Outdoor Photographer - June 2015 USA

A sense of awe came over us as
as the air
Discovering your Maine Th

ART LINE
BY SIGMA

Designed for exceptional
speed and clarity, the

lenses in Sigma’s Art Line

provide the level of optical
performance for the most
demanding photographers

or more than 50 years, Sigma has been
dedicated to continually refining their
approach to the design of superior
photographic optics. As part of that
practice, Sigma reorganized their lens offerings into
three distinct lines: Sports, Contemporary and Art. This
strategy emphasizes that each line is developed with
consideration of the unique photographic challenges
specific to the photographer and the subject.
Sigma’s Art Line currently comprises nine lenses— 30mm
F1.4 DC HSM | A, 18-35mm F1.8 DC HSM | A, 24mm
F1.4 DG HSM | A, 24-105mm F4 DG (OS)* HSM | A,
50mm F1.4 DG HSM | A, 35mm F1.4 DG HSM | A, 19mm
F2.8 DN | A, 30mm F2.8 DN | A, 60mm F2.8 DN | A—all
of which are designed and built to the highest standards.
In the line, there are lenses compatible with full-frame,
APS-C and Micro Four Thirds formats. Demanding
photographers, regardless of which camera system they
use, who place a high value on sharpness, contrast,
clarity and maximum control over depth of field, will find
the Sigma Art line was conceived with them in mind.

The newest addition to the Sigma Art
Line is the 24mm F1.4 DG HSM | A
for Sigma, Canon and Nikon Mounts.
A premium wide-angle lens designed
for use with full-frame cameras,
it can also be used with APS-C
sensor cameras. FLD and SLD glass
elements minimize distortion for
outstanding color and clarity.

With its fast maximum aperture of
ƒ/1.8 throughout the zoom range,
the 18-35mm F1.8 DC HSM | A is
the first lens of its kind. In addition
to being fast, it’s ideal for video
work with its Hyper Sonic Motor
(HSM) that provides smooth,
precise autofocus. It’s available in
Sigma, Canon, Nikon, Pentax and
Sony mounts.

Also available in the Art Line are three prime lenses
designed for use with mirrorless cameras: the 19mm F2.8
DN | A, 30mm F2.8 DN | A and the 60mm F2.8 DN | A.
Available for Micro Four Thirds and Sony E-mount systems,
these lenses provide uncompromising image quality in wide
and standard focal lengths. All three feature Sigma’s new
linear AF motor, which moves lens elements directly without
gears for accurate and quiet autofocus, ideal for video.

www.sigmaphoto.com

Exceptional Images
Images by: Stephen W. Oachs, Matt Hofman, Max Seigal, Neil Simmmons

Deserve an Exceptional Presentation

Display Your Images in Their Element
Choose our Wood Prints to lend a warm, natural feel to your images, or MetalPrints infused on
aluminum for a vibrant, luminescent, modern look. Both options provide exeptional durability
and image stability, for a gallery-worthy display that will last a lifetime. Available in a wide
range of sizes, perfect for anything from small displays to large installations.

Learn more at bayphoto.com/pro-products

25%
OFF
Your First Order!

*Get 25% off your first order with Bay Photo Lab! For instructions
on how to redeem this special offer, fill out the New Customer
Account Request form at bayphoto.com.

eig

Stunning Prints
on Natural Wood or High Deﬁnition Metal

Quality. Service. Innovation.
We’re here for you!

CONTENTS

June 2015

Scenic

Travel

Wildlife

Sports

Vol. 31 No. 5

62
[ FEATUR ES ]

PORTFOLIO

40 BEST OF ASSIGNMENTS
The best of the Assignments submissions from
outdoorphotographer.com

42 FINE ART WITH A PURPOSE
Twentysomething landscape photographer Chris Miele
first found his aesthetic, now he’s in search of a purpose
By William Sawalich
Photography By Chris Miele

[H O W-T O]
38 SOLUTIONS: REALLY LOW LIGHT
Push the envelope with a superfast ƒ/0.95 lens

62 WATCH THE WEATHER
James Kay shows us how to see the weather before
it’s fully formed so you can predict where to be to get
great photos
Text & Photography By James Kay

60 BEHIND THE SHOT:

BRINGING HOME BREAKFAST

Fort De Soto Park, Florida
Text & Photography By Sandy Scott

T R AV E L

50 LONG WEEKEND LOCATIONS
Pro photographers share some of their favorite regional
locations for extended weekend photo adventures

22
26
Check out our website @ outdoorphotographer.com

MORE On The Web

outdoorphotographer.com

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

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

Outdoor Photographer (ISSN: 0890-5304)—Vol. 31 No. 5—is published monthly except bimonthly Jan./Feb. by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176,
(310) 820-1500. Periodicals Postage Paid at Los Angeles, Calif., and additional mailing offices. Single copy price—$5.99. Annual subscription in U.S., Possessions, APO/FPO—$23.94. Canada—$38.94; other foreign—$38.94, including postage and
taxes. Payable in U.S. funds. For orders, address changes and all other customer service, phone toll-free (800) 283-4410. POSTMASTER: Send address changes to Outdoor Photographer, Box 37857, Boone, IA 50037-0857.
Canada Post Publications Mail Class Agreement No. 1559788. See magazine mast for specific information on solicited and unsolicited contributions and the purchase of back issues.

10 Outdoor Photographer outdoorphotographer.com

The Original Camera Sling
lets you live the moment
and capture the perfect shot.
Visit us at blackrapid.com
TM

Outdoor

Photographer

outdoorphotographer.com
Editorial
Publisher/Editor Christopher Robinson
Senior Articles Editor Maggie Devcich
Senior Editors Wes Pitts, Mike Stensvold
Associate Editor Ashley Myers-Turner
Copy Editors J. Ana Flores, Kristan Ashworth
Field Editor George D. Lepp
Columnists

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

David Schloss
Contributing Editors

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

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

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

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

Imaging Group
Publisher/Editorial Director Christopher Robinson
Executive Art Director Kurt R. Smith
Copy Chief Maggie Devcich

PRINTED IN THE U.S.A.
Outdoor Photographer is published by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd.,
Ste. 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Email us (editorial matters only) [emailprotected] or visit our
website at www.outdoorphotographer.com. Copyright ©2015 by Werner Publishing Corp. No material may be reproduced without written
permission. This publication is purchased with the understanding that information presented is from many sources for which there can be no
warranty or responsibility by the publisher as to accuracy, originality or completeness. It is sold with the understanding that the publisher is not
engaged in rendering product endorsements or providing instruction as a substitute for appropriate training by qualified sources. EDITORIAL
SUBMISSIONS: Outdoor Photographer assumes no responsibility for solicited or unsolicited contributions and materials. Submissions for
review should be limited to no more than 40 duplicate photographs. We do not accept original transparencies or negatives. Otherwise,
insurance for such materials, in transit or in our possession, must be the responsibility of the writer or photographer. Outdoor Photographer
does not accept or agree to the conditions and stipulations printed on delivery memos, packing slips and related correspondence as they
are presented without prior notice accompanying submission materials. Exceptions to this disclaimer of liability on the part of Outdoor
Photographer must be prearranged, executed in writing and signed by both parties prior to the shipment of materials in question. All
submissions must be accompanied by a self-addressed, stamped envelope (SASE) with sufficient postage to cover the cost of return.
The class of mail and insurance coverage for returns will be determined by the amount provided for on the SASE. Writer/photographer
guidelines are available on request, with the enclosure of an SASE. SUBSCRIBERS: Any obligation we owe to you, including delivery of
your magazine, is contingent upon you providing us with your correct mailing address. If the Post Office notifies us that your magazine
is undeliverable, we have no further obligation to you unless we receive a corrected address from you within two years of the Post Office
notification. BACK ISSUES are available for one year prior to the current issue. To order within the U.S., send $7.00 plus $4.00 postage
and handling (Canada: $7.00 plus $5.00; International: $7.00 plus $10.00) for each issue to Back Issue Dept., Outdoor Photographer
Magazine, 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, or go online and visit the eStore. No orders processed
without proper funds and specific issue information.
Outdoor Photographer is a registered trademark of Werner Publishing Corporation. Copyright ©2015 Werner Publishing Corporation. All rights
reserved. Reproduction in whole or in part without permission is prohibited.

To Subscribe Or For Subscription Questions:
www.outdoorphotographer.com or (800) 283-4410
or email [emailprotected]

Member, Alliance for
Audited Media

12 Outdoor Photographer outdoorphotographer.com

Member

cover shot

Photographer: Chris Miele
Location: John Muir Wilderness Area,

California
Equipment: Nikon D7000, Sigma 17-

70mm ƒ/2.8-4 DC Macro OS HSM
Situation: The John Muir Wilderness
Area is one of the most spectacular locations for landscape photography in
the world. Just about anyone with an
automatic camera can get a good photo
simply by pressing the shutter button.
What elevates a photo like the one Chris
Miele took for the cover of this issue
of Outdoor Photographer is the everchanging sky. Some people argue that
every great landscape photo has already
been taken. Miele’s image proves them
wrong. The weather is frequently the
element that adds the “right time” aspect to the oft-repeated maxim that it’s
all about being in the right place at the
right time.
A lot of us have little free time to be
out waiting for a scene like this to develop. Being able to predict when it’s going
to happen, even roughly predict when
it’s going to happen, dramatically increases your chances for success. James
Kay’s article on weather prediction in
this issue will help you to do just that.
It all starts with a vision. Ansel
Adams wrote eloquently about previsualization in his excellent three-volume
set The Camera, The Negative and The
Print. It’s an art that’s being undermined by our ability to shoot nonstop
with massive memory cards that are
almost bottomless. In our portfolio article on Chris Miele, you’ll read about a
young photographer who has aesthetic
talent and skills, and how he’s using
that foundation to build his vision.

Outdoor

Photographer

outdoorphotographer.com

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

Marketing
Basak Prince
Marketing Manager
Kent Lam
Digital Marketing Coordinator

WŚŽƚŽďǇZŽďĞƌƚdĞƚǌůĂī

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

Consumer Marketing

Liz Engel
Consumer Marketing Manager
Sue C. Wilbur
Data & Web Analytics Manager
Tom Ferruggia
Newsstand Sales Manager

Business/Operations
Lorie Shuman
Controller
Bob Dortch
Director Of Digital Business Development
Denise Porter
Accounting Assistant
J. Ana Flores
Trademark & Copyright Manager
Jason Rosenwald
Systems Manager

Werner Publishing Corporation
12121 Wilshire Blvd., Suite 1200
Los Angeles, CA 90025-1176
(310) 820-1500, Fax (310) 826-5008
www.wernerpublishing.com
To sell Outdoor Photographer at your
establishment, contact: Kable Retail Services,
(888) 999-9839
For reprint information, contact:
Advertising/Sales, (310) 820-1500
For digital editions:
zinio.com/outdoorphotographer
For an extensive archive of back issues:
www.outdoorphotographer.com
For website help:
[emailprotected]

14 Outdoor Photographer outdoorphotographer.com

Chris Miele

in this issue

We’re featuring the
work of a young rising
star in the landscape
firmament in this issue.
I think Chris Miele is a
name you’ll be hearing
much more in the
coming years.
The 29-year-old
photographer shows
wisdom beyond his
years, and his images
make the best use of
the latest camera
gear to push into
the dark and get
striking results.

love the thought of heading out on the open
road. In this job, I have to go to Las Vegas
several times a year for various events and
trade shows. Every time one of these events
is on my schedule, I try to block enough
time to drive instead of fly and to get out and
away from the nonstop spectacle of Vegas to do
some shooting in the surrounding wilderness. If
someone asked me whether it was more about
the trip or the destination, I’d be hard-pressed to
say. The thought of getting into my car and tuning out the world for those hours and just moving through the Southwestern desert landscape
is incredibly appealing. For me, Route 66 is a
frame of mind more than a real road.
For this issue, we’re recognizing that the
appeal of a summer road trip is something a lot of
outdoor photographers share. Having the time to
make a road trip happen isn’t easy, but with the
prospect of summer breaks and three-day weekends looming, it’s possible to get away, even with
a compressed schedule. The most important
thing is to plan. To that end, we asked a number
of photographers around the U.S. to give us their
thoughts on a three-day weekend in the areas
they know the best. We got some great responses
and inspiring photography to give you a sense of
what awaits you in these locales. And, because
we got more input than we can fit into the article,
we’re running an expanded version at outdoor
photographer.com. As much as we might love to
head out onto the Pacific Crest Trail for a monthslong journey of self-discovery and photography,
a good long weekend is more realistic for most of
us. The article “Long Weekend Locations” will
help you make the most of yours.

A road trip also gives you a lot of freedom
when it comes to packing. If you don’t have to
carry everything on your back, you can bring a
lot more stuff. That’s not necessarily a good
thing. It’s easy to get paralyzed by having too
many options. That said, there are a number of
accessories that can help you stay focused and
locked in on photography. “Gear It Up For The
Road” goes through the key items on our list. In
the article, you’ll notice that we’ve included
drones. In April, some really interesting new
models from DJI and 3DRobotics came out,
which will shorten the learning curve for those
photographers who want to get photos and videos, but don’t necessarily want to be full-on
pilots. You still need to know what you’re doing,
of course, but more and more, the drones are
doing the heavy lifting on the flight side so you
can focus on the images, safely.
We’re featuring the work of a young rising star
in the landscape firmament in this issue. I think
Chris Miele is a name you’ll be hearing much
more in the coming years. The 29-year-old photographer shows wisdom beyond his years, and
his images make the best use of the latest camera
gear to push into the dark and get striking results.
I mentioned the expanded road trip article
at outdoorphotographer.com. If you haven’t
been to the site, be sure to check it out. We’re
expanding the web-exclusive content and adding more avenues to show and share your images
with the community. Also, be sure to visit our
Facebook page, where the conversations go
24/7. And keep in touch—you can find me on
Twitter @OPRobinson.
—Christopher Robinson, Publisher/Editor
outdoorphotographer.com June 2015 15

16 Outdoor Photographer outdoorphotographer.com

Brian Roberts took this photograph in Dockey Wood on the Ashridge Estate in Hertfordshire in the UK. He describes the day, “This particular morning was forecast for misty conditions, and I wasn’t alone with my camera as dawn started to take place. Most of the
photographers were around the center of the Wood, so I opted to look for a composition which would give me the chance of a panoramic view with the sun’s light starting to burn through the mist.” The resulting photo is a seven-image panorama composite, and
Roberts exposed the scene to get the sunlight burning through the trees and mist, being careful to avoid losing any highlights. “I love misty or foggy conditions,” he says, “which seem to transform forests or woods into simpler compositions for photography.”

Photographer | Brian Roberts | Gear | Canon EOS 500D (also known as the Rebel T1i), Canon EF 17-40mm ƒ/4L USM at 40mm, ƒ/16, Manfrotto tripod

1st Place

Congratulations to the winners of our 7th Annual Nature’s Colors contest. We received thousands of entries and, as
if to illustrate how global Outdoor Photographer has become, the winning image was taken in the United Kingdom.
In addition to showing the winners on these pages, you can see all of the finalists at outdoorphotographer.com.

7TH Annual nature’s Colors photo contest winners

show
case

7th Annual nature’s Colors Photo contest winners

2nd Place

Photographer | Adam Taylor | Gear | Canon EOS 7D, Tamron SP AF10-24mm ƒ/3.5-4.5 Di II at 10mm, ƒ/22 and 47 sec.

Like many nature photographers, Adam Taylor has been seduced by the beauty of Alaska. He says, “This image highlights only one of many memories I’ve made [in Alaska],
and it was created beneath the Mendenhall Glacier in Juneau. This ice cave forms from streams of water flowing beneath the glacier, and it’s in a constant state of change.”

3rd Place

Photographer | Perri Schelat | Gear | Nikon D800, AF-S NIKKOR 16-35mm ƒ/4G ED VR at 32mm

“I’m drawn to unique atmospheric or seasonal conditions in my photography,” writes Perri Schelat, “conditions that may separate my images from the rest. Just outside of Cabot in Woodbury,
Vermont, I climbed a steep, spooky and muddy trail, alone, through the woods. It led me to a sheer rock ledge above Nichols Pond. The view swept to the south and west, and displayed miles of
vibrant forest that exploded with color. Capturing fall foliage at the right time is elusive, at best, but I managed to capture this location very close to peak, while nearby locations were past peak.”
18 Outdoor Photographer outdoorphotographer.com

show
case

7th Annual nature’s Colors photo contest winners

Honorable Mention

Photographer | David Barthel
Canon EOS 5D Mark II, AF-S NIKKOR
14-24mm ƒ/2.8G ED, Novoflex adapter

Photographer | Lauri Griffin
Canon EOS 7D, Canon EF 500mm ƒ/4L IS
II USM at ƒ/5.6, 1⁄2500 sec., Canon Extender
EF 1.4x II

20 Outdoor Photographer outdoorphotographer.com

NIKON D7200

With a 24.2-megapixel CMOS sensor with no optical low-pass filter
combined with a new EXPEED 4 Processing Engine, the Nikon D7200
is ready to capture quick action. The 51-point AF system utilizes 15
cross-type sensors. The large buffer capacity allows for 100 shots of
continuous shooting in JPEG/fine/large file settings, 27 shots in the
12-bit lossless compressed RAW setting and 18 shots in the 14-bit
lossless compressed RAW setting. The D7200 is also ready to
handle low-light conditions, with an ISO range of 100-25,600,
plus BW1 ISO of 51,200 and BW2 ISO of 102,400 for additional
ISO range with monochromatic images. The camera includes
auto-bracketing at up to 9 frames and built-in HDR. The D7200
is the first Nikon DSLR to feature built-in WiFi and NFC
connection for sharing and remote camera control. List Price:
$1,199. Contact: Nikon, www.nikonusa.com.

WEATHER-RESISTANT SUPERZOOM

With 21 seals, the HD Pentax D FA 150-450mm ƒ/4.5-5.6ED DC AW lens is designed to be
weatherproof. Complementary to the Pentax K-mount and future Pentax sensor technology,
the lens offers a 35mm system equivalent of 225-675mm. Three Extra-low dispersion and one
super-low dispersion glass elements compensate for chromatic aberration, and the high-grade
HD coating provides sharp, high-contrast images while reducing flare and ghosting. The
Quick-Shift Focus System allows you to instantly switch to manual focus after the subject is
captured in focus by the AF system. Three positions (QFS/A, QFS/M and MF) let you set
a user priority. The lens also includes a zoom lock lever and a detachable tripod mount with
a newly designed anti-falling mechanism. List Price: $2,499. Contact: Ricoh Imaging,
www.ricohimaging.com.

Li-on SPEEDLIGHT

The Zoom Li-on Speedlight Flash by Flashpoint, available in
manual, Canon TTL and Nikon TTL models, provides 650 full-power
shots on one charge of the internal lithium-ion battery. The fullpower recycle time is 1.5 seconds for quick continuous shooting.
The 24-105mm zoom head rotates 360° and tilts 90°. The Zoom
Li-on offers HSS, exposure compensation, exposure bracketing,
auto-zooming and flash exposure lock. The Canon or Nikon
TTL models fully integrate with Canon or Nikon flashes as
master or slave and work with proprietary TTL remotecontrol systems. Each speedlight comes with a battery
pack, charger, mini-stand, protective case and instruction
manual. List Price: $99 (manual); $179 (Canon TTL or Nikon
TTL). Contact: Flashpoint (Adorama), www.adorama.com.

22 Outdoor Photographer outdoorphotographer.com

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

Dp0 QUATTRO

The dp0 Quattro by Sigma is the fourth compact camera in the
Quattro series. Combined with the TRUE III Image Processor,
the Quattro sensor uses green-, red- and blue-sensitive layers,
resulting in the quick processing of highly detailed true color
images. The fixed 14mm ƒ/4 lens is equivalent to 21mm on a
35mm DSLR. With a 91° angle of view, the lens reduces the
aberration and distortion found with superwide-angle lenses
using four “F” low-dispersion glass elements, two special
low-dispersion glass elements and two aspherical lenses,
one of which is a wide double-sided aspherical lens.
The dp0 Quattro also has increased ISO performance and
improved Auto Color Mode, Auto Focus and Auto White
Balance compared to its predecessors. List Price: TBA.
Contact: Sigma, www.sigmaphoto.com.

MILITARY-GRADE EQUIPMENT CASE

The SKB 3i-13096SA7 Sony A-7 case keeps your Sony a7 and
essentials safe through inclement conditions. The iSeries injectionmoulded waterproof case is constructed from polypropylene
copolymer resin, creating a gasketed, waterproof and fully
submersible design. The interior utilizes high-quality PE foam with
space for a Sony a7, a7R or a7S body with a lens attached, two
lens slots (with three 1⁄2-inch removable rings to fit a variety of lens
sizes), a lens hood slot and an accessory pocket. For additional
equipment safety, the case also includes an auto-ambient
pressure-equalization valve and ensures secure case stacking.
Estimated Street Price: $119. Contact: SKB, www.skbcases.com.

VIDEO ROD ADAPTER

The Really Right Stuff VRA-15 Video Rod Adapter gives the ability
to add 15mm rod accessories to your video rig while using Arca-style
plates. The VRA-15 includes a quick-release-lever-style clamp with
laser engraving every 1mm that accepts RRS
plates and rails, as well as Arca-style plates from
other manufacturers. Folding wing screws make
adjustments easy without the need for additional tools. The adapter
has two 3⁄8”-16 threaded mounting sockets and five ¼”-20 threaded
mounting sockets. Kits include one VRA-15 adapter, one VRA-15
rail, rods and spacers. List Price: $355 (VRA-15 adapter); $490-$560
(VRA-15 kits). Contact: Really Right Stuff, www.reallyrightstuff.com.

outdoorphotographer.com June 2015 23

LUMIX ZS50

The new Panasonic LUMIX ZS50 is a pocket-sized camera that
packs a lot of punch. With a 12.1-megapixel MOS sensor and
ultrawide-angle 24mm Leica DC Vario-Elmar lens, the 30x optical
zoom provides a 35mm equivalent of 24-720mm zoom action.
The large pixel size produces increased low-light sensitivity with a
6400 ISO. With the Hybrid Optical Image Stabilization Plus 5-Axis
System, even fully zoomed videos are smooth and free from handheld jitters. The
Venus Engine records 1080p60 full HD video in AVCHD progressive format. The ZS50 camera body
offers both a 1166K-dot-resolution Live View Finder with eye sensor and 3-inch LCD display screen. A lens barrel control
ring offers smooth and precise control over exposure and zoom, as well as access to aperture, shutter speed, focus and
effects modes. The camera connects to phone and tablet devices through NFC or QR codes to control the camera from
a distance or to instantly share images. Estimated Street Price: $399. Contact: Panasonic, shop.panasonic.com.

