoot fast. Thats one trickwhen photographing celebrities. Theydont have much time. The faster youdo a great job, the better. Thats why Ioriginally chose the Leaf over thePhase One because of the capture rate.But Ive yet to test the new Phase OneIQ2 and the Leaf Credo side by side. Iusually will choose the fastest capturerate over the largest sensor. If you

missed the moment with a 100-megapixel back, you might own anamazing piece of equipment, but youstill missed the shot.

DPP: Whats your typical light-ing setup?

Huang: I try to match my back-ground light when I do the composit-

ing work, so I usually shoot it first andthen match the lighting in-studiowith the model. I often use grids tocontrol the light and create contrast.Sometimes I use a ringlight flash set toa low power setting to catch a littleshine on the skin, especially withdarker-skinned models. I often have a

top light and backlight. I own a bunch

of Dynalites, which Ive been usingsince school. Theyre small and easy totransport. I also have some Profoto7Bs that I use on location. I usuallyrent all Profotos when I shoot on loca-tion or in other studios, especiallywhen I need fast recycle times andshort flash durations. I have alive/work loft in Williamsburg,Brooklyn. Its not too big, but goodenough to do the small shoots. Im

near Fast Ashleys Studio, so I oftenrent there. And there are a lot of otherstudios in my neighborhood, too. If the client wants to be in Manhattan,then there are, of course, even moreoptions. I recently shot in China, andits all Broncolor there. I liked usingthem, too.

DPP: How are you able to get suchvibrant colors in your work?

Huang: Im using some gels, andIm doing some post work to addsome colors to my liking.

DPP: Do you still retouch and com-posite all your own photos?

Huang: Yes, mostly. But now I have

assistants to do some of the cleanup

work, and I do all the compositing andfinishing touches on them. Its hard totell people how I want a certain con-trastdarker here, a little lighterthereas well as positioning andblending composites just right. Its along process, but its like painting, so Ido enjoy it. DPP

See more of Howard Huangs photography at www.howardhuang.com.


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5 0 | Digital Photo Pro digitalphotopro.com

In his photography of HollywoodsA-list,Art Streiber coaxes the artistsinto performing for his cameraBy Mark Edward HarrisLL Photography By Art StreiberF)

or the past two decades, LosAngeles-based photographerArt Streiber has been docu-menting the whos who ofHollywood and beyond, with

his portrait and entertainment pho-tography gracing the covers and inside

TellMeWhat YouWantMeTo Do pages of magazines from Vanity Fair, Esquire and Entertainment Weekly ,to Wired, Fortune and Rolling Stone.He has also put his camera to work

for many of the major television net-works and lm studios. Streibers cleangraphic aesthetic, technical prowess,


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professional demeanor and mentalacuity bring a sense of calmness andcondence to the often frenetic han-dler-handheld world of Hollywood.The son of a banker might well haveinherited the traits that have givenhis career such a solid foundation.

The trust built upon years of success-ful pressure-packed assignments helpsStreiber push through barriers that canimpede a creative shoot.

DPP: You often work with groupsof celebrities such as the stars of Last Vegas Robert DeNiro, Michael

Douglas, Morgan Freeman and KevinKlinefor AARP Magazine. How didyou approach putting these megastarsinto a single frame?

Art Streiber: There are a number oftechnological and aesthetic hurdles toovercome when photographing any

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tional sets, one with a white backgroundand the other with a blue background.With the four A-list actors shooting onthree sets, our total time with them wasan hour. We got into the studio at 8 a.m.to build and light the sets so everythingwas nailed down and we could movefrom one set to another when the actorswere ready at 6 p.m. If we have a limited

budget, that might mean moving powerpacks between sets.

DPP: How do you make the shot dy-namic with the group in front of you?

Streiber: Its my job not only to coor-dinate every one of the subjects in frontof me, but to make sure that it comes to-gether cohesivelyto make sure that itfeels like an organic group. I dont wantmy group photos to feel like Im pho-tographing a football or soccer team,

lining them up shoulder to shoulder.Im looking for the group to have a dy-namic, for the group to rise and fall andhave depth so that your eye keeps trav-eling through the frame. Im chargedwith following the performance ofevery single person in the group andlooking at everybody individually, as

Im looking for the group to have a dynamic, for the group to rise andfall and have depth so that your eye keeps traveling through the frame.