SIRUI TRIPOD AND VIDEO FLUID HEAD

OFF ROAD HIKER BACKPACK

Manfrotto has specifically designed the Off road Hiker
30L Backpack for the outdoor photographer with a
focus on hiking. The pack carries personal hiking
supplies, and offers convenient side access to a DSLR,
lenses and photography accessories. The interior
divider can be unzipped to remove the camera
Protection System compartment for use as a dedicated
hike pack. A camera strap is featured on the front of
the pack to prevent neck strain while carrying the
camera on your chest. Additional dedicated straps are
available to carry walking sticks and a tripod. The
backpack is available in blue, green, gray and red. List
Price: $199. Contact: Manfrotto, www.manfrotto.us.

24 Outdoor Photographer outdoorphotographer.com

For still photographers exploring video
shooting, the rugged, travel-friendly
Sirui ET-2204 tripod and VA-5
Arca-compatible video head from
Argraph make a perfect pair. The full-sized
carbon-fiber tripod utilizes a Flip Leg Lock
System to smoothly fold down to fit in a
backpack or carry-on luggage. The center
column can be inverted for low-angle
shooting or replaced with an included
shorter center column. The legs adjust
to three angled positions to match
uneven terrain. The VA-5 fluid head
utilizes two bubble levels—one on
the base of the head for tripod
alignment and one on the top for
camera alignment. An internal
spring-assisted counterbalance provides smooth
360° pans and +90°/-70°
tilts. The VA-5 includes
a TY-70A quick-release
plate and offers a dual
safety-lock system. List
Price: $499 (ET-2204
carbon-fiber tripod);
$249 (VA-5 Arcacompatible video head).
Contact: Argraph,
www.argraph.com.

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

Focal length: 16mm Exposure: F/11 1/2 sec ISO200 © Ken Hubbard

Perspectives of power

SP 15-30mm F/2.8 Di VC USD
[Model A012] for Canon, Nikon, and Sony* mount
Introducing the world’s first** fast full-frame ultra-wide-angle
zoom with image stabilization
Push your vision even wider with the new Tamron SP 15-30mm F/2.8 Di VC USD
zoom—the world’s first in its class with image stabilization. The latest addition
to Tamron’s line-up of SP (Super Performance) lenses, designed for both full
frame and crop-sensor DSLRs, is built to the highest standards, and enables
you to capture images of expansive vistas free of annoying lens aberrations thanks
to Tamron’s use of proprietary XGM eXpanded Glass Molded Aspherical lens element
technology. This bold new zoom delivers superb corner-to-corner resolution—
equal to a prime lens—at every focal length and a bright F/2.8 aperture throughout
its 15-30mm zoom range. Its rugged design features a fluorine-coated front element—
which sheds water and repels dirt—and enhanced moisture resistant construction.
Fast. Ultra-wide. Image stabilized. Powerful from any perspective.
*Sony mount without VC
**For F/2.8 ultra-wide-angle zoom lens for full-frame DSLR cameras (Source: Tamron)

www.tamron-usa.com

PERFECTION PRO SCANNER

Archiving your film, slides and print photos has become
much easier with the Perfection V850 Pro Scanner by
Epson. Utilizing high optical resolution with 4.0 Dmax optical
density, the V850 Pro produces a broad tonal range that
accurately represents your image. The Dual Lens Scanning
System auto-selects resolution from two lenses—a 4800 dpi
High Resolution Mode for reflective images up to 8.5x11 inches
and transparencies up to 8x10 inches, or a 6400 dpi Super Resolution
Mode for film. The Ready Scan LED light source uses 23% less power for faster
scanning with no necessary warm-up time. Two sturdy film holders with three
height-adjustment levels and an anti-Newton ring plate ensure consistent quality
scanning. Digital ICE technology automatically removes dust, scratches and creases
from film, slides and photos. The High Pass Optics with anti-reflection optical coatings
and high-reflection mirror increase speed by 33% while also increasing scan quality.
List Price: $949. Contact: Epson,www.epson.com.
W

USB-C MOBILE DRIVE

LaCie has announced the addition of a USB-C port to their
Porsche Design Mobile Drive. Specifically designed for
Mac users who have updated to the latest MacBook, the
Mobile Drive features the reversible USB-C connector for
quick plug in. The Mobile Drive also features a 3mm-thick
solid aluminum body for safety with style. The drive’s USB
3.0 interface provides 100 MB/s transfers and is Time
Machine-compatible for reliable backup. Available in 500
GB, 1 TB and 2 TB capacities. List Price: TBA. Contact:
LaCie, www.lacie.com.

SCREEN CALIBRATION

To ensure the colors in your print are the same as what you viewed
on your monitor while processing your digital image, it’s important
to calibrate your monitor. Datacolor has released the redesigned
portable Spyder5 calibration system with a 7-detector optical
engine for increased tonal response, accurate shadow detail
and smooth gradients. The Spyder5 is available in three options,
depending on your level of need. The Spyder5EXPRESS uses
an interactive 4-step guide to walk you through calibration with a
before-and-after feature. The Spyder5PRO includes an advanced
ambient light sensor to compensate for room light, additional
calibration settings and display analysis. The Spyder5ELITE
includes a tripod mount for projector display calibration, unlimited
calibration settings, monitor matching and optimized gray balance
routines. List Price: $129 (Spyder5EXPRESS); $189 (Spyder5PRO);
$279 (Spyder5ELITE). Contact: Datacolor, spyder.datacolor.com.

26 Outdoor Photographer outdoorphotographer.com

PHANTOM 3

DJI has announced the addition of the Phantom 3 to their
drone line. The Phantom 3 Advanced utilizes a built-in camera
with a Sony EXMOR 1/2.3-inch sensor that shoots 1080p up
to 60 fps. The Phantom 3 Professional has the same built-in
camera and sensor, but has the ability to shoot 4K footage at
24 or 30 fps. A Main Controller collects motor speed, GPS location, automatic sensor data and user inputs
to control flight behavior. This includes using an Inertial Measurement Unit with a 6-axis gyroscope and an
accelerometer to detect and compensate for unwanted tilt movement. Visual Positioning Technology uses
visual and ultrasonic sensors to allow the Phantom 3 to find position without a GPS. The Intelligent Flight
Battery uses built-in sensors to read real-time battery status. Connect a phone/tablet to the Phantom 3
using Lightbridge to have a 720p HD live view of camera footage. Use the DJI Pilot app Auto Pilot for
auto-takeoff, auto-return home and a fail-safe mode that will return the Phantom 3 to the takeoff point and
land safely if it loses connection with the remote control. DJI also offers the Software Development Kit as
an open resource for app development, ranging from recording live streams, gathering flight data or setting
a single point of interest for the Phantom 3 to face. List Price: $999 (Phantom 3 Advanced); $1,259
(Phantom 3 Professional). Contact: DJI, store.dji.com.

Digital Editions
Everything you love about Outdoor Photographer on your favorite mobile device or computer.

www.outdoorphotographer.com/digital
28 Outdoor Photographer outdoorphotographer.com

DRONEGUARD

Lowepro has created the “grab-andgo”-style DroneGuard Kit that can be
used alone or inside Lowepro bags
such as the Pro Roller 200 and Hardside
400 case. The lightweight kit has been
specifically designed to complement
the drone “X” shape. A rigid base with
a honeycomb interior creates a solid
foundation and workspace, and
retention straps keep the drone securely
in place. Pockets and dividers offer
storage for accessories. A modular
battery box with dividers and a remote/
transmitter section keep all components
safe. The elastic loop system secures
cords and tools. List Price: $99
(DroneGuard Kit); $319 (DroneGuard
Kit with Hardside 400 case). Contact:
Lowepro, www.lowepro.com.

FLYING SOLO

As we go to press with this issue,
3DR has just introduced their latest
drone aimed at photographers and
videographers. The Solo is being billed
as the world’s first “smart drone.” With
powerful microprocessors in both the
controller and the drone, the Solo is fully
programmable, which can remove a
huge amount of the frustration of
learning to fly a quadcopter when your
primary goal is taking pictures or
shooting video. 3DR worked directly
with GoPro to design the copter,
brushless gimbal and the Solo app. 3DR
has also taken some of the risk of losing
your drone by offering an unprecedented
support system, which allows you to
send your flight telemetry—essentially,
the black box information—to the
company. If a crash is determined to be
caused by drone failure as opposed to
user error, you’ll receive a new one.
We’re looking forward to trying the Solo,
and we’ll have a full review coming at
outdoorphotographer.com. List Price:
Starts at $999. Contact: 3DRobotics,
3drobotics.com.
outdoorphotographer.com June 2015 29

photo traveler

Rax Of The Arctic

A photojournalist feels the urgency to complete
a visual narrative before it’s too late
[ By Bob Krist ]

Ragnar Axelsson,
better known as
Rax, is covering the
people and cultures
of the Arctic. With
black-and-white
ﬁlm and a Leica M
Monochrom, he’s
documenting ways of
life that may not be
long for our world.

A lot of Scandinavian
hen Ragnar Axelsson was growing
photojournalists roam the
up in Iceland, he spent his summers
world for their work, ofworking on a farm deep in the counten spending long stretchtryside of this beautiful island nation.
es of time in Africa and
Since there are almost 24 hours of
other news (and temperasunlight most of the summer, Rax (as he’s known both
ture) hot spots. Rax tried
professionally and by his friends) had plenty of light after
that in the beginning, but
his long hours of farm chores to pore over the farmer’s
found it unrewarding.
vast collection of old copies of LIFE and Germany’s
“By the time I could get to any of these places from Iceland,
STERN magazines.
everybody from the international media was there. It was like
“That was it for me right then and there,” Rax told me recentgoing to cover the Olympics and being a little late,” Rax says.
ly. “I fell in love with photojournalism, the work of W. Eugene
But when he was assigned to shoot the Inuit in Greenland, or do a
Smith, a couple of stories about Arctic explorers, and great blackstory on farmers working on their remote homesteads in Iceland,
and-white photography. I knew that this is what I had to do.”
he was the only one there documenting them. “It’s like a whole
And do it he did—first as a staff photographer for Iceland’s bigway of life was being overlooked and forgotten,” he remembers.
gest newspaper, Morgunbladid, covering the kind of daily news
And so he started financing his own trips back to these places
assignment work that made up the basis of training for many
because the paper only had so many stories they could do there.
great photojournalists, and, then, as his body of work about the
Arctic peoples grew in size and worldwide stature, as a special
“I sold my car, I sold some of my cameras, just so I could go
back up and continue working,” Rax says, “because
assignment photographer for the publication.
in the beginning, there were no grants or anything
Today, with five books and countless 왘 MORE On The Web
international exhibits and awards under OP columns are available as an archive online at like that for these kinds of stories.”
For his personal work in these regions, he prefers
his belt, he’s hard at work on his magnum www.outdoorphotographer.com/columns.
Find tips, answers and advice from OP’s trusted
opus, a book and a documentary film with cadre of world-famous nature photographers! shooting black-and-white film in his Leicas, but
recently, he has also been shooting digitally with a
the working title of “The Arctic.”
30 Outdoor Photographer outdoorphotographer.com

Leica M Monochrom and another color
Leica digital body, which he sets up to
shoot only in black-and-white. “I see the
pictures in black-and-white, and take
them in black-and-white, and work on
them in black-and-white,” Rax explains,
“so I can feel honest to my vision.”
Because he went back to the same
villages, farms and people, over and
over, he started to get the kind of
intimate, in-depth coverage that only a
lot of time, and the trust of the people
whose lives you’re documenting, can
yield. “They became my friends as well
as my subjects.”
To achieve these insightful moments,
he’s never without a camera when working on his photo essays. “Sometimes it
actually bothers me because you have to
get away from it,” he laughs. “You know
what I mean? When I’m doing work in
Greenland, I’m always on my toes for
everything. I don’t even use the same
cameras at the paper that I do in my own
private work. Because I just want to get
away from thinking about the photojournalism I do for the newspaper because
it’s such a totally different type of work
today than the kind of work I’m doing
on my own. ”
After several trips all over the Arctic,
he noticed there was something wrong.
“In the beginning, I just wanted to get a
good photograph. But early on, I sensed
that something was really wrong—everything was changing, the weather
was changing, the ice was melting, it
was getting thinner. It’s very drastic
now—very drastic. It has become so
totally different in just 30 years,” says
Rax. “It’s one thing to study computer
models and research, but it’s another
thing to go back to these places over
and over again and see what’s happening firsthand. It’s unbelievable how fast
the changes are coming.”
Rax continues, “So much of what we
read in the press is about empty people
who are famous for being famous, but
the real stories—of famine, drought and
other important subjects—are never
going to be in most newspapers and
magazines because it doesn’t work for
advertisements. It’s making the world
more and more stupid.”
And so Rax feels a certain urgency to
get this current book and documentary
done, to get out a first-person visual
narrative of what’s happening all across
the Arctic to complement his previous
volumes. To add some academic weight

to his project, he has enlisted Haraldur
Sigurdsson, a volcanologist from the
University of Rhode Island and a good
friend, as the cohost of his film.
“When you spend a lot of time alone
on the ice, and you look up in the sky
and see all the stars, you start to think
quite differently about our world. In
the beginning, I wasn’t thinking about
global warming, climate change or
anything like that. I was just freezing,”
Rax laughs. “But then you start to think

more, and whatever is causing this
change, it’s going to affect us all. Here,
in Iceland, we might get warm—maybe
we’ll start having to wear swimsuits.
But these Arctic cultures, and other
places halfway around the world like
the Maldives, are going to disappear
entirely. And I do care about people,
wherever they are. I care about the
OP
whole world.”
Visit Bob Krist’s website at bobkrist.com.

outdoorphotographer.com June 2015 31

ﬂeeting vistas

The Next Display

New opportunities on the horizon for photographers
[ By Elizabeth Carmel ]

ABOVE: On her new VistaChannel.tv website, Elizabeth Carmel is breaking free from traditional prints and exploring new display possibilities.

played. The new 4K TVs are simply stunning, and actually can
he advent of digital photography forever changed
look better in some instances than a printed and framed photohow we capture and develop our images, and made
graph. A 4K UHD TV display is 3840x2160 pixels as opposed
it possible to share photographs with the world via
to the current HD standard of 1920x1080 pixels. This new 4K
the Internet.
TV technology will drive the convergence of still photography
Making prints of our images has never been easand video. As these new televisions become widely adopted,
ier thanks to constantly improving digital printing technolothere will be increased demand for high-quality, high-resolution
gies. This impending sea change in photography was barely
multimedia content. At CES, I was amazed that most of the new
comprehensible even 20 years ago. I believe we’re on the cusp
4K TVs were displaying high-resolution time-lapse films and
of another fundamental shift in how we’ll experience and disother still photographs in the demonstrations, rather than 4K
play our photographs. While some of this technology may
video, due to the limited 4K video content currently available.
seem like science fiction today, I think five years from now it
Of particular interest to me at CES were the 4K OLED TVs.
will be much more mainstream.
OLED stands for “organic light-emitting diodes.” OLEDs are
I attended the huge CES show in Las Vegas this year to learn
solid-state devices composed of thin films of organic molmore about what’s on the forefront of image display technolecules that create light with the application
ogy. As a gallery owner who specializes in the
of electricity. This display technology cresale of my fine-art prints, I’m always on the look- 왘 MORE On The Web
out for new art display options to share with our OP columns are available as an archive online ates incredibly deep blacks and vibrant colors that haven’t been previously possible on
customers. At CES, I realized that new television atFindwww.outdoorphotographer.com/columns.
tips, answers and advice from OP’s trusted
technology is rapidly advancing in terms of the cadre of world-famous nature photographers! consumer displays. In addition, there’s poresolution and range of colors that can be distential to make this type of display ultrathin

32 Outdoor Photographer outdoorphotographer.com

Even a single tree has the ability
to make a strong, dynamic image,
but there’s nothing wrong with
using a ﬁlter or two to add an extra
dimension. With a gentle breeze in
the air, the long exposure captures
the movement in the clouds, as well
as in the crops in the foreground,
whilst an ND grad controls the
contrast between the two.

The last colour of the day
reﬂected in wet sand, makes
a glorious combination for a
powerful image. To avoid losing
the colour however, it needs
careful exposure and the help
of an ND grad ﬁlter. A meter
reading from the beach retains
the detail, whilst the 2-stop grad
holds the colour in the sky and
avoids it being washed out.

0.6 ND hard grad

0.6 ND hard grad & Big Stopper

The Big Stopper is the ideal
ﬁlter to use where there is
both water and cloud in the
scene. Combined with an ND
grad, the Big Stopper blurs
the incoming cloud, whilst
adding a sheen to the surface
of the lake. I purposefully kept
some of the blue cast from
the ﬁlter for extra mood.

0.6 ND hard grad & Big Stopper

www.leeﬁlters.com

A reliable ﬁlter system is essential in
landscape photography. The Seven5
System is the perfect match for a compact,
mirrorless camera, ensuring my images
retain the high quality I expect.

www.craigrobertsphotography.co.uk

ﬂeeting vistas
and ultraflexible—imagine being able
to roll up an 85-inch display and put it
in any location!
Viewing high-quality photographs
on a large-screen 4K OLED TV may
soon rival viewing a high-quality ink-

occurred with stock image sales, I think
it’s important to be ready for change as
it occurs instead of lamenting “the way
it used to be.” I think it’s certain that visual artists will be able to reach a wider
audience as people recognize their TVs
can also be used as art displays.
The physical barriers to viewing and

ABOVE: For photographers who make a living from their images, new media presents monetization
challenges. Just as she does with prints, Carmel charges for full access to the VistaChannel.tv work.

jet print. External lighting isn’t an issue
with TVs as it is for inkjet or LightJet
prints. Furthermore, we now can add
high-resolution 4K HDR video to the
mix to create a full multimedia experience. The photographer’s artistic vision and technical expertise with HDR/
high-resolution imagery will become
paramount with these new display opportunities. While the volume of photos
and videos being shot worldwide has
increased exponentially, how many of
these images are worthy of distribution?
As photography and video converge, it
will be more important than ever to be
a visual artist with a unique viewpoint
and the technical skills to record your
vision. There’s still no substitute for
compelling artistic compositions.
I think there still will be a demand
for the signed, limited-edition photographic print in the future. It will be
interesting to see if this new display
technology reduces the demand for actual “wall art.” I, for one, hope it does
not; however, similar to the shift that

appreciating high-resolution imagery
are disappearing and moving outside
the realm of gallery walls. Similar to the
challenges facing the music industry,
photographers will have a new concern
about the ease of copying their highresolution digital content. I don’t spend
too much time worrying about duplication of my low-resolution, 900-pixel
website images on the Internet, but I do
have greater concern when a 4000-pixel-wide image becomes easy to duplicate and share. The same concerns arise
for 4K time-lapse and video content.
The question is, will we be able to realize an income from our work when it
can be so easily duplicated and shared?
Hopefully, future 4K distribution technology will allow for some form of
DRM (digital rights management).
My husband Olof and I have decided to step our toes into the brave new
world of multimedia content by creating a series of videos showcasing our
still images in combination with timelapse and video clips. We created these

in native 4K UHD resolution, but at
this point have made them available
for download only in 1080p format due
to DRM concerns. We do make watermarked 4K previews available on our
YouTube channel. We realized that this
form of content creation requires a large
library of images and a steep learning
curve with video-editing
software. In addition,
there’s no small investment required to come
up with the computing power and gear to
create and process 4K
video. And we haven’t
even ventured into the
world of 4K drones yet,
but that’s another opportunity (and expense)
that awaits! You can see
our videos at our new
website VistaChannel.tv.
We’re excited about the
opportunities this presents to share our work
with a wider audience,
and to make it more
accessible to people
who may not be able to
purchase signed prints.
There are other photographers also making the
leap, including the people who inspired us to
pursue video, Bob and Lori Schneider
of ImageEssence.com.
The only constant in the business of
photography is change—we’ve made
a choice to embrace new technologies and display opportunities as they
emerge. I’m interested in hearing about
how other landscape and nature photographers are venturing into the world
of multimedia. My hope is that nature
photographers can use this new technology as a tool to educate the world
about the importance of protecting our
last vestiges of wilderness.
OP
Elizabeth Carmel is a professional
landscape and travel photographer. She
and her husband Olof Carmel own and
operate two art galleries in California,
the Carmel Gallery in Calistoga and
the Carmel Gallery in Truckee. You can
get more information about her prints,
galleries, workshops and books at
ElizabethCarmel.com and TheCarmel
Gallery.com. For more information
about her videos, go to VistaChannel.tv.

DESIGNED
BY PROS
FOR PROS
Domke’s latest evolution in
camera bags lets you customize
to your shooting style.

• Includes Patent-pending GearProtex® in
PocketFlex® storage component system
• The Official Bag of the White House
News Photographers Association

See the full line of NEW Domke
camera bags at tiffen.com/next-generation

outdoorphotographer.com June 2015 35

[

F A V O R I T E

P L A C E S

Text & Phot o g ra p h y B y D o u g R o a n e

]
be for sunrise the next morning.
A wide-angle lens is essential
for full sweeping views of the
lake and Ptarmigan Mountain.
The shoreline is very difficult
to access, with a lot of deadfall, but there are also fantastic
views of the area, and plenty
of wildflowers for foreground,
that are away from the shore.
Opportunities for macro photography are endless. A telephoto is useful to focus on
intimate landscapes, as well
as the abundant wildlife in the
area. Always be “bear aware”
and carry bear spray with you
at all times, as it’s easy to get
lost in your photography and
put yourself in danger.

Best Times

KOESSLER LAKE

Bob Marshall Wilderness Complex, Montana

Location
The Bob Marshall Wilderness
Complex consists of three
national wilderness areas covering over 1.5 million acres of
roadless, remote backcountry
and numerous trails in northwestern Montana. Koessler
Lake is a 15-mile hike from the
trailhead at Holland Lake and
is nestled in a stunning glaciercarved cirque at the foot of
Ptarmigan Mountain. Your only
options for getting there are by
foot or horseback, and be sure
to bring a friend and bear spray,
since the Bob Marshall has the
highest concentration of griz-

MO N TA N A

Koessler Lake, Bob
Marshall Wilderness

What’s Your
Favorite Place?

zlies in the Lower 48. Those
who backpack in may wish to
spend the first night at Upper
Holland Lake, six miles from the
trailhead, then hike the remaining nine miles to Koessler Lake,
via the unbelievably beautiful
and majestic Gordon Pass, the
next day. The junction off the
main trail to Koessler can be
easy to miss, so be on the lookout. The area is used frequently
by backcountry horse outfitters, so try to get there early to
establish a campsite, and use
Leave No Trace practices to
keep the area pristine.

Weather
In general, snow lingers into
early or mid-June, and the first
snowstorms often begin again
in early September, making the
area most accessible in July
and August. The area gets a
lot of rainfall in the summer

and becomes a lush, temperate rain forest, teeming with
wildflowers and tall weeds. Full
rain gear is recommended, as
moisture from the dense, wet
vegetation will soak through
clothing quickly. Weather patterns in Bob Marshall country
can change frequently and
without warning, and snowfall
is possible anytime. During the
day, 70s and 80s are typical,
with nighttime temperatures
frequently dipping down into
the 40s and even 30s on clear
nights. Short-range, detailed
forecasts are available at local
ranger stations and are worth
checking before you head out.

Photo Experience
Your goal, as a photographer,
is to get to Koessler Lake with
enough light left in the day to
scout out the best photo spots
so you know where you have to

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

36 Outdoor Photographer outdoorphotographer.com

Summer is the most accessible
and beautiful time for camping and photography, generally July and August, but be
prepared for rain or even snow
anytime. Wildflowers typically
peak in this area in late July/
OP
early August.
Contact: Montana Office of
Tourism, visitmt.com; Bob
Marshall Wilderness Foundation, bmwf.org. See more of
Doug Roane’s work at www.
dougroanephotography.com.

Essential

Gear...

A wide-angle zoom is a staple of
landscape photography. The new
Tamron 15-30mm ƒ/2.8 Di VC
USD covers full-frame, as well as
APS-C formats. Across the range,
the lens is sharp from corner to
corner, and the ƒ/2.8 maximum
aperture is constant. Estimated
Street Price: $1,199. Contact:
Tamron, www.tamron-usa.com.

Solutions...

Really
Low Light

Push the envelope with a superfast ƒ/0.95 lens

ISO

has been a hot topic for
a few years. As sensors and processing engines have advanced, we’ve broken through the 100,000, 200,000 and
even the 400,000 ISO marks. If you
can remember the era of film when ISO
3200 emulsions were considered to be
extremely high speed, being able to get
a usable file from a digital camera set to
ISO 51,200 will give you pause.
Photography is both art and science,
and when technology advances, that
38 Outdoor Photographer outdoorphotographer.com

leads to changes, sometimes dramatic
changes, in the art. Emulsion and sensor
sensitivity have been key advancements
that gave rise to whole new ways for photographers to see and capture the world.
The youth movement in nature photography has been the quickest to align
aesthetics with the advancements in
technology. That’s not surprising. In
the 1930s, it was the youth movement,
best exemplified by Group f/64, who
embraced the sharpness that camera,
film and lens technology made available. In the 1940s and 1950s, the upand-coming photojournalists embraced
the handheld aesthetic that came with
the new 35mm film cameras and they
changed the face of photojournalism.
In the 1960s, as 35mm transparency
film exploded in popularity, the new
youth movement embraced it, and in
the process, replaced the black-andwhite workflow that relied heavily on a
darkroom to an aesthetic that shunned
any kind of manipulation of the image,
including cropping. As digital cameras
came along, the photographers who
were fully entrenched in transparency
film looked for ways to make the digital image look more like their favorite
emulsions, while a youth movement that
wasn’t ingrained in film worked with
the digital look. And, today, the photographers leading the way into the future
are taking advantage of the extraordinary ISO advancements to shoot deeper
and deeper into the edges of night.
In addition to the ISO capabilities
of many modern cameras, a variety of
lenses are adding to what we’re able
to accomplish. Canon has had a 50mm
ƒ/1.2 L-series lens in their lineup for
years. It’s always been held as a sort
of special-purpose lens, but more and
more, these kinds of lenses are finding
their way into more camera bags. And
photographers are also rediscovering
just how fast a lens can be.
The rise of zoom lenses changed
our perspective on maximum aperture.
When we’re looking at pro-level zooms,
a constant aperture of ƒ/2.8 is the gold
standard. Frequently, a similar lens is
offered in an ƒ/4, as a less costly, but still
reasonably fast alternative. Before zoom
quality had reached the point where the
lenses could be mainstream, most pros
and serious amateurs relied on primes,

Ultrafast ƒ/0.95 lenses give you some incredible
options. The available models are limited in their
automatic capabilities like AF and auto-aperture,
but that’s a small price to pay for the ability to
get a sharp image shot at ƒ/0.95.

and the differentiation between a pro
prime and a solid, but less costly alternative was in the ƒ/1.4 to ƒ/1.8 range.
There are still a remarkable number of
lenses with incredibly reasonable price
points for a photographer who doesn’t
mind the loss of zoom capability. An
ƒ/1.4 is three more stops than an ƒ/2.8!
The rise of mirrorless cameras has
also helped to drive the use of even faster
lenses. Leica users with M-mount bodies have had the very highly regarded
(and very expensive) Noctilux 50mm
ƒ/0.95 for years. Through the use of
adapters, users of cameras like the

Sony a7S have been able to make use
of this incredible combination. That’s
if they could afford the Noctilux. More
affordable combinations can be had by
coupling M-mount Vöigtlander Nokton
lenses to an E-mount body, but the VMmount Vöigtlanders aren’t as fast as the
Noctilux. Also, as good as many adapters are, they aren’t perfect and you can
almost guarantee that you’ll have a light
leak at the worst possible moment.
For Micro 4/3rds users, Vöigtlander
has expanded the Nokton line to include
several MFT-mount ƒ/0.95 models.
The MFT format gives you a 2X magnification factor, so the 25mm ƒ/0.95
Type II lens behaves like a 50mm on a
full-frame camera. Other MFT-mount
Vöigtlander lenses include a 10.5mm,
17mm and 42.5mm—all with ƒ/0.95
maximum apertures. These primes are
manual focus only and cost between
$1,000 and $1,500.
If you’re shooting with a Sony a7
body, there’s another interesting player
in the ƒ/0.95 arena. Chinese company
Zhongyi (ZY) Optics produces the
Mitakon brand of lenses. They have a
pair of Mitakon Speedmaster models
in 35mm and 50mm. The 35mm ƒ/0.95
is designed for APS-C and smaller formats, and it’s available in MFT, Fuji X
and Sony NEX mounts. The Mitakon
Speedmaster PRO 50mm ƒ/0.95, however, is made with a Sony E-mount for
the full-frame cameras. The Mitakon
has been referred to as a clone of the
50mm Leica Noctilux, although it’s
more accurate to say they’re similar.
Price is where the similarities end—
the 50mm Speedmaster PRO can be
ordered for $849.
The primary use of these sorts of
superfast lenses is usually considered to
be for creating extremely shallow depth
of field, but for a nature photographer
shooting at infinity, you can also use
them to see deeper into the shadows
of the day. Even if you’re adhering to
the maxim that a lens is at its sharpest
three stops from wide open, that makes
an ƒ/0.95 lens sharpest around ƒ/1.8
or ƒ/2—about two stops faster than a
wide-open pro zoom!
An ƒ/0.95 lens isn’t likely to be the
fabled “only lens you need,” but it can
be another tool in your bag that helps
you make new and unique photos. OP
outdoorphotographer.com June 2015 39

W i n n i n g I m a g e s F ro m T h e We e k l y A s s i g n m e n t s A t o u t d o o r p h o t o g r a p h e r. c o m

1
Congratulations to Lorenzo Cassina and Alena
Nichols. Theirs were the winning images from the
recent Getting Ready For Spring and Last Gasp Of
Winter Assignments on outdoorphotographer.com,
sponsored by Kenko Tokina USA. There’s a new
Assignment posted each week. To get your photos
into the running, all you need to do is enter.
40 Outdoor Photographer outdoorphotographer.com

1) Getting Ready For Spring Assignment Winner
PHOTOGRAPHER: Lorenzo Cassina
EQUIPMENT: Nikon D80, Sigma 70-300mm ƒ/4-5.6 APO DG, monopod
In September 2012, at Constitution Park in Deerfield Beach, Florida, this
beautiful swallowtail butterfly landed on a flower just before my eyes,
giving me limited time for the shot. This confirms what photography
is all about—capturing the moment by being in the right place at the
right time. I only made regular enhancements, such as crop, contrast,
saturation, gamma, sharpness and maybe a slight touch with curves.

2) Last Gasp Of Winter Assignment Winner
PHOTOGRAPHER: Alena Nichols
EQUIPMENT: Canon EOS 5D Mark II, Canon EF 24-105mm ƒ/4L, tripod, cable release
Living in California, and enjoying time photographing the national parks, I try to spend as much time as I can in Yosemite.
This image was taken during the winter of 2013-2014. I had been watching the storm patterns closely and decided to spend
a week in Yosemite when the weather report called for a large snowstorm. The first couple of days were with heavy snowfall,
so the shooting was limited. After about day three, however, the storm started to break and created a wonderful opportunity
for the photographers there in the park. I was watching the waterfalls for the best light and noticed the contrast that this area
offered. I photographed from the same location most of the morning for the best lighting. I worked in postproduction for a bit
more detail and to bring a bit more light to the image. It was a special time, photographing the Yosemite waterfalls in winter!

outdoorphotographer.com June 2015 41

ago, Chris Miele found himself
rk. He was a professional video
editor, working in a fast-paced environment,
but he felt creatively stalled. So, he began
using his free time to photograph landscapes
around his Southern California home. He had
always been an outdoorsman, and he knew he
wanted to spend less time chained to a desk.
“I knew that sitting in a chair for 10 hours
a day was my impending fate if I had stayed
a video editor,” Miele says. “I wanted to
avoid that fate.”
Miele, who’s just days shy of his 30th
birthday, grew up outdoors. But whether
he was hiking or snowboarding, he wasn’t
photographing those activities. In fact,
for most of the last four years since he
rediscovered photography, he has used his
camera exclusively for landscapes. This
focused approach helped him progress from
newbie to pro in a few short years.
“In 2011, when I re-picked up my first
SLR,” Miele says, “I shot landscapes around
Los Angeles. Soon, I decided I was going
to go on a trip a month because, if I do that,
I’m going to really progress quickly. So,
I started backpacking and exploring the
Sierras. Within six months, I had racked
up a pretty good initial library of images. I
pretty much dedicated myself creatively to
that. It only has been in the last six months
that I’ve been a full-time professional.
“For the time when I was employed,” he

FINE

ART

WITH A PURPOSE
Twentysomething landscape photographer Chris Miele
first found his aesthetic, now he’s in search of a purpose
BY WILLIAM SAWALICH | PHOTOGRAPHY BY CHRIS MIELE

42 Outdoor Photographer outdoorphotographer.com

Chris Miele is part of the next wave of landscape photography luminaries.
His style is immediately recognizable as a departure from the rules of the past.
Miele’s youth leads to some challenges, especially when he’s teaching. He
explains, “This year, I started teaching workshops, and one of the big things
to overcome is, in fact, being a younger guy.” As he approaches 30, he doesn’t
necessarily feel like he’s the youngest. “There are 24- and 25-year-olds who
are just shooting nonstop; their software abilities are even better. There are
some guys out there who are kind of big on social media and Instagram. Who
knows what they’re turning up out there in the real world.”
outdoorphotographer.com June 2015 43

At a glance, Miele’s photography might
lead one to believe that it’s mostly digital
construction, but that’s not the case.
“Computer art is wonderful,” he says, “and
those are the guys that I call the 500px stars.
I would sign on there and see all this amazing
work, and I kind of fought it for a while
because I knew it was all layers and heavily
composited. Artistically and creatively, it’s
wonderful stuff. But it’s tough because people
see those things and lust after them, and then
they look at yours and, you wonder, is my
stuff up to par with these fantasy visions.
I was trying to strike that balance, and
I’ve always really enjoyed people asking
me, ‘Is it real?’ because of the look on their
faces when I say, ‘Yeah, with about 20%
enhancement afterwards.’”
44 Outdoor Photographer outdoorphotographer.com

says, “trips were usually Friday afternoon to Sunday evening, and then twice
a year, I would take something long,
a week or two weeks, and do a really
intense four-state attack. I did a trip
in 2012 that was my first 10-day, nonstop, on-the-go, sleeping-in-the-carin-the-backcountry kind of trip. I went
through Jackson, Yellowstone, through
the Pacific Northwest.... The next year,
I went to the Southwest for two weeks,
the following year, I went to Iceland.”
Upon his return from Iceland, Miele
decided to take a few months off from
shooting and focus on building his business. This enabled him to quit his day
job, but it also left him feeling, once
again, creatively restless.
“I kind of got stagnant in a bad way,” he
explains. “I didn’t realize how important
it was to keep shooting. By fall, I got
back in the routine and was shooting
consistently again, and now I realize I
always have to be shooting. My focus
has shifted from going to an area and
covering it, and now it’s more about what
topic do I want to touch on, where will it
be, and then I can focus on all the details
that go into it, and in the end, I’ll have
a 10- or 12-image series that’s concise.”
This new approach is similar to the way
a photojournalist might take on picture
stories, but Miele considers himself
firmly in the fine-art camp. He speaks
about his landscapes in terms such as
surreal, magical and whimsical, and he
maintains a rigorous visual aesthetic. He
once even said that his approach is one
of an artist and not a photographer.
“I still have that distinction, to some
degree,” he says, “but I think some

maturity has leveled it off a touch. Still,
when I create images, I always get
stuck in my visual aesthetic, for better
or worse. That’s largely what makes me
happy about my images, so then I’m
still hitting that artist’s approach. If I hit
that mark, but now I’m telling a story
about a little bit different subject matter,
I’ve kind of crossed over into the realm
that some people understand as more of
a photographer and less of an artist. It’s
kind of funny that I made that distinction, and now I’m kind of leveling off
between the two.”
Given his youth, his professional
history of postproduction and his penchant
for creating artistic interpretations of his
subjects, one might assume Miele is
bound to lean heavily on Photoshop. In
fact, his mind-set is quite the opposite.
“I took the approach, pretty much
from the start,” Miele says, “that I wasn’t
really interested in heavy Photoshop
work. So one of my main live-or-die
aesthetics early on was that I didn’t do
any composites, I didn’t do any HDR. I
still use graduated ND filters, and I very
much want to get it right in-camera. But,
in the last year, I’ve started doing more
focus stacks and playing with composites, mainly because with workshops
and teaching, I want to make sure that,
if I have a client ask about blending layers and luminance channels, I want to be
able to offer that.
“I did go to art school,” he adds, “and
that was one of the big things I took
away: You want to get it right in the
camera. I carried that into practice. It’s
very apparent, especially in my night
photos. Most of those are light-painted,

outdoorphotographer.com June 2015 45

Chris Miele’s Gear
Nikon D800
AF-S NIKKOR 16-35mm ƒ/4G ED VR
AF-S NIKKOR 24-120mm ƒ/4G ED VR
AF-S NIKKOR 14-24mm ƒ/2.8G ED
Induro CT214 tripod
Induro BHD1 ballhead
LEE graduated ND filters (0.9, 0.6, 0.3)
LEE 2-stage rotating filter holder
Tiffen Circular Polarizer
Tiffen ND kit (1.2, 0.9, 0.6)
Vanquest Javelin 2.0 sling bag
Cheap shutter releases (these things break on me like crazy)
Lens rag, lens cleaner, flathead screwdriver, air blower
Rosco gel swatch kit
Black Diamond Storm 100-lumen headlamp
Batteries, 16 GB SD cards, and cheap shower caps for
unexpected water spray
Klean Kanteen water bottle (insulated, dinged and dented;
I don’t go anywhere without this guy)
ABOVE: Nikon D800, AF-S NIKKOR 24-120mm, LEE graduated ND filters

46 Outdoor Photographer outdoorphotographer.com

or other trick techniques I’ll use, like a
gel over the lens to give it some color,
things like that. To me, the camera is a
way to strip off this layer that we can’t
see. I kind of believe that the camera can
see wavelengths and interpret light in a
different way than we can. That’s the
way I like to use a camera. That’s why
I kind of give it a surreal connotation.”
Miele’s night photographs are striking and bold, and definitely surreal. He
relishes the challenges of working after
dark to produce very different images
than he can make during the day.
“With the night images,” he says,
“the process is really enjoyable because
it takes an extra level. It’s cold, it’s
dark, I’m almost always out there by
myself—do I really want to go out there
right now? It always takes a little extra:
Okay, you’ve got to get up and do this;
you’re going to be happy you did.”
Shooting at night allows the photographer more time to work, as the
light isn’t changing quickly as it does
during the magic hour. Miele relishes
this freedom to experiment with techniques and augment the lighting of a
scene, as he did with the image called
“Forgotten Bunker.”
“That’s one of the first focus stacks I
ever did,” he says. “It’s a little more of
using the tools to get the job done, so
to speak. It’s not a flash. I use a headlamp for everything, a 100-lumen Black
Diamond headlamp that I can dim. I
always wanted to be a director of photography when I was studying video,
so learning how to light was always my
main study. Now, I go out with a simple,
dimmable one-source unit that I can
put in a spot, put in a flood, or use my
hands as barn doors to shape the light.
I carry a second lamp, and I have one
or two shots where I’ve used two lamps,
and I’ve lit up stuff with fire, throwing
kindling on to strike up some light. The
night is fun because you don’t have
these five-minute windows of light; you
have an hour or two, or as long as you
can handle being alone in the dark.”
In daytime hours, Miele’s aesthetic is
largely defined by soft light.
“You can’t quite re-create that,” he
says. “Or at least I haven’t learned how
to. For a long time, this comes down
to learning how to recognize light; it’s
something you learn over time. Other
guys interpret harsh light or soft light,
and the really amazing guys are the ones
that can use all of it well—and I’m not

7.5mm f3.5 MFT
Mount Fisheye
Black & Silver

8mm f3.5
f
II
Fisheye

10mm f2.8
Ultra-Wide

12mm f2.0
High Speed
Black & Silver

12mm f2.8
Full Frame
Fisheye

f
14mm f2.8
Full Frame
Ultra-Wide

16mm f2.0
High Speed

3.5
24mm f3
Full Frame
Tilt-Shift

24mm f1.4
f1 4
Full Frame

TEM
SAMYANG PHOTO LENS SYSTEM

smo oth and complete focusing control.

35 mm f1.4
4
Fu ll Frame
e

phottographers and cinematographers who appreciate high speed and image quality with qu iet, silky

adva
anced manufacturing and quality control techniques to produce HIGHLY AFFORDABLE tools for

50mm f1.4
Full Frame

Full Frame Lenses also cover APS-C and 4/3 size (CS) image sensors

syopt.com | [emailprotected] | (800)-441-1100 or (212)-947-7100 | Like us on: facebook.com/SamyangUS

AVAILABLE AT: ADORAMA, AMAZON, B&H, BEACH, CAMBRIDGE WORLD, FOCUS CAMERA and YOUR LOCAL CAMERA SPECIALTY DEALER

Available mounts: Canon, Nikon, Sony Alpha, Sony E, Pentax K, Four Thirds, Olympus/Panasonic Micro 4/3, Samsung NX, Fuji X & Canon M

8mm f2.8 II
Fisheye
Black & Silverr

t "MM .FUBM $IBTTJT BOE -FOT .PVnt

t )JHI 1FSGPSNBODF &% (MBTT

t $JSDVMBS #MBEF %JBQISBHN

Man ufactured in Korea, Samyang prime fixed mount lenses utilize specialized glass types and

t -JGF4J[F
.BHOJöDBUJPO 3BUJP

t "MM .FUBM $IBTTJT BOE -FOT .PVOU

t )3 *OEFY BOE &% (MBTT ElFNFOUs

t /POSPUBUJOH Filter Mount

85mm f1.4
Full Frame

t 'PDVTFT UP .6 Feet

PDVTJOH UP *ODIFT
t 'P
t $JS
$J DVMBS #MBEF %JBQISBHN

t UMC Multi-Coating

t (SFBU GPS QPSUSBJUVSF
t )JHI 4QFFE ' "QFSUVSF

t Great Bokeh

t UMC Multi-Coating

t /POSPUBUJOH Filter Mount

NN ' 'VMM 'SBNF 5FMFQIPUP

t Sttops down to F32

t Su
uperb Bokeh

NN ' 'VMM 'SBNF .BDSP

TWO NEW WAYS TO GET CLOSE

300mm f6.3
Compact Tele
Black & Silver

there yet. I still love soft light the most. It
gives it that surreal look where it’s kind
of cartoony. The blacks are still deep. I
don’t like overly defined shadows; I like
to keep some things dark. I’ve started
to recognize my ideal light at different
times in the day than I used to. I used
to only think it happened 20 minutes
before and after sunset. But Iceland had
this really nice filtered light all the time,
and I was shooting in the middle of the
day, which never happened before. I’ve
gotten a little more trained to recognize those signifiers and go after those
because that’s usually when I can create
the images I love the most. I’m still trying to harness harsher, more contrastier
light, but damn, it’s hard.”
As a young photographer rapidly progressing in his career, Miele is finding
that he wants to do more than visit new
places and create images that speak to his
aesthetic. He wants to create fine art with
a purpose, and he’s willing to branch out
into different genres to find that purpose
on a project-by-project basis.
“Everyone has their own vision,”
Miele says. “And when people have
tools to execute that vision, it’s intriguing to see what they do. The more I do,
the more I understand what it means to
have your own vision. At first, it was
more on the selfish end, of me wanting to explore and see the places that
I hadn’t gotten to see yet, and bringing back images that people would say,
‘Oh, my god, I have to go there now!’
I enjoy creating whimsical, magical
things, places for people to escape to.
That’s still a core value of my work,
but as I move forward, I do want to create images that have a little bit bigger
purpose and things that people can get
behind rather than just, ‘Wow, that’s
really pretty.’ I really want to have a
purpose beyond a well-lit imaginative
photo. I like the idea of fine art with a
purpose, where you really are crafting
a message with your images. You can
still use the same compositional rules,
you can still use the same light that you
seek. So once I got over that hurdle, I
was able to create images that aesthetically still pleased me, but are now telling a more encompassing story with a
targeted audience.
“The purpose is going to change from
project to project,” he says. “I feel like
a lot of outdoor guys take the conservation avenue, and I don’t want to say it’s
the easy way out, but it’s an easy target.
48 Outdoor Photographer outdoorphotographer.com

ABOVE: For this image, “Krypton Leak,” Miele was both lucky and good. He had never been to Devils
Postpile before, and he only got to the trail at midnight. “I can remember hitting those rocks at Devils
Postpile,” he describes. “That was the ﬁrst time I had ever been there. I had never even been there
during the day.” Vision doesn’t always come from scouting a locale.