OPENING SPREAD: ArtStreibers extraordinaryensemble photography ison full display in this photoof the cast of ArrestedDevelopment . Streiberis meticulous in hisconstruction andexecution of these photos.He frequently createsgroups within the group tofocus the viewer, as wellas the subjects themselves.ABOVE: Streiber also likesto create photos that evokea particular era as in thisphoto of Bryan Cranston.RIGHT: Streibers abilityto make particularlywhimsical images is ondisplay in this photo ofSeth Rogan re-creatingthe famous scene inthe Hitchcock lm Northby Northwest .

group and certainly when youre photo-graphing a group of celebrities. The castof Last Vegas shoot was in New York,and we had very limited time with oursubjects because theyre all very wellknown and overscheduled. The hurdlesstart with coming up with an idea anda setting in which were going to placethese people. So I brainstorm with the

client and my set designer and come upwith a look, a feeling and an aesthetic.With the cast of Last Vegas, we opted forclassic tuxedos in terms of wardrobe andnally landed on the idea of photograph-ing them in a bar. We were inspired bythe Slim Aarons photo of Clark Gable,Van Hein, Gary Cooper and JimmyStewart. The idea was to really get theseguys to hang out. My set designer hadto nd, build and stock a bar in the Pier

59 Studio in Manhattan, and then mycrew and I had to light the bar to makeit look as legitimate as possible. Im al-ways interested in a lighting look thatsappropriate and natural-looking unlessIm going for something very aggres-sive. In addition to the bar set, we hadto do a cover, so we created two addi-

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digitalphotopro.com January/February 2014 | 5 3

well as the group in its entirety. Thatsa specialty that Ive developed overthe years by studying what works anddoesnt work in my pictures and thepictures of othersguring out that inorder to make a group really work, youhave to break it up into smaller groups.

DPP: So, lets say you had 11 people....Streiber: Im going to probably break

that group up into a 3-5-3, 2-4-5 or2-4-3-2 combination, turning peoplesshoulders into each other or away from

each other so that there appears to besmaller groups within the group.

DPP: How much are you directingyour subjects?

Streiber: I came from photojournal-ism. The premise in photojournal-ism is that youre a y on the wall.You dont engage with your subjects.Youre a witness. Youre not affectingthe outcome of the event in front ofyou. Youre just there to document. AsI got more and more into portraiture,

especially celebrity portraiture, I hadto grapple with the fact that I was di-recting people. Once your subject getsin front of you, theyre expecting yourhelp and your direction. In my expe-rience, nobody really enjoys havingtheir picture taken except for models. Iliken it to dentistry. Its something youhave to and should do every year. I tryand make it as easy as possible.

Ive really come to appreciate that ac-tors want direction. I hear a lot, Tell


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me what you want me to do. Whentheyre on stage or in front of the mo-tion-picture camera, theyre being di-rected. Theyre inhabiting a role, theyhave lines to project, they have block-ing, they have an emotion to convey.In the absence of that in front of thestill camera, oftentimes theyre lost orinsecure. So its my job to take themthrough a role, give them motivation,give them something to do, give themsomething to think about in order toelicit a great performance, even if its infront of the still camera.

DPP: How did you create your well-known Paramount anniversary photo?Did you feel the pressure of having somany major names in a single shot?

Streiber: The Paramount 100th an-niversary photo was an incredible highpoint in my career, and it was absolute-ly daunting. In order to tackle a shootthat big, I break it down into bite-sizedpieces. Where are we going to shoot?Whats the set going to look like? Howare we going to light it? How are wegoing to arrange all these people? Irely on an incredible team of profes-sionalsmy photo assistants, my setdesigner, my producer, my digital tech.With this particular shoot, we also hadthe set builders, gaffers and electriciansat Paramount at our disposal. So wewere able to come up with an outra-geous lighting scheme.

The grip department and the light-

ing department at Paramount builtus trusses onto which we could hangour lights. We were on Stage 18 atParamount, and that shot is lit with 56Profoto heads, all with P50 Magnumdishes with grids aimed at specic sec-tions of the set instead of trying to govery, very big and soft. The idea was thatwe were going to build ourselves a stageand we were going to light it like a stage.The stage itself was built over the courseof three weeks. We shot on a Friday, gotin on Monday and lit for 2 days, thenwe dressed-rehearsed with stand-ins, allthe while, my set designer Rick Floydworking side by side with Paramountexecutives, including the chairman ofthe studio Brad Grey, trying to gure


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digitalphotopro.com January/February 2014 | 55

THIS SPREAD, TOP: The stars of Last Vegas were photographed on a compressed schedule.Streiber had about one hour with the actors, and he had to work with them on threedifferent sets. The concept for this photo came from a Slim Aarons photo of Clark Gable,Van Hein, Gary Cooper and Jimmy Stewart. LEFT: Streibers sense of humor can be seen inthis photo of the Monty Python ensemble. ABOVE: Justin Bieber in a photo that exempliesthe immortality of fame. NEXT PAGE: Beyond work for major L.A. and New Yorkentertainment studios, Streiber has a special appreciation for doing magazine editorialwork like this image of Zynga founder Mark Pincus, which was shot for Fast Company .

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What YouWantMeTo Do


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5 6 | Digital Photo Pro digitalphotopro.com

out where everybody was going to go.When it nally came down to the big

day itself, it took about 25

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