And I always like to go against the grain
a little bit so, initially, I stayed away
from that concept. But, now, project
to project, I’m exploring that. So, for
example, starting next week, I’m going
to hit the road all through California and
really try to photograph a series of the
water problem that we’re having—the
reservoirs that are drying up and things
like that—and that will fall under con왘

servation. But that’s something that’s
also timely and topical, and a way for
me to be out there creating, and keeping
the ‘creating with a purpose’ part of my
mind really sharp.”
OP

MORE On The Web

See more cutting-edge images and insights
about the future of nature photography
from the youth movement on the OP
website at outdoorphotographer.com.

See more of Chris Miele’s work and
sign up for his workshops at www.
chrismielephoto.com.

NOW ENJOY BRILLIANT
COLLEGE COURSES IN YOUR HOME OR CAR!

In What Are the Chances?
Probability Made Clear,
award-winning Professor
Michael Starbird helps you
understand the fundamental
concepts and fascinating
applications of probability. By
picking intriguing, useful, and
entertaining examples, he makes
probability come alive.
Course No. 1474
12 Lectures
(30 Minutes/Lecture)

In Museum Masterpieces:
The Louvre, expert art critic
and historian Professor Richard
Brettell takes you on an unforgettable journey through one of
the world’s greatest museums.
This 12-lecture series explores
some of the most beautiful and
renowned examples from the
museum’s remarkable collection
of masterworks.
Course No. 7175
12 Lectures
(30 Minutes/Lecture)

In My Favorite Universe,
world-famous astrophysicist
and director of the Hayden
Planetarium Neil deGrasse
Tyson takes you on a spirited
and intellectually engaging
journey through the cosmos and
all its history, from before the
big bang to the most likely ways
in which the entire universe
might end.

In A History of Hitler’s
Empire, 2nd Edition, awardwinning, Ivy League Professor
Thomas Childers explains how
a man like Adolf Hitler could
come to power in a developed
country with a highly educated
population, and how he could
hurl the entire world into a
devastating war that would
consume millions of lives.
Course No. 805
12 Lectures

Course No. 158
12 Lectures

(30 Minutes/Lecture)

SPECIAL INTRODUCTORY OFFER!

+$5 Shipping and Handling

Priority Code: 114245

SAVE
up to

$9.95 on DVD
$9.95 on CD
All orders subject to approval.
Limit of one order per household.
Cannot be combined with any other special offers or promotions.
Offer valid for new customers only.

D TIME OF
FE
ITE

$190
O

$199.95
$134.95

MORE On The Web

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

ABOVE: Sunrise on Little Chief Mountain in the Lewis Range, Saint Mary Lake, Glacier National
Park, Montana.

(troughs), while the northerly rising lobes
form high-pressure systems (ridges).
High-pressure ridges are large domes of
air that rotate in a clockwise direction in
the Northern hemisphere (counterclockwise in the Southern), with descending
air at their centers that produce sunny
skies and light winds. Low-pressure systems rotate in the opposite direction with
rising air at the centers. As the air rises, it
cools, and the water vapor within it condenses to form precipitation. Hurricanes
are the most dramatic example of this.
How do I sort through all the available
weather data to take advantage of it when
I’m hunting for images in the field? Enter
the National Weather Service. A division
of the National Oceanic and Atmospheric
Administration, it’s the most comprehensive database of weather information in
the world. The vast majority of weather
websites get their information from the
NWS, so it makes sense to go directly
to the source. Their site provides visible,
infrared and water vapor time-lapse sat66 Outdoor Photographer outdoorphotographer.com

ellite loops, radar so you can track storms
and webcams to see conditions on the
ground. The visible satellite is simply
a visible-light image of the earth, while
the infrared shows the temperatures of
the cloud tops and thus the coldest (tallest) clouds in the heart of a storm, and
allows you to track storms at night. The
water vapor loop is used to see large
atmospheric circulation patterns as they
develop into low-pressure systems, even
before clouds get involved. You’ll also
find a “Forecast Discussion” page with a
far-superior, in-depth analysis compared
to those little graphic forecasts with the
smiling sun peeking out from behind the
clouds. Other developed countries have
their own versions of the NWS that I use
when traveling.
When I’m out in the field, I rely on
my iPhone or iPad to access this information. If you’re traveling to a location with no cell service, you can rent
an Iridium GO! or another type of
satellite receiver that creates a hot-

spot signal for your phone or tablet.
When it comes to grand landscape
images, a blank, blue sky adds nothing to the composition, while a sky
full of roiling, swirling clouds provides
drama. If you have the option to spend
several weeks or months on location,
you can wait around for those fleeting
moments with dramatic sky conditions.
If your time is limited, and you need to
stay closer to home for short trips, you
can increase your odds by keeping an
eye on those satellite loops to schedule
your departure for precisely the right
moment to capture ideal sky conditions.
When I plan a weeklong photo
excursion within a half-day’s drive, I’ll
get packed up and ready to go, and if
there’s nothing but boring, blue-sky
high pressure at my destination, I’ll
wait and watch the weather, and time
my departure to coincide with a passing cold front. If I were planning to capture a specific location at sunrise with
my view to the west, I’d need a clear
eastern horizon and, ideally, a western
sky filled with dramatic clouds. The
meteorological situation here would
be an approaching cold front with dramatic black clouds in the western sky.
If I were planning to capture an evening shot with my view to the east, the
best timing would be right after a cold
front sweeps through with clear western
skies behind it and lingering clouds in
the east as the storm moves out.
In addition to keeping an eye on
region-wide weather disturbances like
cold fronts, once on location you can also
take advantage of local, more random
conditions like afternoon cloud buildup
over the higher terrain, which will produce more dramatic evening images than
at dawn. A prime example of this would
be thunderstorm photos at the Grand
Canyon during the summer monsoon
season. Internet access to a local radar
loop allows you to track the heart of the
storm so you can get into position.
While the weather may often feel like
a well-orchestrated conspiracy, working
to deprive you of that great image you’ve
been planning for years, don’t take it personally; the jet stream has more important
things to do. Also keep in mind that while
you may be getting screwed at your setup
location, the photographer just over the
horizon is getting the shot of a lifetime. OP
See more of James Kay’s photography at www.jameskay.com.

ARCA-SWISS monoball®

A R C A
S W I S S

ARCA-SWISS INC
Phone: 480 755-3364
Mobile: 480 206-4770
Skype: rod.klukas
E-mail: [emailprotected]

Outdoor Photographer

travel

The leader of tripod head
design for over 45 years
creates a new revolutionary
K nobless ballhead. It’s
called K nobless because
the traditional locking
knobs have been removed.
Equipped with the patented
(planetary) p-system, the
ARCA-SWISS p0 is a unique
tripod head design due to its
precision, ease of use and
has a powerful, concentric
and uniform locking force. It
features the patented gravitational force compensation,
thus preventing sudden
camera movement. The
ARCA-SWISS p0 is precise,
stylish, strong and weights
under 10 ounces. A hand of
steel in a velvet glove!
ARCA-SWISS p0
with threaded disk
ARCA-SWISS p0
with quickset device slideﬁx
starting from $ 229.-

wildlifescenics
www.outdoorphotographer.com
outdoorphotographer.com June 2015 67

GEAR IT
UP
Our suggestions for
the essential equipment
to have with you for
summertime excursions

FOR THE ROAD
Magellan eXplorist 510 TOPO!

back to your starting point (and up to
two other locations), showing the route
by arrow and the distance in meters or
miles. The compact 2.8x1.5x0.5-inch,
1.3-ounce unit can run for up to 13
hours on a single battery charge, and
recharges via USB. It also incorporates
a self-calibrating digital compass.
Estimated Street Price: $99.99.
SPOT Gen3

( GPS )
While photographers and everyone
else got by without GPS for decades,
today, many love these useful devices.
A GPS can lead you precisely to
specific locations, track your travels
for future reference and even let you
geotag your images so each will
contain metadata as to where it was
taken (longitude, latitude, elevation
and, with some systems, even the
68 Outdoor Photographer outdoorphotographer.com

direction the camera was pointed).
More new cameras are coming out
with GPS built in with each generation.
These make geotagging simple
(bearing in mind they do drain the
camera battery more quickly), but can’t
be used for navigation. So, for a road
trip, you’ll want an independent GPS
unit. There’s a wide variety to choose
from, from handheld hiking units to
car navigation devices, to suit your
specific requirements.
Brunton’s GET-BACK GPS quickly
provides the fastest, most direct route

www.brunton.com
Magellan offers an extensive range

of GPS units for a wide variety of
uses, both in car and in the field.
The eXplorist 510 TOPO! Edition
combines the eXplorist 510 GPS with
a 12-month, unlimited-download
subscription to National Geographic
TOPO!, providing access to
full-color, high-resolution scans of
authentic USGS topo maps. A built-in,
3.2-megapixel camera, microphone
and speaker make it easy to record
geo-referenced images with voice
notes to supplement the still images

ummertime is road trip season. Whether
you’re packing the family in the Wagon
Queen Family Truckster for a trip across
the nation or taking a three-day weekend
for yourself, traveling by car has the advantage of
allowing you to bring an array of gear. Traveling
on foot or by bus limits the gear you can carry,
as does packing for air or train travel, or a boat
cruise. But your car or SUV has lots of room for
gear, and it can serve as a handy “blind” at many
locations. Knowing that space isn’t a problem, the
question is what should you take on a road trip?
Before we get into that, consider that while you’ll

and videos you make with your digital
or film camera. A 3.0-inch touch
screen and two programmable hard
buttons make operation quick and easy.
Estimated Street Price: $299.
Magellan’s RoadMate 6230-LM

be driving to your destination, you might head out
on foot to initially explore the area. An all-in-one
zoom lens for your camera provides a lot of focallength flexibility and makes for easy roaming. You’ll
be ready for wide-angle, “normal” and telephoto
shots at all times. Just bear in mind that the widerange “superzooms” are a compromise among
flexibility, bulk and performance: They’re handy
and compact, but not as good optically as shortrange zooms or prime lenses. If you find some
really good subjects in your initial explorations, you
might want to return with the appropriate primes
or short-range zooms to fully document them.

DashCam Navigator

touch screen, landmark guidance,
seven million points of interest,
multi-destination routing, free lifetime
map updating and more. Estimated
Street Price: $199.99.

combines a dedicated
premium GPS navigator
with a 120° angle of view
dash camera that can shoot
HD video in an endless
loop—a nice complement to
your still images. A G-Shock
Sensor automatically locks
video footage, location and
date/time should an impact
occur. The unit features a five-inch

is a satellite-based GPS messenger
device that provides several valuable
functions. For life-threatening
emergencies, press the S.O.S. button
to have the GEOS International
Emergency Response Coordination
Center direct emergency responders to
your exact location. For non-lifethreatening emergencies, press the

www.magellangps.com
The SPOT Gen3 personal tracker

Brunton GET-BACK GPS

Help button to notify your personal
contacts that you need help. Check-in/
OK tells contacts where you are and
that you’re okay. Track Progress lets
your contacts track your progress
when you’re afield. Custom message
sends a preset message to contacts.
The 3.4x2.6x1.0-inch, four-ounce
(including four AAA batteries) unit can
function in temperatures from -22° to
140°F and at elevations from -328
to 21,320 feet. Estimated Street Price:
$149.99 (service subscription
required). www.findmespot.com
outdoorphotographer.com June 2015 69

( Wireless Control )

CamRanger is a wireless camera control that lets

CamRanger

you set up your camera where you want it and then
operate it from the comfort of your car up to 150
feet away. Just plug the camera into the CamRanger
via the provided USB cable and you have an
ad-hoc WiFi network to your iPad, iPhone, iPod
touch or Android device. You can view the live
image, focus by touching the subject on the screen,
take and view photos, view full-res images, and
set shutter speed, aperture, ISO, white balance,
exposure compensation and much more.
CamRanger is available for many recent Canon
and Nikon DSLRs. Estimated Street Price:
$299.99-$364.99. camranger.com

( Auxiliary Power )

Photogenic ION Pure
Sine Wave Inverter

Your digital cameras and flash units are battery-powered, which means
you need some way to recharge their batteries in the field. (Or, if they can
run off AC, a source of AC would be nice.)
Photogenic’s ION Pure Sine Wave Inverter was designed to power AC
flash units, and has two three-prong AC outlets that can power AC devices,
plus a USB port that can power/recharge a smartphone or other electronic
device. The ION is powered by a lithium-ion battery that can provide 1,200 320 w/s
flashes, and recharges in three to four hours. Estimated Street Price: $399; extra batteries
$145 each. www.photogenic.com
Solmeta’s PowerPal can recharge many Canon and Nikon DSLR batteries and other 5V
USB-charged devices in the field. It features two USB output ports that can be used simultaneously.
The six built-in, high-capacity lithium-ion cells provide 58 watt-hours and can be recharged using
AC or a car cigarette lighter. Estimated Street Price: $149. www.solmeta.com

( Tripod )
If you’re primarily going to be a road trip photographer, there’s
no excuse not to have a tripod. A good one can hold your camera
steadier than you can, allowing you to shoot at low ISO in any light
level and stop down when great depth of field is needed. The tripod
can also lock in your composition, so you can carefully examine
it, and won’t accidentally change it as you squeeze off the shot.
Things to consider when choosing a tripod include: can it
support your camera and lens(es) steadily, can it position your
camera as high and as low as you’ll likely want it, how easy is
it to use (leg locks, adjusting camera height, use on uneven
terrain), “carryability” (is it so heavy you’re likely not to
use it) and material (carbon fiber is lighter than aluminum
or wood and absorbs vibration better than aluminum).
There are many good tripod brands, including
Benbo, Benro, Cullmann, Davis & Sanford, Giottos,
Gitzo, Induro, Manfrotto, Novoflex, Really Right
Stuff, Sirui, Slik, Smith-Victor and Vanguard.

Check them out online at the manufacturers’
websites, then try out the ones that appeal to you
in person, if possible, so you can see how well
you like operating them.
70 Outdoor Photographer outdoorphotographer.com

Vanguard Auctus Plus
283AT Tripod

Really Right Stuff
TVC-33 Tripod

Kirk WM-2
Multi-Purpose
Window Mount

( Window Mount )
Your car can serve as an effective
blind, allowing you to photograph
wildlife in national parks and even
remote areas. Animals are less likely
to see you as a predator when you’re
in a car, and the car also offers you
protection from dangerous beasts.
Rather than just rest your long lens
(or forearm) on the window opening,
you can use a car-window mount. This
attaches to the window and provides
a pan or ballhead (either as part of the
package or via optional accessory) to
provide better support for the camera/
lens combo at your desired shooting
angle. The Manfrotto Car Window Pod
(Estimated Street Price: $35.50; $69.99
with 234RC Tilt Head), Vanguard
PH-304 Window Mount ($59.99 with
three-way pan head and quick-release)
and Kirk WM-2 Multi-Purpose Window Mount ($249.95, plus head) are
good examples of the genre.

Vanguard PH-304
Window Mount

outdoorphotographer.com June 2015 71

( Heavy-Duty Ballhead )
Since your car will be doing a lot of the transportation work, the road
trip photographer is less concerned with weight than the daytripping,
hiking photographer, so a solid ballhead is more important than a light
one. A ballhead is the preferred choice of landscape and most other
outdoor shooters because it allows you to quickly position the camera
as desired and then lock it there with a twist of one knob.
Most tripod manufacturers offer a selection of ballheads, as do
Acratech, Arca-Swiss, Foba, Kirk Enterprises, Novoflex and
UniqBall. Again, check them out online and then try to actually
lay hands on the ones you find most interesting to see how
they work for you. You want a head that can support your
camera and lens(es) steadily and is easy to operate.
If you want to do birds in flight, you’ll prefer a gimbal
head, which allows you to pan the camera to track flying birds
while providing good support for big lenses. Good gimbal heads
are available from Custom Brackets, Feisol, 4th Generation

Wimberley Head

(Mongoose), Gepe, Induro, Jobu Design, Kirk, Manfrotto,
Photo Clam, Photoseiki,
ProMediaGear, Sirui,
Wimberley and Zenelli.

Kirk BH-3 Ballhead
Novoflex MagicBall

( Long Telephoto )
In many cases, you won’t be able to get as close to wildlife with your
car as on foot, so a supertelephoto lens is almost a necessity. The pro
“big guns”—400mm ƒ/2.8, 500mm ƒ/4, 500mm ƒ/4 and 800mm ƒ/5.6—
are terrific, but very costly. Fortunately, there are some more affordable
choices available today.
Tamron and Sigma offer under$1,100 150-600mm supertele
zooms in mounts for Canon and
Nikon DSLRs (and Sony DSLRs for
the Tamron lens, and Sigma DSLRs
for the Sigma lens). Canon offers the
under-$1,400 EF 100-400mm ƒ/5.6L
USM and a pair of 100-400mm
supertele zooms (the newer “II”
version being the better) for under
$2,200, Sigma, a higher-end 150-600mm for $2,000, and
Nikon, a pair of 80-400mm zooms for $1,849 and $2,699
(the latter having an AF-S motor and faster autofocusing).
Pentax has announced a 150-450mm zoom for its DSLRs for
around $2,500. You can also rent any of these from companies like
lensrentals.com if you don’t plan to use such focal lengths often enough
to justify purchase. A 1.4X teleconverter can further extend to focal
length range (although you’ll likely lose AF capability with these ƒ/5.6
and ƒ/6.3 lenses unless you have a recent higher-end DSLR body). A 2X
converter will further extend the focal length of the pro big guns, but will
adversely affect image quality with the “affordable” superteles.
72 Outdoor Photographer outdoorphotographer.com

Tamron SP 150-600mm ƒ/5-6.3 Di VC USD

Canon EF 100-400mm ƒ/4.5-5.6L IS USM

Sigma 150-600mm
ƒ/5-6.3 DG OS HSM

ADORAMA
WANTS TO BUY

Arca-Swiss Monoball Z

YOUR USED PHOTO & VIDEO GEAR

Sirui PH-20

ITS WORTH MORE THAN YOU EXPECT!
Whether consumer level, professional gear or even vintage
cameras, your used equipment can easily be turned into
cash or upgraded equipment.

Get a fast, free quote online at
Adorama.com/used or in our Manhattan, NY store.
Scan Here to see how easy it is to sell and trade up!

SHOP

RENT

LEARN

TRADE

FREE 1-3 DAY SHIPPING
on most orders over $49*
*details at adorama.com/shipping

42 W 18TH ST NYC • 800.223.2500 • adorama.com
Nikon AF-S NIKKOR 80-400mm
ƒ/4.5-5.6G ED VR
outdoorphotographer.com June 2015 73

( Software )
Especially valuable to the road-tripping
photographer, The Photographer’s Ephemeris
is software that shows you where the sun and
moon will be at anytime, anywhere in the world,
and helps you visualize what the light will
look like on topo maps. It’s available as a free
browser-based Web app or for iOS from the App
Store ($3.99) and for Android from Google Plus
($4.99). www.photoephemeris.com

The Photographer’s Ephemeris

Parrot Bebop

DJI Phantom 3

3DR IRIS+

( Compact Drone )
A compact drone is easy to carry in
your vehicle and is easy to recharge
using your aux power device. A drone
provides an aerial perspective on the
landscape, beyond the zone adjacent to
the road. There are rules pertaining to
drone operation—from the FAA, the
NPS and even local entities—so check
the rules in your area. Don’t operate
the drone in such a way as to create
hazard to people, property or wildlife,
or out of your sight.
DJI’s new Phantom 3 is an
easy-to-fly quadcopter that comes in
two versions: Advanced, which can do
1920x1080 video at up to 60p; and
Professional, with 4K video capability
74 Outdoor Photographer outdoorphotographer.com

(4096x2160/24p and 3840x2160/24p
and 30p). Both can shoot 12-megapixel
(4000x3000-pixel) still images. The
3-axis, gimbal-stabilized camera
features a 1/2.3-inch Sony EXMOR
sensor and a 20mm (35mm-cameraequivalent) lens with a rectilinear
(non-fisheye) 90° angle of view. The
supplied DJI Lightbridge lets you see
what the camera is seeing in HD 720p
on your smartphone or tablet, at
distances up to one mile. You can make

camera settings from your smart device
via DJI’s Pilot app (which can livestream flights to YouTube). Estimated
Street Price: $999 (Advanced);
$1,259 (Professional); both include
a controller. www.dji.com
The easy-to-fly 3DR IRIS+
quadcopter features 3DR’s Pixhawk
autopilot and Follow Me technology,
which causes the drone to follow your
GPS Android device, hands-free,
keeping the image centered on you.
Tablet-based software makes flightplanning easy—just draw the desired
flight path on your Android tablet or

KONICA

EPSON

BROTHER

APPLE

NEC

LANIER

T0481 black

T0441 black
T044 series color
T0321 black

orig Epson
inkfarm brand
orig Epson
inkfarm brand
orig Epson
inkfarm brand
orig Epson
inkfarm brand
orig Epson
inkfarm brand
orig Epson
inkfarm brand

11.91
5.91
16.91
5.91
11.91
6.91
21.91
7.91
11.91
6.91
26.91
9.91

BCI-6 series
BCI-3 series black
BCI-3 series color
C6656an black
C6578a
4 pack black
4 pack color

orig Canon
inkfarm brand
original Canon
inkfarm brand
original Canon
inkfarm brand
orig HP
remanufactured
orig HP
remanufactured
orig ALPS
orig ALPS

11.91
5.75
11.91
5.75
10.91
5.75
20.91
15.91
57.91
15.91
28.91
28.91

LEXMARK

1-800-INKFARM

inkfarm.com
the ink & toner supersite.

SONY

ALPS

CANON

Great Prices on Ink and Photo Paper Qty 2+
T048 series color

T042 series color

™

P R IC E !
NEW LOW

JU S T R E D U C E D
!

QMS
D I G I TA L

$ 991
1

)
(Wow!
+
2
ty
Q

(Save!)

Qty 2+

Qty 1: $20.91

88
Qty 1: $10.
5a
tured HP 5164

Remanufactured
HP c6657a
(No. 57) color
ink cartridge.

Remanufac rtridge.
(No. 45) ink ca

O K I DATA

IBM

APOLLO

TEKTRONIX

GCC

RICOH

SAMSUNG

phone. The drone can fly for 16 to 22
minutes per charge. If the copter goes
out of range or runs down the battery, it
automatically returns to home or land
itself. Estimated Street Price: $750
(basic quadcopter, with battery, charger,
ground station and controller); $399.99
for optional GoPro HERO4+ Silver
Edition camera; $349.99 for optional
3DR FPV Live View for GoPro; $210
for optional Tarot T-2D 2-axis camera
gimbal. 3drobotics.com
The Parrot Bebop is essentially a
flying camera with a 180° fish-eye
lens. The lightweight quadcopter
comes with a built-in, 14-megapixel
camera that can do 1080/30p video, as
well as 4096x3072-pixel stills (JPEG
or DNG RAW). It features an integral
GPS, 3-axis stabilization and 22
minutes of flight on a battery charge.
The Bebop weighs just 14.8 ounces,
minimizing potential impact damage.
The Bebop Drone + Skycontroller
extends line-of-sight operating range
to 1.2 miles, provides a mount for a
controlling smartphone, includes two
joysticks and will accept third-party
first-person view (FPV) glasses for a
fully immersive flight experience.
Estimated Street Price: $499.99
(Bebop Drone); $899.99 (with
Skycontroller). www.parrot.com OP

S AV I N

PA N A S O N I C

Visit the App Store
to get your free
OP Magazine app and
start enjoying anytime,
anywhere access!

왘

MORE On The Web

Go to outdoorphotographer.com/blog to see
our web-exclusive articles on gear, Best Of
Assignments, Assignment Winners, feature
stories by the OP Bloggers and more.
outdoorphotographer.com June 2015 75

The widest selection of cameras & photo gear in the industry.

Free Creative Education at
Youtube.com/AdoramaTV

01. Nikon D7200 Kit

03. Canon 1Dx

05. Canon 600 EX-RT

• A new 51-point AF system
• EXPEED 4 image-processing engine
• NFC-compatible*1 Wi-Fi function
• Full-scale movie recording

•
•
•
•

18.1 MP Full-Frame CMOS sensor
New 61-Point High Density Reticular AF
ISO - 100 to 51,200
DIGIC 4 Image Processor

• Wireless multiple ﬂash system
• Redesigned contact construction
• Improved ﬂash head durability
• 18 Custom Functions

5,999.00 SKU: ICA1DX

1,696.95 SKU: INKD7200K

02. Lumix DMC-GH4

04. Pentax 645Z

•
•
•
•

16.05 MP Digital Live MOS Sensor
4K Cinematic Video
Digital Single Lens Mirrorless
Micro Four Thirds mount

•
•
•
•

Medium Format Digital SLR
51.4 effective MP CMOS sensor
ISO - 100 to 204,800
Beautiful, full HD movies

1,697.99 SKU: IPCDMCGH4

8,496.95 SKU: IPX645Z

Scan here to visit

ADORAMA.COM

42 W 18th ST., NYC
800-223-2500

549.00 SKU: CA600EXU

06. Nikon AF-S Nikkor
400mm f/2.8E FL ED VR
• super-telephoto ﬁxed focal length
• Superior optical performance
• Equipped with a vibration reduction

11,996.95 SKU: NK40028E

VIEW THESE
ITEMS ON OUR
ADORAMA.COM
FOR CURRENT
PROMOTIONS
& SAVINGS

07. Nikon D4S

09. Broncolor Siros 800

11. Canon EOS 5DS R

•
•
•
•

16 Megapixel HD-SLR
36.0x23.9mm CMOS Sensor
51 Point AF System
11 FPS

•
•
•
•

WiFi and Pocket Wizard Receiver
1/200-1/500Sec Flash Duration
7 f-Stops Control Range
800 Watt

•
•
•
•

50.6 Megapixel Full-frame CMOS sensor
Fine Detail mode in Picture Style
Scene Detection System
1-point High Density Reticular AF

6,496.95 SKU: INKD4S

1,569.00 SKU: BCB3163207

3,899.00 SKU: ICA5DSR

08. Canon EF 100-400mm

10. Sony Alpha a7S

•
•
•
•

L-series super-telephoto zoom
1 ﬂuorite & 1 super UD lens element
Circular aperture (9 blades)
New Air Sphere Coating

•
•
•
•

Mirrorless Digital Camera
4K Video BIONZ X Processor
Sony E-mount Full Frame
ISO - 50 to 4,096,002

2,199.00 SKU: CA1004002U

2,498.00 SKU: ISOA7S

36 Years Makes
Us Experts
Passion Makes
Us Photographers

Classes Tours

&Workshops
|

Linda Lane

| S p o n s o re d B y

| Year-Round |

With Spring comes a welcome change
from the harsh yet cozy days of winter.
Time to resurface, to take deep breaths,
inhaling nature into your soul, its music
into your mind, and transposing its solace and breathtaking beauty into new,
unique and exciting images. We often
hear people say, “Been there done that.”
Never really true if you think about it.
Every year, while revisiting some special places during a workshop, almost
without failure, Bill and Linda Lane
are biting their cheeks while their class
photographs images that they’re dying
to take. So, they make sure their class
captures the image; they don’t shoot for
themselves while conducting a workshop. By the way, never pass up an
image you want; it may never happen
again. Often we’ll go back on our own
hoping to find that image. It’s usually
gone, but there are others. Workshops
are beneficial in so many ways: You’ll
see subjects from a different perspective, learn from fellow photographers,
experience new places, and learn about
new techniques and equipment. You’ll
also discover the latest updates and
fads, view subjects with a more creative
and unique eye, recognize the areas in
which you excel and/or need improvement. There’s never an end to learning the technical and creative aspects
78 Outdoor Photographer outdoorphotographer.com

of photography. No one knows it all.
Photography is one continuous learning
cycle. These workshops have a comfortable, laid-back atmosphere, but they
keep very busy.
For more information, contact: Nature’s
Image, www.lanephotoworkshops.com,
[emailprotected].

Photography Travel Tours
| 2016 |

Irene Hinke-Sacilotto

Nature’s Image Workshops

small groups for individual attention.
Photo tips based on personal experience.
Relaxed atmosphere for optimal learning. Locations well researched. Weekend and multi-week programs. Tours
include highlights of each region’s wildlife and scenery. Upcoming programs:
1) Tangier Island, a unique waterman
community in the middle of the Chesapeake Bay. Includes photography from
the water and land of the community,
watermen and wildlife. 2) Garden photography at Norfolk Botanical Garden,
one of the most extensive formal gardens on the East Coast. 3) The Brazilian Pantanal, one of the world’s largest
biodiverse wetlands. During the dry
season, animals concentrate in large
numbers for great photo opportunities.
Subjects include macaws, monkeys,
caiman and giant river otters. A premier
location to photograph jaguars in the
wild. 4) Chincoteague NWR located
on the barrier island of Assateague,
where thousands of snow geese gather
in the fall, and herons, shorebirds, wild
horses, and other wildlife are easily
photographed. Organizer/Leader: Irene
Hinke-Sacilotto.
For more information, contact: www.
ospreyphoto.com, (410) 679-2873, www.
facebook.com/ospreyphotoworkshops,
www.photoworkshops-sacilotto.com.

Osprey Photo
Workshops & Tours
| Year-Round |

A pioneer in developing and leading nature photo workshops and tours
for more than 30 years. Specializing in
왘왘

Jim and Magrit Nilsen specialize in
guiding photographers to some of the
most iconic photographic locations in
Europe. On all of the exciting photo
tours with Photography Travel Tours,
you’ll be in good hands with two experienced photographers and guides who
feel passionate about helping you get
the best possible photographs while
having a wonderful cultural experience. Their lineup for 2016 includes
Greece, Cinque Terre, Tuscany, Venice,
the Dolomites, the Provence lavender
bloom, Croatia and Slovenia, and the
Czech Republic. Join them in 2016 for
a photo tour of a lifetime.
For more information, contact Jim
Nilsen, [emailprotected], (425) 6729760, http://photographytraveltours.com.

For more workshop listings, go to www.outdoorphotographer.com

Alaska

Remote.
Untouched.
Unbelievable.
WOLVES-WOLVES-WOLVES

Classes,Tours

a photo center in the east

Best photo ops available anywhere and you
don’t have to leave“home”. Timber, Arctic and
British Columbian Wolves in natural settings.

Creative Macro &
Garden Photography Workshops
ST. PAUL ISLAND

charlesneedlephoto.com (425) 968-2884

&Workshops

www.lakotawolf.com
Lakota Wolf Preserve 89 Mt. Pleasant Rd., Columbia, NJ 07832
[emailprotected] TOLL-FREE: 877-SEE-WOLF

Photography Tours Available
1-877-424-5637
www.alaskabirding.com

NEW!

Domestic

and click on Classes, Tours & Workshops

Ultimate Guide To
Workshop Listings
visit outdoorphotographer
and click on the
Travel & Workshop tab!

.com
outdoorphotographer.com June 2015 79

Classes Tours

&Workshops

| S p o n s o re d B y

tography to the next level while shooting at the coolest places on the planet.
Muench is a third-generation, worldrenowned photographer and brings
decades of experience in shooting,
processing, publishing and exhibiting
his work. Williams’ background, both
as a professional photographer and as

Ultimate Guide To
Workshop Listings Online

Nic Showalter

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

Rocky Mountain Workshops

| 2015 |

Muench Workshops has brought its
unique vision to landscape photography
workshops since 2007. Marc Muench
and Andy Williams lead a team of pro
photographers who’ll take your pho80 Outdoor Photographer outdoorphotographer.com

former COO of Smugmug—working closely with their print partners,
brings a broad and powerful perspective. Available upcoming workshops
include Botswana, Arches NP, Death
Valley NP, New Zealand. There are
three trips that will include time on a
schooner or ship, providing unparalleled access—Iceland, Greenland and
Svalbard. Also, their first-ever Muench
Madness will follow their Arches
workshop late October 2015, and will
be two days packed with instruction
and shooting with eight pros.
For more information, contact:
Muench Workshops, (917) 8548118, [emailprotected],
www.muenchworkshops.com.

seals and more. The Photography Center of Cape Cod sponsors workshops,
tours and classes year-round. Their
instructors are professional landscape,
nature and fine-art photographers with
many years of experience photographing Cape Cod. They have programs
for photographers of all levels, and
they’ll even craft sessions for individuals or small groups. Interested in selling
your work? They can help you there,
too. And hold November 14 open for
Click! 2015, the Cape Cod photography
conference. The Photography Center
of Cape Cod is a program of Cape Cod
Art Association.
For more information, contact: www.
photographycenterofcapecod.org.

Photography Center Of Cape Cod
| 2015 |

Take your photography to the next
level while exploring Cape Cod with
the Photography Center of Cape Cod.
We’re kicking off the season with the
Cape Cod Photo Shootout on June
5-7, a weekend of great photography,
fun and cash prizes. Visually rich and
diverse, Cape Cod offers extraordinary
light, empty beaches, salt marshes, hidden harbors, colorful towns, whales,
왘왘

John Tunney

Muench Workshops

Andy Williams

| June 23-27, 2015 |

Rocky Mountain National Park in
Estes Park, Colo., becomes your on-site
photography classroom for instruction
and coaching in the classroom and in the
field. Three professional instructors guide
15 participants of all skill levels. While
instruction includes detailed presentations
in the classroom, the greatest amount of
time is spent learning and shooting in the
field. Just imagine the images of mountain streams, sunrises, sunsets, majestic
mountain vistas, wildlife and wildflowers
you’ll capture! Same-day critique sessions of your images provide you with
immediate feedback of your progress and
increase the learning opportunities for
everyone. Special-rate accommodations
adjacent to the national park at theYMCA
of the Rockies include three healthy and
delicious meals prepared and waiting for
you. Comfortable lodging includes free
high-speed wireless internet. They work
hard to make sure you go home with new
skills and great images!
For more information, contact: (217)
714-2905, [emailprotected],
http://www.rockyphotoworkshop.com.

For more workshop listings, go to www.outdoorphotographer.com

How to Shoot Beautiful Outdoor Photographs
Presented by John & Barbara Gerlach
Kansas City, KS .......April 11
St. Louis, MO...........April 12

Grand Rapids, MI.....April 18
Detroit, MI ...............April 19

Minneapolis, MN .....April 25
Duluth, MN ..............April 26

www.gerlachnaturephoto.com
www.Facebook.com/GerlachNaturePhotographyWorkshops

See www.lanephotoworkshops.com
for more information

&Workshops

Please join us for:

Tangier Island in the
Chesapeake Bay, VA
June 5-7, 2015

Classes,Tours

Capture the Seasons
with Bill and Linda Lane. . .
Nature’s Image
Photo Field Workshops

s
ﬁll ﬂash, creative visualization, sOutstanding
locations & subjects
composition reﬁnement,
sCamaraderie & food
technique, equipment...

Bill and Linda Lane

(804) 883-7740
Look us up on the web for further details:

lanephotoworkshops.com

outdoorphotographer.com June 2015 81

and click on Classes, Tours & Workshops

Classes,Tours

&Workshops
The World’s
Most Creative
and Inspiring
Photo Workshop
Adventures
100+ Destinations in 50+ Countries

International

BRING
YOUR
PASSION
YOUR
PATIENCE
& YOUR
GEAR
Wild India LLC arranges wildlife photo
expeditions in India, Nepal, & Sri Lanka.
Butch Lama, experienced photographic
field guide & wildlife naturalist, leads all
groups & private photographers.
Let his skills complement yours.
Accepting reservations for 2016.

www.butchlama.com

PATAGONIA’S MOST
COMPLETE PHOTO SAFARI!
Top 5 Mountain Landscapes, Best Wildlife
Viewing Spots, Remote Estancias,
National Parks, 16 days

May all who come as guests...
leave as friends™
PhotoWorkshopAdventures.com
1.888.834.0288
82 Outdoor Photographer outdoorphotographer.com

www.patagoniaphoto.com

For more workshop listings, go to www.outdoorphotographer.com

I$$17$5&7,&$

Classes,Tours

*RIRUWKH3DVVLRQ2FWWR1RY

CHEESEMANS’ ECOLOGY SAFARIS

cheesemans.com

800.527.5330

WILD PHOTOGRAPHY HOLIDAYS

&Workshops
| Sponsored By

Iceland Photography Workshops 2015/16
The stark and unforgettable landscapes
of Iceland lend themselves naturally to
original photography. Small-sized groups,
breathtaking locations and our expert local knowledge – come and see for yourself.

Iceland
The Land of Ice and Fire
Custom made tours for individuals and groups
Let‘s have fun together!

www.wildphotographyholidays.com

GALAPAGOS TRAVEL
Specializing in
comprehensive,
professionally-led,
natural history &
photo tours of the
Galápagos
Islands.

XXXTJHVSKPOQFUVSTTPODPNt[emailprotected]
Phone: + (354) 894 0652

MONTHLY DEPARTURES ON 16 PASSENGER YACHTS.

t XXXHBMBQBHPTUSBWFMDPN
783 Rio Del Mar Boulevard, Suite #49, Aptos, CA 95003

and click on Classes, Tours & Workshops

outdoorphotographer.com June 2015 83

s
g
n
i
d
d
e
W
AND

2 0 1 5

EVENTS

P H O T O

C O N T E S T

Capturing milestone memories and major moments is what photography is all
about. Submit your best images of weddings and other significant life events
for your chance to win prizes and get published in Digital Photo magazine.

d p mag.com/wedding sa ndev ent s

market place

[ Your source for products and services ]

New Surface!

Mid-Gloss
MetalPrints

Stephen Oachs

Not Too Glossy...
Not Too Matte...

Just Right!

25%
OFF
Your First Order!
*Get 25% off your first order with
Bay Photo Lab! For instructions on
how to redeem this special offer,
fill out the New Customer Account
Request form at bayphoto.com.

TURN YOUR PHOTOS INTO

GREETING CARDS!
Step 1:
Simply peel adhesive
iner and place photo
behind window.

Step 2:
Fold to conceal
back of photo.

Step 3:
You’ve just made a
beautiful matted photo
greeting card!

For personal use or as a business
opportunity. Professional, quick and
affordable in over 500 designs.
Contact us for a free catalog.
25% off for first time customers.

OMNI-BOUNCE
Used by Professionals around
the world, to achieve soft natural lighting with most of the
popular brand flash units. Ideal
for wide-angle shots, macro
work, portraits and news coverage. Custom mounting with
no Velcro required. Specify
your strobe when ordering.

Only: $19.95 + $2.50 shipping. Visa & Mastercard

STO-FEN PRODUCTS • 800-538-0730
P.O. Box 7609, Santa Cruz, CA 95061, USA
www.stofen.com

Outdoor Photographer

travel
wildlife
scenics
www.outdoorphotographer.com

Learn more at
bayphoto.com/metalprints

www.photographersedge.com

800-550-9254
outdoorphotographer.com June 2015 85

gadget bag

Being
A Hard

Go Professional Cases

On a road t
n
usually brin
gear, and to
safe, a hard
is an excellent solution

Flashpoint

Camera bags and backpacks are
wonderful ways to carry your camera gear
in the field, but for the ultimate in protection
on your photo road trip, a hard case is
good to have, as well. You might reason
that, hey, the bag is in the car, which will
protect it. But on the off chance you’re in
an accident, or a boulder rolls down onto
your car while you’re parked in a remote
area and knocks it into the river, a hard
case can provide added protection. Many
hard cases are airtight and waterproof for
protection against the elements, and those
with wheels make it easier to get gear from
the car to your motel room or tent. Hard
cases also provide extra protection when
locked in your motel room—while you can’t
prevent a determined thief from breaking in,
you can make it difficult enough to drive the
thief elsewhere.
Naturally, you should get a case that’s
big enough to hold the gear you intend
to carry in it. If you have a lot of gear, you
might want to acquire two cases, so the
one case doesn’t become too heavy to
carry. Because of the protection it provides
from moisture and dust, you might want
to store your gear in the case(s) full time at
home when you’re not using it.
Most hard cases come with foam
interiors that you can cut to fit your gear
precisely. With others, the foam is an
extra-cost item. Be sure to consider this
when comparing prices. Some foam
inserts are precut into small cubes,
allowing you to create the spaces for each
piece of gear without using a knife.
Many hard cases are airtight to keep
out dust. These should have an automatic
86 Outdoor Photographer outdoorphotographer.com

HPRC

pressure-equalization valve to avoid
problems with changes in altitude (and,
thus, pressure)—especially if you use the
case to ship your gear by air or drive up
into the mountains with it.
Hard cases are available in just about
any shape and size you can imagine.
Check out the websites of the
manufacturers listed here to get a look at
the dizzying full range from each.

Flashpoint

The Flashpoint SealTite 1514
Water-Resistant High-Impact Hard
Case with Wheels and Foam ($105.99)
measures 22.1x14.0x11.4 inches, with a
useful interior space of 20.1x11.5x9.9
inches. Featuring a shell of structural
copolymer with SBS-plastic latches, the
1514 case comes with two-layer diced
foam inserts for easy customization. The
case is water-resistant and dustproof, and
it will float, too. www.adorama.com

Go Professional Cases

Go Professional Cases offers a line of
hard cases and backpacks for quadcopter

photo drones (and their accessories) and
for GoPro action cams. Choose from
compact cases when bulk is a prime
concern to larger cases that hold the
drone in ready-to-fly configuration.
The Waterproof Ground Station Case
includes a sun guard that protects
monitors up to 17 inches and can be
supported by a tripod or light stand.
goprofessionalcases.com

HPRC

HPRC offers a wide range of hard cases,
from 5x3.5x1.3 to 31.9x23.1x18.9 inches,
plus a hard (but comfortable) backpack
measuring 17x14.6x7.3 inches. Made of
TTX01 blend polypropylene, the cases are
strong, light, watertight and impactresistant, and can withstand temperatures
from -40° F to 176° F. They’re available
empty, with foam inserts, or with a
removable bag. www.plaber.com

Lowepro

Camera-bag maker Lowepro offers
three Hardside camera cases, each
featuring an ABS polymer outer shell and
a removable soft insert with adjustable
dividers. Completely dust- and waterproof,
the cases provide protection from the
elements, as well as from impact damage.
The Hardside 200 holds 5 to 10 video
action cams, the Hardside 300 (sized to
meet airline carry-on requirements),
a DSLR with a 70-200mm ƒ/2.8 zoom

THE 6TH ANNUAL

David Halgrimson
2014 Second Place Winner

Steven Castro—2014 First Place Winner

Entry deadline is
June 25, 2015.

Submit photos of outdoor locations from around
the world for your chance to win a prize package and publication
of your photo in Outdoor Photographer!

Visit outdoorphotographer.com/contests

gadget bag
hardware and ball bearings. Stabilizing
blocks compensate for the larger wheels
when the case is lying horizontally. The
cases are water- and dust-resistant,
crushproof, and come with configurable
foam inserts and a lifetime guarantee
of excellence. The 1510M Carry On
measures 22x13.8x9 inches, the 1560M,
23.8x18.3x12.1 inches, the 1610M,
26.2x23x13.7 inches, and the 1620M,
28.2x23x15.6 inches. www.pelican.com
attached plus 4 to 6 additional lenses, and
the Hardside 400, a pro DSLR with a 70200mm ƒ/2.8 zoom and 6 to 8 additional
lenses. www.lowepro.com

light stands,
lenses, a laptop
case with a sun
screen and more.
The iSeries of
injection-molded
waterproof
cases is
available in
more than 40
configurations,
in black and (with
some styles) pink finishes. The iSeries
1914 Pro DSLR Case’s high-quality,
19x14.4x8-inch interior features PE foam,
and can hold two pro DSLRs, four lenses
and accessories. The bodies are held so
the card slot can be accessed without removing the camera. www.skbcases.com

Vanguard

PortaBrace

Nanuk

Plasticase offers a line of Nanuk hard
cases in sizes from smartphone through
pro camera system. The camera cases are
padlock-able, waterproof, impact-resistant,
crushproof and dustproof, and feature
stainless-steel hardware. They’re available
with foam inserts or padded dividers,
TSA-approved padlocks and shoulder
straps. The 935 measures 22.0x14.0x9.0
inches, is made of lightweight NK-7 resin
and meets airline carry-on requirements.
A retractable handle and polyurethane
wheels make for easy travel over smooth
ground. www.nanuk.com

PortaBrace offers a full line of hard
cases, plus a hard backpack with
comfortable straps. The latter, the
PB-3500, has external dimensions of
13.3x13x21 inches, and sells for $199
empty, $279 with a divider kit, and $309,
to fit a DSLR. PortaBrace hard cases
range from 13.2x11.4x6.1 to 32x23x15
inches in size, and $69 to $359 in price.
Made of high-performance hard resin
material with reinforced corners, cases are
water- and airtight. They’re also lighter than
many cases of equivalent capacity, saving
shipping costs. www.portabrace.com

SKB

SKB offers cases for still, video and
action cameras, DSLR kits, tripods and

Vanguard Supreme series hard cases
are waterproof to 16.5 feet, can withstand
temperatures from -40° F to 203° F and
are padlock-able. They range in size from
11x9.7x6.8 inches to 24.8x20.5x9.5 inches
and in price from $79.99 to $299.99.
Removable,
divider bag
soft cases are
available for
several models. Vanguard’s
lower-priced
VGP series
cases feature
aluminumalloy frames,
customizable foam
interior, dual locks,
comfortable carrying
handles and removable
straps. There are four, ranging in size
from 9.5x7.5x4 to 18.1x12.8x6.8 inches,
with prices from $54.99 to $104.99.
www.vanguardworld.com
OP

Cut-Proof Camera Bags
here’s an old joke about two photographers out for a hike in
bear country. One asks the other, “Aren’t you worried about the
bears?” His buddy replies, “Nope.” The first one asks, “Why,
can you outrun one?” His friend replies, “Nope, but I can outrun you.”
You can’t prevent a determined thief from getting your gear, but you
can make it difficult enough that he decides to look elsewhere. One way
of doing that is with a cut-proof camera bag. It helps whether you’re carrying
the bag, or cable-locking it to your car or unmovable furniture in your motel room.
Pacsafe’s Camsafe bags incorporate lightweight stainless-steel eXomesh Slashguard
material, which resists cutting. They feature Carrysafe Slashguard straps, and even RFIDsafe
pockets to block thieves from stealing ID data from your RFID-chipped e-passport, credit/
smart cards and key cards. Designs include the Camsafe V9 anti-theft camera sling ($150),
Camsafe V6 anti-theft top-loading bag ($120), Camsafe V17 anti-theft camera backpack
($180) and Camsafe V18 anti-theft expandable sling bag ($150). www.pacsafe.com

Pelican
A big name in hard camera cases,
Pelican offers a wide range of cases, from
tiny (for memory cards and smartphones)
to huge (for pro camera systems). Four
of the larger ones are available in a
multi-terrain configuration, with larger,
thicker 4.0-inch-diameter, 1.5-inch-wide
polyurethane wheels and stainless-steel
88 Outdoor Photographer outdoorphotographer.com

800-947-9953

420 Ninth Avenue

212-444-6653

Corner of 34th Street

Fax: 212-239-7770

New York, N.Y 10001

Store & Mail Order Hours: Sunday 10-5 | Mon-Thurs 9-7 | Friday 9-1 EST/9-2 DST | Closed Saturday

The Professional’s Source™

Over 300,000 products, at your leisure

www.BandH.com
B&H Online
- Search Capabilities
Find products fast
- Podcasts
B&H experts provide essential
product information in video interviews
- Product Demos
View products from every angle,
right on your computer screen
- Customer Reviews
Useful feedback from other
customers to help you decide
- Live Help
Chat online with support staff

Upcoming Holiday Schedule

When in New York,

May 24-25............................. Closed

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

We Buy, Sell, and Trade

ed Equ
u m nt
888-520-3010
Speak to a Sales Associate

www.BandH.com/used
Shop conveniently online

Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates)
printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2015 B & H Foto & Electronics Corp.
NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906

X-T1 Mirrorless System Camera

NX Mini Mirrorless System Camera

• Weather-Resistant Body Construction
• Uses Fujifilm X Mount • SDHC/SDXC Card Slot
• 3.0" LCD • Intelligent Hybrid AF & Focus Peaking
• 8 fps Continuous Shooting • Built-In Wi-Fi
• Full HD 1080p Video Recording at 60 fps

Body Only #FUXT1B
with 18-55mm Lens #FUXT11855B

• Micro 4/3 System • 6 fps RAW Continuous Shooting
• 3.0" Tilting Touchscreen LCD • Built-In Wi-Fi with NFC
• Full HD 1080p Video Recording at 60 fps
• microSD, microSDHC, microSDXC Card Slot
• Available in Black, Brown, Mint Green, Pink or White

Mega
Pixels

with NX-M 9mm Lens #SANXM9L*
with NX-M 9-27mm Lens #SANXM927*

X-E2 Mirrorless System Camera

The Professional’s Source™

www.BandH.com

• TruePic VII Image Processor • Micro 4/3 System
• 3.0" Tilting LCD Touchscreen • Full HD 1080p Video
• SDHC/SDXC Card Slot • Built-In Wireless
• FAST Dual Phase- & Contrast-Detection AF
• 10 fps and 1/8000 sec. Top Shutter Speed
• Dust/Splash/Freezeproof Magnesium Alloy Body

Mega
Pixels

420 Ninth Ave.
Corner of 34th Street

New York, N.Y. 10001

• TruePic VII Image Processor • Micro 4/3 System
• 3.0" Tilting OLED Monitor • Full HD 1080i Video
• SDHC/SDXC Card Slot • Built-In WiFi
• 5-Axis VCM Image Stabilization
• 10 Frames Per Second
• Dust and Splashproof Construction

Mega
Pixels

Body Only (Black or Silver) #OLOMDEM5*

1 V3 Mirrorless System Camera

NEW

Mega
Pixels

OM-D E-M10 Mirrorless System Camera

• EXPEED 4A Image Processor • Built-In Wi-Fi
• microSD, microSDHC, microSDXC Card Slot
• Uses Nikon 1 Lenses • 3.0" Tilting Touchscreen LCD
• Movie e-VR Stabilization • Hybrid AF System
• 20 fps Shooting with Full-Time AF • ISO 12800
• Full HD 1080p Video Recording at 60 fps

with 10-30mm Lens #NI1V31030

Mega
Pixels

OM-D E-M5 II Mirrorless System Camera

• EXPEED 3A Image Processor • Pop-Up
Waterproof Flash • SD, SDHC, SDXC Card Slot
• Uses Nikon 1 Lenses • 3.0" LCD
• Water, Shock, Dust & Freezeproof Design
• Full HD 1080i Video Recording at 60 fps
• Available in Black, Silver or White

with 11-27.5mm Lens #NI1AW111275*

Body Only #OLEM1

1 AW1 Mirrorless System Camera

When in New York,
Visit our SuperStore

Mega
Pixels

OM-D E-M1 Mirrorless System Camera

• Uses Fujifilm X Mount Lenses • SDHC/SDXC Card Slot
• 3.0" LCD • Digital Split Image and Focus Peaking
• 7 fps Continuous Shooting • Built-In Wi-Fi
• Intelligent Hybrid AF System • Full HD 1080p Video
Recording at 60 fps • Available in Black or Silver

Body Only #FUXE2*
with 18-55mm Lens #FUXE21855*

• TruePic VII Image Processor • Micro 4/3 System
• 3.0" Tilting Touchscreen LCD • 8 fps Shooting
• SDHC/SDXC Card Slot • Built-In Wi-Fi
• In-Body 3-Axis Image Stabilization
• Full HD 1080p Video Recording at 30 fps
• Available in Black or Silver

Mega
Pixels

with 14-42mm Lens #OLEM101442*

Mega
Pixels

LENSES AND FLASHES for DSLR & Mirroless Cameras
Mirrorless System Lenses
56/1.2 XF R..........999.00
14/2.8 XF R..........899.00
60/2.4 XF Macro ..649.00
18/2.0 XF R..........599.00
10-24/4 XF R OIS .999.00
23/1.4 XF R..........899.00
16-50/3.5 5.6 XC OIS 399.00
27/2.8 XF.............449.00
35/1.4 XF R..........599.00
18-55/2.8 4 XF R OIS.699.00
55-200/3.5-4.8 XF R LM OIS .............................699.00
50-230/4.5-6.7 XC OIS .....................................399.00

Nikon 1 Mirrorless Lenses
10-30/3.5 5.6 VR PD .296.95
10/2.8 AW............196.95
10-100/4.0 5.6 VR ...546.95
10/2.8 .................246.95
11-27.5/3.5 5.6 AW .146.95
18.5/1.8 ..............186.95
11-27.5/3.5-5.6...186.95
32/1.2 .................896.95
30-110/3.8 5.6 VR ...246.95
6.7-13/3.5 5.6 VR ....496.95
10-30/3.5 5.6 VR....186.95
70-300/4.5 5.6 VR ...996.95

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

Su
ubsc
crib
be to
o ou
ur
fre
ee Cata
alog
g
BandH.com/catalog
212-444-6633

Page 2

Mirrorless System Lenses
10/3.5 Fisheye ....... CALL
30/2.0 NX Pancake. CALL
16/2.4 Pancake ...... CALL 45/1.8 ................... CALL
20/2.8 Pancake ...... CALL 45/1.8 [T6] 2D/3D .. CALL
60/2.8 Macro ED OIS SSA .....................................CALL
85/1.4 ED SSA ....... CALL 18-55/3.5-5.6 OIS..... CALL
12-24/4-5.6 E ........ CALL 18-200/3.5-6.3 ED OIS.. CALL
16-50/3.5-5.6 ED OIS ... CALL 20-50/3.5-5.6 ED II ..... CALL
16-50/2-2.8 S ED OIS .... CALL
50-200/4-5.6 ED OIS II .. CALL

Lumix G Vario Mirrorless System Lenses
8/3.5 Fisheye .......649.00
14/2.5 Aspherical .397.95
15/1.7 Aspherical Leica DG Summilux ................597.99
20/1.7 II Aspherical............................................427.99
25/1.4 Aspherical Leica DG Summilux ................597.99
42.5/1.2 Asph. Power OIS Leica DG Nocticron ...1,597.99
45/2.8 Asph. Mega OIS Leica DG Macro-Elmarit.....897.99
7-14/4.0 Asph. .....968.00
12-35/2.8 X Asph. 997.99
12-32/3.5-5.6 Asph. 347.99
35-100/2.8 .......1,497.99
14-42/3.5-5.6 Aspherical Mega OIS ...................167.00
14-42/3.5-5.6 X PZ Power OIS (Silver)................316.00
14-45/3.5-5.6 Aspherical Mega OIS ...................269.00
14-140/4.0-5.8 HD Aspherical Mega OIS ............429.95
14-140/3.5-5.6 Aspherical Power OIS .................697.49
45-150/4-5.6 Asph. 249.00
45-200/4-5.6 OIS.....269.00
45-175/4-5.6 X OIS .379.00
100-300/4.0-5.6 OIS 597.99

Flash System
FL-300R Flash ......136.95
RF-11 Ring Flash ..249.95
FL-600R Flash ......299.95
SRF-11 Ring Set ...559.95
FL-50R Flash ........499.95
TF-22 Twin Flash ..449.95
STF-22 Twin Flash Set........................................739.95
M.Zuiko Micro 4/3 Mirrorless Lenses
9mm f/8.0 Fisheye Body Cap Lens........................99.00
15mm f/8.0 Fisheye Body Cap Lens......................49.00
45/1.8 (37ø) .........399.00
12/2.0 (46ø) .........799.00
60/2.8 Mac ED (46ø) ...499.00
17/2.8 (37ø) .........299.00
17/1.8 (46ø) .........499.00 75/1.8 ED (58ø) ....899.00
25/1.8 (46ø) .........399.00 9-18/4.0-5.6 (52ø) ....699.00
12-40/2.8 Pro ED (62ø) .....................................999.00
12-50/3.5-6.3 ED EZ (52ø) ................................499.00
14-42/3.5-5.6 EZ ED (37ø) ................................349.00
14-42/3.5-5.6 II R (37ø) ....................................299.00
14-150/4-5.6 (58ø) ...........................................599.00
40-150/4-5.6 ED R (58ø) ...................................199.00
75-300/4.8-6.7 II ED (58ø) ................................549.00

AF Flash System
AF-540FGZ II ...................
AF-360FGZ .....................
DA Digital AF Lenses
15/4.0 ED AL HD Limited (49ø) ......................................
14/2.8 ED IF (77ø) ...........
35/2 AL (49ø) ..................
21/3.2 AL Limited (49ø) ...
40/2.8 Limited (49ø) ........
35/2.8 Macro HD Limited (49ø) .....................................
560/5.6 ED AW (112ø) .....
40/2.8 HD Limited (49ø)...
10-17/3.5-4.5 ED IF (77ø) ....
50/1.8 (52ø) ....................
55/1.4 SDM (58ø) ............
12-24/4 ED AL IF (77ø) ....
70/2.4 HD Limited (49ø)...
16-50/2.8 ED AL SDM (77ø) ..
200/2.8 ED IF SDM..........
17-70/4.0 AL IF SDM (67ø) ...
300/4.0 ED IF SDM (77ø) ...
18-55/3.5-5.6 AL WR (52ø)...
18-135/3.5-5.6 ED AL (IF) DC WR (62ø) ........................
18-270/3.5-6.3 ED SDM (62ø) ......................................
20-40/2.8-4 HD Limited ED DC WR (55ø) ......................
50-135/2.8 ED SDM (67ø) ....
50-200/4-5.6 ED WR (52ø) ...
55-300/4-5.8 HD ED WR (58ø)......................................
60-250/4.0 ED IF SDM (67ø).........................................
"FA" AF Lenses for 35mm & Digital SLRs
50/1.4 (49ø) ....................
31/1.8 Limited.................
50/2.8 Macro (52ø)..........
35/2.4 AL (49ø) ...............
77/1.8 Limited (49ø) ........
43/1.9 Limited (49ø) ........
100/2.8 D FA WR Macro (49ø).......................................

Flash System
HVL-F20M............149.99
HVL-F43M............398.00
HVL-F20S.............149.99
HVL-F60M............548.00
E-Mount Mirrorless Lenses
35/1.8 OSS (49ø) .448.00
16/2.8 (49ø) .........248.00
35/2.8 ZA (49ø) ....798.00
20/2.8 (49ø) .........348.00
50/1.8 OSS (49ø) .298.00
24/1.8 (49ø) ......1,098.00
55/1.8 ZA FE (49ø) ...998.00
30/3.5 Mac (49ø) .278.00
10-18/4 OSS (62ø) ............................................848.00
16-50/3.5-5.6 OSS (40.5ø)................................348.00
16-70/4 ZA OSS (55ø) .......................................998.00
18-55/3.5-5.6 (49ø) ..........................................298.00
18-105/4 G OSS (72ø) .......................................598.00
18-200/3.5-6.3 (67ø) ........................................898.00
18-200/3.5-6.3 OSS (62ø).................................848.00
18-200/3.5-6.3 PZ OSS (67ø) .........................1,198.00
24-70/4 ZA OSS (67ø) ....................................1,198.00
28-70/3.5-5.6 OSS (55ø)...................................498.00
55-210/4.5-6.3 OSS (49ø).................................348.00
70-200/4.0 G OSS (72ø) .................................1,498.00
Digital Lenses
16/2.8 Fish-eye ....998.00
20/2.8 (72ø) .........748.00
24/2 Carl Zeiss (72ø) .....................................1,398.00
30/2.8 DT Macro (49ø) .......................................198.00
35/1.4 G (55ø)...1,498.00
50/1.8 DT (49ø) ....168.00
35/1.8 DT (55ø) ....218.00
50/1.4 (55ø) .........448.00
50/1.4 Carl Zeiss ZA (72ø) ..............................1,498.00
50/2.8 Mac (55ø) .598.00
85/2.8 (55ø) .........298.00
85/1.4 Carl Zeiss (72ø) ...................................1,698.00
100/2.8 Macro (55ø)..........................................798.00
135/1.8 Carl Zeiss (77ø) .................................1,798.00
135/2.8 STF (72ø) ..........................................1,398.00
300/2.8 G APO II (42øR)..................................7,498.99
500/4 G (42øR) ............................................12,998.00
11-18/4.5-5.6 DT (77ø) .....................................798.00
16-35/2.8 ZA SSM (77ø).................................1,998.00
16-50/2.8 DT (40.5ø) ........................................798.00
16-80/3.5-4.5 DT (62ø) .....................................998.00
16-105/3.5-5.6 DT (62ø) ...................................698.00
18-55/3.5-5.6 DT SAM II (55ø) ..........................218.00
18-135/3.5-5.6 (62ø) ........................................498.00
18-250/3.5-6.3 DT (62ø) ...................................648.00
24-70/2.8 Carl Zeiss (77ø) ..............................1,998.00
28-75/2.8 (67ø) ................................................898.00
55-200/4.0-5.6 DT (55ø) ...................................198.00
55-300/4.5-5.6 DT (62ø) ...................................298.00
70-200/2.8 G SSM II (77ø) ..............................2,998.00
70-300/4.5-5.6 G (62ø) .....................................998.00
70-400/4-5.6 G2 ...........................................2,198.00
1.4x Teleconverter.548.00
2x Teleconverter....548.00

Alpha A6000 Mirrorless System Camera

Lumix DMC-GM5 Mirrorless System Camera

• 3.0" Tilting LCD • Uses Sony E-mount Lenses
• SDHC, SDXC, MS Pro Duo, MS PRO HG Duo
Card Slot • Up to 11 fps Shooting • ISO 25600
• Full HD 1080i/p AVCHD Video at 24/60 fps
• Built-In Wi-Fi Connectivity with NFC
• Available in Black or Silver

• Venus Engine Image Processor • Micro 4/3 System
• 3.0" LCD • SDHC/SDXC Card Slot
• Full HD 1080p Video at 60 fps • Built-in Wi-Fi
• MEGA O.I.S. and Contrast-Detection AF •
• Highly Compact Magnesium Alloy Body
• Available in Black or Red

with 12-32mm Lens #PADMCGM5K*

Mega
Pixels

Kit with 16-50mm OSS Lens #SOA6000*

Mega
Pixels

Alpha A7II Mirrorless System
em Camera

Lumix DMC-GX7 Mirrorless System Camera
• Micro 4/3 System • 3.0" Tilting LCD Touchscreen
• SDHC/SDXC Card Slot • 90° Tilting EVF
• Full HD 1080p AVCHD Video at 60 fps
• Focus Peaking and Magnification Windows
• Built-In Wireless and NFC Connectivity
• Available in Black or Silver

• Full Frame Exmor CMOS Sensor • 3.0" Tiltable LCD
• SDHC, SDXC, MS Pro Duo, MS PRO HG Duo Card Slot
• Weather-Resistant Magnesium Alloy Body
• Built-In Wi-Fi and NFC • 5-Axis SteadyShot INSIDE
Stabilization • Full HD XAVC S Video & S-Log2 Gamma

with 14-42mm II Lens #PADMCGX7K*

The Professional’s Source™

Body Only #SOA72
Kit with 28-70mm OSS Lens #SOA72K

Mega
Pixels

Alpha SLT-A58 DSLR Camera

Lumix DMC-GH4 4K Mirrorless System Camera

www.BandH.com

• 2.7" Tilting LCD • Uses Sony Alpha mount Lenses
• SDHC, SDXC, MS Pro Duo, MS PRO HG Duo
Card Slot • Full HD 1080i/p Video at 60 or 24fps
• 5fps Full Resolution Continuous Shooting
• SteadyShot INSIDE Image Stabilization
• ISO 100-16000 with Noise Reduction

• DCI 4K 4096x2160 at 24p • Full HD up to 60p
• UHD 4K 3840x2160 at 30p/24p • 3.0" LCD
• Live View Finder • High-Speed 49-Point AF
• 4:2:2 8-Bit or 10-Bit HDMI Output
• Support for 59.94p, 23.98p, 50p, & 24p
• Magnesium Alloy, Weather-Sealed Body

Body Only #PADMCGH4*

Mega
Pixels

DT 18-55mm SAM II Lens #SOSLTA58K

K-3 DSLR Camera

Over 300,000 products,
at your leisure

Mega
Pixels

a77 II DSLR Camerra

• PRIME III Image Processor • 3.2" LCD
• Pentax K Lens Mount • Dual SD Card Slots
• In-Camera Shake Reduction Stabilization
• Full HD 1080i/p Video Recording
• Continuous Shooting up to 8.3 fps
• Weather-Sealed Magnesium Alloy Body

• 3.0" 3-Way Tilting LCD • 12fps Shooting
• Uses Sony Alpha mount Lenses
• Full HD 1080p Video Recording at 60 fps
• SDHC, SDXC, MS Pro Duo, MS PRO HG Duo,
XC-HG Duo Card Slot • ISO 25600
• Built-In Wi-Fi Connectivity with NFC

Body Only #PEK3

Mega
Pixels

Body Only #SOA772

LENSES AND FLASHES for DSLR & Mirroless Cameras

C = Canon N = Nikon
** Price After Rebate

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

P = Pentax

60mm f/2.0 LD IF Macro (55ø)
90mm f/2.8 Macro (55ø)
90mm f/2.8 SP Macro VC USD (58ø)
180mm f/3.5 LD IF Macro (72ø)
10-24/3.5-4.5 (77ø)
16-300/3.5-6.3 VC PZD (67ø)
17-50/2.8 XR LD IF Asph (67ø)
17-50/2.8 XR VC LD IF Asph. (67ø)
18-200/3.5-6.3 (62ø)
18-200/3.5-6.3 VC (62ø)
18-270/3.5-6.3 VC PZD (62ø)
24-70/2.8 VC USD (82ø)
28-75/2.8 XR (67ø)
28-300/3.5-6.3 XR LD (62ø)
28-300/3.5-6.3 VC PZD (67ø)
70-200/2.8 LD IF Macro (77ø)
70-200/2.8 SP VC USD (77ø)
70-300/4-5.6 LD Macro (62ø)
70-300/4-5.6 VC USD (62ø)
150-600/5-6.3 VC USD (95ø)
1.4x SP AF Pro Teleconverter
2x SP AF Pro Teleconverter

SA = Sony Alpha

SKU #

Rebates Expire 4-30-15

These fully-compatible lenses with autofocus expand the capabilities of both
the Sony NEX and Fujifilm X camera systems with outstanding optical quality.

SE = Sony E Mount

Price
524.00
499.00
699.00**
739.00
499.00
599.00**
499.00
649.00
199.00
SE Black or Silver
739.00
C, N, SA
$50 399.00**
C, N, SA
$100 1,199.00**
C, N, P, SA
—
499.00
C, P, SA
—
419.00
C, N, SA
—
849.00
C, N, P, SA
—
769.00
C, N, SA
$100 1,399.00**
C, N, P, SA
—
199.00
C, N, SA
$50 399.00**
C, N, SA
—
1069.00
C, N
—
224.00
C, N
—
254.00

Avail. for Rebate
C, N, SA
#TA602DI*
—
C, N, P, SA
#TA9028M*
—
C, N
#TA9028VC*
$50
C, N, SA
#TA18035*
—
C, N, P, SA
#TA102435*
—
#TA1630035DI* C, N, SA
$30
C, N, P, SA
#TA175028*
—
#TA175028*Q C, N
—
#TA1820035* C, N, P, SA —
#TA1820035S*
#TA18270*
#TA247028*
#TA287528*
#TA2830035XD*
#TA2830035DI*
#TA7020028M*
#TA7020028*
#TA70300M*
#TA70300*
#TA1506005*
#TA14XP*
#TA2XP*

Fujifilm X
12mm f/2.8 (67ø)
32mm f/1.8 (52ø)
50mm f/2.8M (52ø)

Sony NEX

#ZET2812X

#ZET2812E

#ZET1832X

#ZET1832E

#ZET5028MX

#ZET5028ME

DG – Optimized for Digital SLRs

H – HSM Model with Canon, Nikon, Sigma

DC
DG
DC
DG
DN
DG
DG
DG
DN
DC
DG
DG
DG
DG
DN
DG
DG
DG
DG
DG
DG
DG
DC
DC

4.5/2.8 EX Circular Fisheye HSM R
8/3.5 EX Circular Fisheye R
10/2.8 EX Fisheye HSM R
15/2.8 EX Diagonal Fisheye R
19/2.8 (46ø) Black or Silver
20/1.8 EX DF RF Aspherical (82ø)
24/1.8 EX DF Asph. Macro (77ø)
28/1.8 EX DF Asph. Macro (77ø)
30/2.8 (46ø) Black or Silver
30/1.4 HSM (62ø)
35/1.4 HSM (67ø)
50/1.4 EX HSM (77ø) H
50/1.4 HSM (77ø) H
50/2.8 EX Macro (55ø)
60/2.8 (46ø) Black or Silver
70/2.8 EX Macro (62ø)
85/1.4 EX HSM (77ø)
105/2.8 EX Macro OS HSM (62ø)
150/2.8 EX APO Macro OS HSM (72ø)
180/2.8 EX APO Macro OS HSM (86ø)
300/2.8 APO EX HSM (46ø Rear)
500/4.5 APO EX HSM (46ø Rear)
8-16/4.5-5.6 HSM
10-20/4-5.6 EX HSM (77ø)

DN – Designed for Mirrorless Cameras.

Mount

SKU #

C, N, P, SI, SA
C, N, SI, SA
C, N, SA
C, N, P, SA
MFT, SE
C, N, SA
C
C
MFT, SE
C, N, P, SI, SA
C, N, P, SI, SA
C, N, SA
C, N, SI, SA
C, N
MFT, SE
N, P
C, N, P, SI, SA
C, N, SI, SA
C, N, SI, SA
C, N, SI, SA
C, N, P, SI, SA
C, N, P, SI, SA
C, N, S
C, N, P, SI, SA

#SI4528EX*
#SI835*
#SI1028EXDC*
#SI1528DG*
#SI1928DN*
#SI2018*
#SI2418MCAF
#SI2818MCAF
#SI3028DN*
#SI3014DCHSM*
#SI3514*
#SI5014*
#SI5014A*
#SI5028MDG*
#SI6028DN*
#SI7028MDG*
#SI8514*
#SI10528MDG*
#SI15028AMO*
#SI18028AMEO*
#SI30028DG*
#SI50045DG*
#SI8164556*
#SI102045D*

Rebate
$100
—
—
—
—
—
—
—
—
—
—
$100
—
—
$30
—
—
$300
—
—
—
—
—
$80

Price
799.00**
899.00
649.00
609.00
199.00
629.00
549.00
449.00
199.00
499.00
899.00
399.00**
949.00
369.00
209.00**
499.00
969.00
669.00**
1,099.00
1,699.00
3,399.00
4,999.00
699.00
399.00**

Price
999.00
720.00
999.00

Fax:

212-239-7770
Store & Mail Order Hours:

DX – for Digital SLRs Only

FX – Designed for full frame DSLRs
Canon EOS

Nikon AF

Price

FX 100mm f/2.8 Pro D Macro (52ø) #TO10028PCAF

#TO10028PNAF

379.00

DX 10-17mm f/3.5-4.5 ATX Fisheye #TO101735CAF

#TO101735NAF

549.00

DX 11-16mm f/2.8 Pro (77ø)

#TO111628PDXN

426.00

—

DX 11-16mm f/2.8 Pro II (77ø)

#TO111628PCII

#TO111628PNII

479.00

DX 12-28mm f/4.0 Pro (77ø)

#TO12284DXC

#TO12284DXN

449.00

FX 16-28mm f/2.8 Pro

#TO1628FXC

#TO1628FXN

629.00

FX 17-35mm f/4 Pro (82ø)

#TO1735F4FXC

#TO1735F4FXN

449.00

** Price After Rebate
DC – for Digital SLRs Only

800-947-9953
212-444-6653

Touit Mirrorless Lenses

Six-Year Warranty
Di for both digital and film SLR cameras
Di-II for Digital SLRs Only Di III for mirror-less cameras Only

Rebates Expire 4-30-15

C = Canon MFT = Micro 4/3 N = Nikon O = Olympus P = Pentax SI = Sigma SA = Sony Alpha SE = Sony E

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

R – Rear Slip-in Gelatin Filter Slot
Mount
C, N, P, SI, SA
10-20/3.5 EX HSM (82ø)
C,
N, SI, SA
12-24/4.5-5.6 EX Asph. HSM II
C, N, P, SI
17-50/2.8 EX OS HSM (77ø)
17-70/2.8-4.0 OS Mac HSM TSC (72ø) C, N, P, SI, SA
C, N, P, SI, SA
18-35/1.8 HSM (72ø)
18-200/3.5-6.3 OS II HSM (72ø) SI, SA
18-200/3.5-6.3 OS Macro HSM (62ø) C, N, P, SI, SA
18-250/3.5-6.3 OS Macro HSM (62ø) C, N, P, SI, SA
18-300/3.5-6.3 OS Macro HSM (72ø) C, N, P, SI, SA
C, N, SI, SA
24-70/2.8 EX IF HSM (82ø)
C, N, SI, SA
24-105/4.0 OS HSM (82ø)
50-500/4.5-6.3 APO OS HSM (95ø) C, N, P, SI, SA
70-200/2.8 EX APO OS HSM (77ø) C, N, P, SI, SA
C, N, P, SI, SA
70-300/4-5.6 Macro (58ø)
C, N, P, SI, SA
70-300/4-5.6 APO Macro (58ø)
C, N, S
120-300/2.8 OS HSM (105ø)
120-400/4.5-5.6 APO OS HSM (77øR) C, P, SI
150-500/5-6.3 APO OS HSM (86ø) C, N, P, SI, SA
C, N, S
1.4x EX APO Tele-Converter
C, N, S
2x EX APO Tele-Converter

DG EF-610 ST
DG EF-610 Super Flash
DG EM-140 TTL Ringlight

SKU #
#SI102035*
#SI122445*
#SI175028*
#SI1770284*
#SI183518DC*
#SI1820035*
#SI1820035D*
#SI1825035M*
#SI1830035*
#SI247028*
#SI24105*
#SI505004563*
#SI7020028*
#SI703004*
#SI703004DG*
#SI120300*
#SI120400*
#SI150500*
#SI14XDG*
#SI2XDG*

S IGMA FLA S HES

C, N, P, SI, SA #SIEF610ST*
C, N, P, SI, SA #SIEF610*
C, N, P, SI, SA #SIEM140DG*

Rebate Price
—
649.00
—
949.00
$150
519.00**
—
499.00
—
799.00
—
299.00
—
399.00
$200
349.00**
—
579.00
—
899.00
—
899.00
$150 1,509.00**
$200 1,199.00**
—
169.00
—
179.00
—
3,599.00
—
899.00
$200
869.00**
—
249.00
—
299.00
—
—
—

165.00
255.00
379.00

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

May 24-25................. Closed

When in New York,
Visit our SuperStore

420 Ninth Ave.
Corner of 34th Street

New York, N.Y. 10001

We Buy, Sell and Trade

Used
Us
ed Equ
q ippme
ment
nt

Page 3

062015

Digital Rebel T6i DSLR

NEW

• 3.0" Vari-Angle Touchscreen
• DIGIC 6 Image Processor
• Uses Canon EF Lenses (1.6x factor)
• SDHC/SDXC Card Slot
• Built-In Wi-Fi • Creative Filters
• Full HD 1080p Video Recording
• 5 fps Shooting & Extended ISO to 25600
Rebates Expire 5-2-15

The Professional’s Source™

24
Price

Rebate

Kit with 18-55mm IS STM #CAEDRT6I1855 ..............899.00 ..........— ................ —
T6s Kit Kit with 18-135mm IS STM # CAEDRT6SK1... 1,199.00 ..........— ................ —
T5i Kit Kit with 18-55mm IS STM #CAEDRT5IK ........799.99 ........$100 .......699.99
T5 Kit with 18-55mm IS II #CAEDRT5K.....................549.99 ........$150 .......399.99

When in New York,
Visit our SuperStore

420 Ninth Ave.
Corner of 34th Street

New York, N.Y. 10001

$200
REBATE!

• Dual Pixel CMOS AF with Live View
• DIGIC 5+ Image Processor
• SD/SDHC/SDXC Card Slot
• Uses Canon EF & EF-S Lenses
• 3.0" Vari-Angle Touchscreen
• 7 fps Continuous Shooting
• Built-In Wireless Connectivity
• Full HD 1080p Video
Mega

Pixels

Rebates Expire 5-2-15

Price

Rebate

Final Cost

Body Only #CAE70D............................................... 1,199.00 ........$200 .......999.00
Kit with 18-55mm STM #CAE70D1855 ..................1,349.00 ........$200 .... 1,149.00
EOS 60D Body Only #CAE60D .......................................................... .......................
EOS 60D Kit with 18-135mm IS #CAE60D18135.............................. .......................

EOS-7D Mark II DSLR

Price

Rebate

Final Cost

Body Only #CAE7D2 ...............................................1,799.00 ........$100 ....1,699.00
EOS 7D Body Only #CAE7D.................................................. ............ .......................
EOS 7D Kit with 18-135mm IS #CAE7D18135 ..................... ............ .......................
EOS 7D Kit with 28-135mm IS #CAE7D28135 ..................... ............ .......................

SLR Lenses and Flashes
EOS Flash System
MAP
Rebate
Final
270EX II ...................................................169.99.............. ..................
320EX ............................................................................... ..................
430EX II ...................................................299.99.............. ..................
600EX-RT.................................................549.99........ $50 .......499.95
MR-14EX II Ringlight .................................549.99.............. ..................
MT-24EX Twin Flash..................................829.99.............. ..................

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

Su
ubsc
crib
be to
o ou
ur
fre
ee Cata
alog
g
BandH.com/catalog
212-444-6633

Page 4

Rebates Expire 5-2-15

20
Price

Rebate

Mega
Pixels

Final Cost

Body Only #CAE6D ................................................1,699.00 ........$300 ....1,399.00
Kit with 24-105mm f/4 L #CAE6D24105 ................2,299.00 ........$300 ....1,999.00

$300
REBATE!

• 3.2" Clear View High Resolution LCD
• DIGIC 5+ Image Processor
• 61-Point High Density AF
• Uses Canon EF Lenses
• Dual CF, SD Card Slots
• Full HD 1080/30p & 720/60p Formats
• Extended ISO Range (50-102400)
• Built-In HDR & Multiple Exposure Modes
Rebates Expire 5-2-15

22
Price

Rebate

Mega
Pixels

Final Cost

Body Only #CAE5D3* .............................................2,799.00 ........$300 ....2,499.00
Kit with 24-105mm L IS #CAE5D324105 ................3,399.00 ........$300 ....3,099.00

EOS-1Dx DSLR
$100
REBATE!

• 3" Clear View II LCD • Native ISO 16000
• Dual Pixel CMOS AF with Live View
• Dual CF and SDHC/XC Card Slots
• Continuous 10 fps Shooting
• Built-In GPS Receiver & Digital Compass
• Full HD 1080p/60 Video
Pixels
20 Mega
& Movie Servo AF
Rebates Expire 5-2-15

$300
REBATE!

EOS-5D Mark III DSLR

EOS-70D DSLR

www.BandH.com

Mega
Pixels

Final Cost

EOS-6D DSLR
• Full-Frame CMOS Sensor • 3.0" LCD
• DIGIC 5+ Image Processor
• Uses Canon EF Lenses
• SD/SDHC/SDXC Card Slot
• Built-In Wi-Fi and GPS Connectivity
• Full HD 1080p with Manual Controls
• Extended ISO Range of 50-102400
• Up to 4.5 Full Resolution FPS
• Built-In HDR & Multiple Exposure Modes

Not compatible MAP
EF-S Digital Lenses
Rebate
Final
with full frame
24/2.8 STM (52ø) ......... .. cameras
. 149.99.............. ..................
60/2.8 USM Macro (52ø)...........................469.99.............. ..................
10-18/4.5-5.6 IS STM (67ø)......................299.00.............. ..................
10-22/3.5-4.5 USM (77ø) .........................649.99........ $50 .......599.99
15-85/3.5-5.6 IS USM (72ø) .....................799.99.............. ..................
17-55/2.8 IS USM (67ø)............................879.99.............. ..................
17-85/4-5.6 IS USM (67ø) ...........................CALL.............. ..................
18-55/3.5-5.6 IS (58ø) II ...........................199.99.............. ..................
18-135/3.5-5.6 IS (67ø) ...........................499.99.............. ..................
18-200/3.5-5.6 IS (72ø) ...........................699.99.............. ..................
55-250/4-5.6 IS USM II (58ø) ....................249.99.............. ..................
55-250/4-5.6 IS STM II (58ø) ....................299.99.............. ..................

EF Lenses
MAP
Rebate
Final
20/2.8 USM (72ø) .....................................539.99........ $50 .......489.99
24/2.8 IS USM (58ø) .................................599.99........ $50 .......549.99
28/1.8 USM (58ø) .....................................509.99........ $60 .......449.99
28/2.8 IS USM (58ø) .................................549.99........ $50 .......499.99
35/2 IS USM (67ø) ....................................599.99........ $50 .......549.99
40/2.8 STM Pancake (52ø)........................199.99........ $50 .......149.99
50/1.8 II (52ø) ..........................................125.99........ $10 .......115.99
50/2.5 Macro (52ø)...................................299.99.............. ..................
50/1.4 USM (58ø) .....................................399.99........ $50 .......349.99
MP-E 65/2.8 1x-5x Macro (58ø) .............1,049.00.............. ..................
85/1.8 USM (58ø) .....................................419.99........ $50 .......369.99
100/2 USM (58ø) ......................................499.99........ $50 .......449.99
100/2.8 USM Macro (58ø).........................599.99........ $50 .......549.99
400/4.0 DO IS II USM (52ø) ....................6,899.00.............. ..................
24-105/3.5-5.6 IS STM (77ø)....................599.00.............. ..................
28-135/3.5-5.6 IS USM (72ø) ......................CALL.............. ..................
70-300/4-5.6 IS USM (58ø) ......................649.99.............. ..................
70-300/4.5-5.6 DO IS USM (58ø) ...........1,399.00.............. ..................
75-300/4.0-5.6 III (58ø) ............................199.99.............. ..................
75-300/4.0-5.6 III USM (58ø) ....................234.99.............. ..................

$700
REBATE!

• Dual DIGIC 5+ Image Processors
• Magnesium Alloy Body
• Eye-Level Pentaprism Viewfinder
• 3.2" LCD Monitor
• Uses Canon EF Lenses
• Dual CF card slots
• 1920 x 1080 HD Video Capture
• Live View Still and Video Recording
• 61-Point High Density Auto Focus
Rebates Expire 5-2-15

18
Price

Rebate

Mega
Pixels

Final Cost

Body Only #CAE1DX ...............................................5,999.00 ........$700 ....5,299.00

Rebates Expire 5-2-15 — Call for Current Rebates & Promotions
TSE MF Lenses
MAP
Rebate
Final
17/4.0 L................................................2,149.00.............. ..................
24/3.5 L II .............................................1,899.00.............. ..................
45/2.8 ..................................................1,399.00.............. ..................
90/2.8 ..................................................1,399.00.............. ..................
Mail-in
EF "L" Lenses
MAP
Rebate
Final
14/2.8 USM II ........................................2,099.00.............. ..................
24/1.4 II (77ø) .......................................1,549.00.............. ..................
35/1.4 USM (72ø) ..................................1,479.00.............. ..................
50/1.2 USM (72ø) ..................................1,449.00.............. ..................
85/1.2 USM II (72ø) ...............................1,999.00.............. ..................
100/2.8 IS USM Macro (67ø) .....................899.99.............. ..................
135/2.0 USM (72ø) ...................................999.00.............. ..................
180/3.5 USM Macro (72ø)......................1,399.00.............. ..................
200/2.8 USM II (72ø) ................................749.00.............. ..................
200/2.0 IS USM (52ø) ............................5,699.00.............. ..................
300/4.0 IS USM (77ø) ............................1,349.00.............. ..................
300/2.8 IS USM II (52ø rear)...................6,099.00.............. ..................
400/5.6 USM (77ø) ................................1,249.00.............. ..................
400/2.8 IS II (52ø rear)...........................9,999.00.............. ..................
500/4 IS USM II (52ø rear)......................8,999.00.............. ..................
600/4.0 IS II (52ø rear).........................11,499.00.............. ..................
8-15/4.0 Fish-eye USM......................... 1,249.00.............. ..................
11-24/4 USM ........................................2,999.00.............. ..................
16-35/4 IS USM (77ø)............................1,099.00.............. ..................
16-35/2.8 USM II (82ø) ..........................1,599.00.............. ..................
17-40/4.0 USM (77ø) ...............................799.99.............. ..................
24-70/4.0 IS USM (77ø)............................999.99.............. ..................
24-70/2.8 II USM (82ø) ..........................1,899.00.............. ..................
24-105/4 IS USM (77ø).............................999.99.............. ..................
28-300/3.5-5.6 IS USM (77ø) ................2,449.00.............. ..................
70-200/4.0 USM (67ø) .............................649.99.............. ..................
70-200/4.0 IS USM (77ø).......................1,199.00.............. ..................
70-200/2.8 USM (77ø) ..........................1,349.00.............. ..................
70-200/2.8 IS II USM (77ø) ....................2,099.00.............. ..................
70-300/4.0-5.6 IS USM (67ø) ................1,349.00.............. ..................
100-400/4.5-5.6 IS USM (77ø) ..............1,699.00.............. ..................
Rebate
Final
EF Teleconverters
MAP
1.4x III ......................................................429.99.............. ..................
2x III .........................................................429.99.............. ..................

Rebates Expire 4-25-15

D3300 DSLR

$150
REBATE!

• EXPEED 4 Image Processor
• Full HD 1080p Video Recording
• 3.0" LCD • 5 fps Shooting
• Uses Nikon AF Lenses (1.5x factor)
• SD/SDHC/SDXC Card Slot
• Expandable ISO 25600
• Easy Panorama Mode and Guide Mode
• Nikon Inc. limited warranty included
D3300 is available in Black, Grey or Red

24
Price

Rebate

Mega
Pixels

Final Cost

Kit with 18-55mm VR II #NID33001855*......................646.95.... $150 .......496.95
D3200 Kit Black w/18-55mm VR #NID32001855* ....529.95..... $80 ........449.95

D5500 DSLR

$100
REBATE!

• EXPEED 4 Image Processor
• Full HD 1080p Video at 60 fps
• 3.2" Vari-Angle Touchscreen
• Uses Nikon AF Lenses (1.5x factor)
• SD/SDHC/SDXC Card Slot
• Built-In Wi-Fi • ISO 100-25600
• Nikon Inc. limited warranty included

Rebates Expire 4-25-15
D5500 18-55 Kit is available in Black or Red

Price

Rebate

Mega
Pixels

D7200 DSLR

NEW

Rebates Expire 4-25-15

$200
REBATE!

24
Price

Up to $900
REBATE!

Rebates Expire 4-25-15

24
Price

Rebate

Mega
Pixels

Final Cost

Body Only #NID7200.............................................. 1,199.95 .......— ................... —
Kit with 18-140mm VR DX #NID720018140............1,699.95 .... $200 .......1,499.95
D7100 Body Only #NID7100 ................................ 1,199.95 .... $200 ..........999.95
D7100 Kit w/18-140mm VR DX #NID710018140 .1,696.95 .... $400 .......1,296.95

SLR Lenses and Flashes

Mega
Pixels

Final Cost

Body Only #NID750 ...................................................2,296.95 .... $300.....1996.95
Kit with 24-120mm VR #NID75024120......................3,596.95.... $900 ....2,696.95
D610 Body Only #NID610 .......................................1,996.95.... $500 ....1,496.95
D610 Kit with 24-85mm VRt #NID6102485 ............2,596.95.... $600 ....1,996.95

D810 DSLR

Up to $900
REBATE!

• FX-Format CMOS Sensor
• EXPEED 4 Image Processor
• Optical Low-Pass Filter • 3.2" LCD
• CF & SD Dual Card Slots
• Nikon F Mount Lens Mount
• Full HD 1080p Video at 60/30/24 fps
• External Mic and Headphone Inputs
• Continuous Shooting to 5 fps in FX Mode
• Nikon Inc. limited warranty included
Rebates Expire 4-25-15

Price

Rebate

DX ED-IF Lenses for Digital Only
Price
Rebate
Final
10.5/2.8 Fish-Eye ........................................................... .....................
35/1.8 G AF-S (52ø) .................................196.95........... .....................
40/2.8 G AF-S Micro (52ø) ........................276.95........... .....................
85/3.5 G ED VR Micro ...............................526.95....... $100 ......426.95
10-24/3.5-4.5 G AF-S (77ø)............................................ .....................
12-24/4 G AF-S (77ø) ..................................................... .....................
16-85/3.5-5.6 G AF-S VR (67ø) ....................................... .....................
17-55/2.8 G AF-S (77ø) .................................................. .....................
18-55/3.5-5.6 G AF-S II (52ø) ......................................... .....................
18-55/3.5-5.6 G AF-S VR (52ø) .................196.95........... .....................
18-55/3.5-5.6 G AF-S VR II (52ø) ..............246.95........... .....................
18-105/3.5-5.6 G AF-S VR .......................396.95........... .....................
18-140/3.5-5.6 G AF-S VR ** ...................496.95.....$200 ** ....296.95
18-200/3.5-5.6 G AF-S VR II .....................596.95........... .....................
18-300/3.5-5.6 G AF-S ED VR (77ø) ..........996.95........... .....................
18-300/3.5-6.3 G AF-S ED VR (67ø) ..........896.95........... .....................
55-200/4-5.6 G AF-S (52ø)............................................. .....................
55-200/4-5.6 G AF-S VR II ........................346.95....... $200 ......146.95
55-300/4.5-5.6 G AF-S VR .......................396.95....... $150 ......246.95
Rebate
Final
D-Type AF Lenses
Price
14/2.8 D ED ................................................................... .....................
16/2.8 D (39ø) with Hood ................................................ .....................
20/2.8 D (62ø)................................................................ .....................
20/1.8 G AF-S ED (77ø) ............................796.95........... .....................
24/2.8 D (52ø)................................................................ .....................
24/1.4 G AF-S ED (77ø) .................................................. .....................
24/3.5 D ED PC-E (77ø) .................................................. .....................
28/1.8 G AF-S (67ø) .................................696.95........... .....................
28/2.8 D (52ø)................................................................ .....................
35/2.0 D (52ø)................................................................ .....................
35/1.4 G AF-S ED (67ø) .................................................. .....................
35/1.8 G AF-S ED (58ø) ............................596.95........... .....................
45/2.8 D ED PC-E Micro (77ø) ......................................... .....................

Over 300,000 products,
at your leisure

Mega
Pixels

Final Cost

Body Only #NID810...................................................3,296.95.... $300....2,996.95
Kit with 24-120mm VR #NID81024120......................4,599.95 .... $900 ....3,699.95

D4s DSLR

$500
REBATE!

• FX-format (full-frame) CMOS Sensor
• 14-Bit RAW Files & 12-Bit RAW S Format
• Full HD 1080p Video at 60 fps
• EXPEED 4 Image Processor
• Compatible with Most Nikkor Optics
• 11 fps Shooting for 200 Shots with AE/AF
• ISO 50-409600 • 3.2" LCD
• CF Type 1 & XQD Compatible
• 1000 Base-T Gigabit Wired LAN Support
• Nikon Inc. limited warranty included
Rebates Expire 4-25-15

Price

Rebate

Mega
Pixels

Final Cost

Body Only #NID4S ....................................................6,496.95.... $500 ....5,996.95

Rebates Expire 4-25-15 — Call for Current Rebates and Promotions

Instant Savings on Lenses with purchase of any Nikon DSLR
AF Flashes
Price
Rebate
Final
SB-300 ....................................................146.95........... .....................
SB-500 ....................................................246.95........... .....................
SB-700 ....................................................326.95........... .....................
SB-910 ....................................................546.95........... .....................
R1 Wireless Twin Flash .................................................... .....................
R1C1 Wireless Twin Flash System .................................... .....................

The Professional’s Source™

www.BandH.com

Final Cost

Kit with 18-55mm VR II #NID55001855*......................999.95.... $100.......899.95
D5300 Kit w/18-55mm VR II #NID53001855*...........896.95.... $100 .......796.95
D5200 Kit with 18-55mm VR #NID52001855* ..........799.95.... $150 .......649.95

• EXPEED 4 Image Processor
• Accepts Nikon AF Lenses
(1.5x factor) • 3.2" LCD
• No Optical Low-Pass Filter
• Built-In Wi-Fi with NFC
• Dual SD/SDHC/SDXC Card Slots
• Full HD 1080p Video Recording at 60 fps
• Nikon Inc. limited warranty included

D750 DSLR
• FX-Format (Full-Frame) CMOS Sensor
D
• Uses Nikon AF Lenses • 3.2" Tilting LCD
• EXPEED 4 Image Processor
• SD/SDHC/SDXC Card Slot
• Built-In Wi-Fi Connectivity
• Full HD 1080p Video Recording at 60 fps
• Nikon Inc. limited warranty included

D-Type AF Lenses
Price
Rebate
Final
50/1.8 D (52ø)................................................................ .....................
50/1.8 G AF-S (58ø) .................................216.95........... .....................
50/1.4 D (52ø)................................................................ .....................
50/1.4 G AF-S (58ø) ....................................................... .....................
58/1.4 G AF-S (72ø) ..............................1,696.95........... .....................
60/2.8 D Micro (62ø) (1:1) .............................................. .....................
60/2.8 G AF-S ED Micro (62ø) ......................................... .....................
85/1.8 G AF-S (67ø) .................................496.95........... .....................
85/1.4 D IF (77ø) ............................................................ .....................
85/1.4 G AF-S (77ø) ....................................................... .....................
85/2.8 PC-E Micro (77ø) ................................................. .....................
105/2.8 G AF-S ED-IF VR Micro (62ø) .............................. .....................
105/2.0 DC D with Hood (72ø) ........................................ .....................
180/2.8 D ED-IF (72ø)..................................................... .....................
200/4 D ED-IF Micro with Case (62ø) ............................... .....................
200/2 G AF-S ED-IF VR II (52ø) ........................................ .....................
300/4.0 D AF-S ED-IF (77ø) ............................................ .....................
300/2.8 G AF-S VR (52ø-R) ............................................. .....................
500/4.0 G AF-S VR ED (52ø)............................................ .....................
600/4.0 G AF-S VR ED (52ø)............................................ .....................
14-24/2.8 G AF-S ED-IF.........................1,996.95........... .....................
16-35/4.0 G AF-S ED VR (77ø) ...............1,256.95........... .....................
17-35/2.8 D AF-S ED-IF (77ø) ......................................... .....................
18-35/3.5-4.5 AF-S G ED (77ø).................746.95........... .....................
24-70/2.8 G AF-S ED-IF (77ø) ................1,886.95........... .....................
24-85/2.8-4.0 D IF (72ø) ................................................ .....................
24-85/3.5-4.5 G AF-S ED VR ....................596.95....... $100 ......496.95
24-120/4.0 G AF-S ED VR (77ø) .............1,296.95........... .....................
28-300/3.5-5.6 G AF-S ED VR ...............1,046.95....... $250 ... 796.95^
70-200/4.0 G AF-S ED VR (67ø) .............1,396.95........... .....................
70-200/2.8 G AF-S ED-IF VR II (77ø).......2,396.95........... .....................
70-300/4.0-5.6 G (62ø) .................................................. .....................
70-300/4.5-5.6 G-AFS VR ........................586.95....... $200 ......386.95
80-200/2.8 D with Collar (77ø)........................................ .....................
80-400/4.5-5.6 G AF-S ED VR (77ø) .......2,696.95........... .....................
200-400/4 G AF-S ED VR II (52ø)..................................... .....................
TC-14E III (1.4x) Teleconverter ...................499.95........... .....................
TC-17E II (1.7x) Teleconverter .......................................... .....................
TC-20E III (2x) Teleconverter ............................................ .....................

** When purchased with a D3300, D5300, D5500, D7100, D7200
^ When Purchased with D7100, D7200, D610, D750, DF, D810, D4s

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

212-239-7770
Store & Mail Order Hours:

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

May 24-25................. Closed

When in New York,
Visit our SuperStore

420 Ninth Ave.
Corner of 34th Street

New York, N.Y. 10001

We Buy, Sell and Trade

Used
Us
ed Equ
q ippme
ment
nt

Page 5

062015

Powershot G16

Stylus Tough TG-860

$50
REBATE!

• 3.0" LCD • Full HD 1080/60p Video
• 5x Optical Zoom • 4x Digital Zoom
• 6.1-30.5mm f/1.8-2.8 (35mm equiv:
28-140mm) • SD/SDHC/SDXC Card Slot
• Enhanced Wi-Fi Capabilities
• Continuous Shooting at 9.3 fps Expires 5-2-15

#CAPSG16 .................... 499.99 ......Less $50 Rebate....449.99

Mega
Pixels

Black, Orange or White

www.BandH.com

Lumix DMC-LX100

Black or Silver #FUX30*

Mega
Pixels

Black or Silver

420 Ninth Ave.
Corner of 34th Street

Mega
Pixels

NEW

• 4K Ultra HD Video at 30/24 fps in MP4
• Full HD Video at 60fps in MP4 or AVCHD
• 3.0" LCD • SDHC/SDXC Card Slot
• Full HD 1080 Video Recording
• Leica DC Vario-Summilux f/1.7-2.8 Lens
• Built-in Wi-Fi • External Flash Included

• 2.8" LCD • Die-Cast Magnesium Alloy
• Full HD 1080 Video at 60fps
• 4x Optical Zoom • ISO 100-12800
• 7.1-28.4mm f/2-2.8 (35mm equiv:
28-112mm) • SD/SDHC/SDXC Card Slot
• Film Simulation and Advanced Filters

#PADMCLX100*

Mega
Pixels

CyberShot DSC-RX100 III

Coolpix L840

When in New York,
Visit our SuperStore

#OLSTG860*

X30

The Professional’s Source™

NEW
N
E

• Waterproof to 50 • Crushproof to 220 lb
• Shockproof to 7' • Coldproof to 14°F
• 5x Optical Zoom f/3.5-5.7 Lens
• 3.0" 180° Flip LCD • Built-In Wi-Fi
• SDHC/SDXC Card Slot
• Full HD 1080 Video at 60 fps

• 3.0" Multi-Angle Xtra Fine LCD
• 2.9x Optical Zoom • 11x Digital Zoom
• 8.8-25.7mm f/1.8-2.8 (35mm equiv:
24-70mm) Carl Zeiss Vario-Sonnar T* Lens
• MS Pro Duo/Pro HG-Duo, SDHC/SDXC Card
Slot • Full HD Video • Built-In Wi-Fi with NFC

• 3.0" Tilting LCD • Built-In Wi-Fi
• 4-152mm f/3-6.5 Nikkor 38x Zoom VR Lens
• 22.5-855mm (35mm Equivalent)
• SD/SDHC/SDXC Card Slot
NEW
• Full HD 1080p Video at up to 30 fps
• 76x Dynamic Fine Zoom Function

Black or Red #NICPL840*

Mega
Pixels

#SODSCRX100M3

New York, N.Y. 10001

MEMORY CARDS
CF Compact Flash
Delkin
500x
16GB
32GB
64GB
128GB
256GB
512GB

700x

29.95 34.95
42.95 49.95
84.50 72.50
—
184.95
—
—
—
—

1000x 1050x
49.95
—
69.95 84.95
99.95 159.95
214.00 254.95
—
—
—
—

Kingston
Ultimate
Ultimate
266x
600x
18.99
29.95
30.46
48.95
49.95
—
—
—
—
—
—
—

CFast 2.0 High Speed

High-speed file transfer to meet the demands
of broadcast, cinema, and photography.

Lexar
800x

1066x

38.80
51.97
72.95
181.14
399.95
879.99

48.95
79.99
124.00
269.99
543.91
—

SANDISK
Extreme Pro 515mbs
128GB .............. 799.95

UHS1 Ultra High Speed
Lexar

SDXC SDHC

Platinum Micro
633x
300x

Sandisk
Extreme
80MBs

Sony

Class 10
Micro
80MBs 94MBs Micro

LEXAR

G Series
400MBs
163.50
359.95

4GB
8GB
16GB
32GB

Delkin

Kingston

Pro
Class10

Micro
Class 10
Mobility

Standard
Class 4

Micro
Class 4

7.95
9.95
10.95
17.95

—
6.95
9.95
18.50

4.95
5.95
8.95
15.95

4.75
5.95
12.95
16.95

UHS1 Speed Class 3 (U3)
633x

8GB 9.95
—
19.15
—
11.66 7.75 17.95
16GB 12.95 23.95 24.95 24.95 17.95 8.99 31.95
32GB 19.95 34.95 37.95
34.95 24.95 16.49 35.95
64GB 32.03 66.50 64.95 62.95 39.95 32.95 74.95
128GB 58.73
—
137.95
—
78.95
— 149.95
—
—
256GB
—
—
—
— 359.95
Note: Not all devices support SDXC cards
512GB
—

Sandisk

UHS2
Sony

Delkin

90MBs

633x
95MBs

Extreme
60MBs

Extreme Pro
955MBs

Micro

95MBs

U3
1000x 1000x 2000x Extreme Pro
280MBs 150MBs Micro 300MBs 280MBs

Lexar

Sandisk

—
19.95
28.95
59.50
—
—
—

—
—
20.29
37.37
69.41
128.15
—

—
14.95
22.95
44.95
—
—
—

—
—
39.95
75.99
147.95
299.95
599.95

—
—
39.95
78.99
—
—
—

—
—
37.95
74.95
—
—
—

—
64.95
114.95
—
—
—
—

—
—
—
18.30
—
—
30.59 46.79* 68.95*
52.94 84.95* 116.95*
88.95 148.19* —
168.50 —
—
* with USH-II Reader

—
64.95
114.95
219.95
—
—
—

Tripods with Ball Head
• Detachable Leg and Column Form Monopod
• Non-Rotating Twist-Lock Legs
• Grooved center column • Bubble Level/s
• Rubber Feet & Retractable Metal Spikes
• Included padded carry bag

You're On Steady Ground

Hands-on demos
Convenient free parking
available

CT-3481

Model

AT-3421
CT-3561

Page 6

Sony
N Series
125MBs
99.95
189.95

SDHC Secure Digital High Capacity

3400x 510mbs

Delkin Kingston Lexar

The most knowledgeable
Sales Professionals

BandH.com/catalog
212-444-6633

Lexar
Professional
1333x
92.79
137.02

32GB
64GB

32GB .......... 179.99 128GB ........640.79
64GB ..........352.43 259GB ........989.95

Over 70,000 square feet
of the latest gear

Su
ubsc
crib
be to
o ou
ur
fre
ee Cata
alog
g

XQD High-Speed for Nikon D4

Sandisk
Ultra
Extreme Extreme Pro
50MBs 120MBs 160MBs
29.95
38.95
53.95
49.99
56.95
83.39
—
87.89
149.00
—
189.00
269.99
—
—
529.95
—
—
—

Load
Ball Head Capacity

Max.
Height

Folded

Weight

SKU #

Price

16.8"
17.3"
17.5"
18.1"
189"

2.7 lb
2.8 lb
3.5 lb
3.6 lb
4.5 lb

#OBAT3421106T
#OBAT3431108T
#OBAT3441111T
#OBAT3451113T
#OBAT3461117T

$159.95
$199.95
$249.95
$289.95
$299.95

17"
17.1"
17.4"
18.9"
14.8"
15.5"
16"
16.8"
16.9"

2.5 lb
2.5 lb
3.1 lb
3.8 lb
2.4 lb
2.5 lb
2.6 lb
3.1 lb
3.9 lb

#OBCT3431108T
#OBCT3451113T
#OBCT3461117T
#OBCT3481126T
#OBCT3521106T
#OBCT3531108T
#OBCT3551113T
#OBCT3561117T
#OBCT3581126T

$269.95
$289.95
$349.95
$369.95
$259.95
$279.95
$299.95
$359.95
$379.95

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

BA-106T 6.6 lb
BA-108T 8.8 lb
BA-111T
11 lb
BA-113T 13.2 lb
BA-117T 17.6 lb

59"
61.3"
63.4"
65.5"
67.1"

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

BE-108T 8.8 lb
BE-113T 13.2 lb
BE-117T 17.6 lb
BE-126T 26.4 lb
BE-106T 6.6 lb
BE-108T 8.8 lb
BE-113T 13.2 lb
BE-117T 17.6 lb
BE-126T 26.4 lb

59.5"
61.3"
64.5"
68"
56.4"
60.8"
62.4"
64.3"
67.9"

BATTERY
GRIPS

• Accepts 2 lithium-ion batteries
to effectively double the
camera's battery life
(Batteries not included)
• The included AA battery
holder allows you to use
6 AA batteries for added
convenience (except BG-N3)
• Alternate shutter release
button, main and sub
command dials, and an
AE-L/AF-L button are
provided to facilitate
shooting in a vertical
orientation

for Canon 5D Mark III ..................BG-C9
for Canon 5D Mark II ...................BG-C2
for Canon 7D..................................BG-C4
for Canon 70D .............................BG-C10
for Canon 60D ...............................BG-C6
for Canon T5i, T4i, T3i, T2i .....BG-C5.2
for Nikon D7100......................... BG-N11
for Nikon D5300......................... BG-N13
for Nikon D3300, D3200 .......... BG-N12
for Nikon D600, D610 .............. BG-N10
for Nikon D800, D800E ...............BG-N7

lighting equipment and accessories

Astral Extremee
2 Monolight
Portrait Kit

The Professional’s Source™

Kit Includes:
• 2 x Astral Extreme
AS-X-400 Monolight
• 10' Air-Cushioned Light Sttand
• Luxbanx Small 36" Octagonal
Softbox
• Fabric Grid 36" for Luxbanx
• Speed Ring
• Convertible 45" Umbrella ble
White Satin with Removab
Black Backing

#VEBGC9........ $99.95
#VEBGC22 ..... $69.95
#VEBGC4........ $64.95
#VEBGC10 ..... $84.95
#VEBGC6........ $69.95
#VEBGC52 ..... $67.95
#VEBGN11 ..... $89.95
#VEBGN13 ..... $59.95
#VEBGN12 ..... $59.95
#VEBGN10 ..... $79.95
#VEBGN7 ....... $89.95

Over 300,000 products,
at your leisure

www.BandH.com

#IMASX4002LK ....................$1,219.58

Parabox Speedlight Kit
• 24x36" Parabox Softbox • Umbrella Bracket with Adjustable Shoe
• 10' Light Stand • Adjustable Locking Triple Flash Adapter

PHOTOGRAPHY ACCESSORIES

#IMPBSB2436K ................................................................................. $218.84

FILTERS

in stock
B&H SPECIAL! Buy 3 or more
B+W Filters & Get 5% Off.

B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.
UV, Skylight (1B) HMC
UV, Skylight (1B) Super HMC
Linear Polarizer
Circular Polarizer
Circular Polarizer HMC
“Moose” Warm Circular Polarizer
K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC
Close Up Set (+1, +2, +4)
Close-Up Set HMC (+1, +2, +4)
Intensifier – Blue, Green Field, Enhancement (Red)
Neutral Density 2x, 4x, 8x HMC
Star 6, Star 8

52mm
16.50
27.89
16.99
23.95
39.95
35.75
23.95
39.99
52.68
34.68
23.88
16.89

58mm
21.50
26.49
25.00
29.95
49.00
39.55
28.35
47.35
64.88
39.95
19.95
22.50

67mm
27.50
33.00
38.85
34.95
55.90
53.90
41.95
53.00
73.00
55.08
36.95
43.35

72mm
29.95
52.95
36.85
42.95
69.00
55.65
46.35
63.00
100.68
60.00
30.99
49.90

77mm
36.20
44.99
44.90
38.90
104.90
91.50
60.90
68.00
145.35
71.50
34.80
46.68

Made exclusively with glass from Schott (Zeiss)
the world’s finest optical glass supplier.
55mm 58mm 67mm 72mm 77mm
Skylight (1B), UV
39.99
41.99
62.99
77.99
89.99
Skylight (1B), UV SH-PMC
72.99
78.99 103.99 131.99 157.99
Circular Polarizer, Slim Circular Polarizer
115.99 121.99 151.99 180.99 195.99
Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99
#5, #8, #11, #13, #15, #22, 81A, 81B, 81C
49.99
51.99
78.99
96.99 108.99
Digital Filter
176.99 180.99 222.99 261.99 301.99

UV Haze SC
UV Haze MRC 010M
Circular Polarizer SC
Circular Polarizer MRC
Circular Polarizer Slim
Skylight KR1.5 (1A)
Digital Pro UV MC
Graduated (N.D. & Colors)
Neutral Density 106
Close-Up Lenses 1, 2, 3, 4, 5

55mm 58mm 62mm 67mm 72mm 77mm
18.50 24.95 28.99 31.95 34.00 39.99
35.50 31.50 36.30 42.90 49.89 71.75
83.95 85.95 83.50 80.00 73.95 99.00
78.00 87.53 82.50 109.99 89.99 119.99
56.95 49.99 68.00 69.99 59.99 80.00
24.50 25.95 31.95 38.95 42.00 53.95
41.95 41.95 44.00
—
—
—
99.95 106.95 99.50 109.50 142.50 152.95
56.00 60.95 97.95 105.95 121.95 137.95
25.95 25.95 31.95 38.95 45.95 53.95

Ten -Year Warranty
Made in USA
Digital Essentials Kits
In Stock
812 Warming
Grad ND 0.6
Circular Polarizer
Ultra Clear
Haze 86
ND 1.2
ND 0.6
Soft FX3
Star 4 pt 2

52mm
48.95
74.95
74.10
34.95
38.95
41.50
48.95
56.95
64.95

Gold Max
GC 400 135-24..........2.79
GC 400 135-36..........3.29

Store & Mail Order Hours:

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

77mm
129.95
139.95
199.99
54.95
99.95
129.95
119.95
139.95
129.95

May 24-25................. Closed

When in New York,
Visit our SuperStore

420 Ninth Ave.

COLOR PRINT
Ektar
100 135-36 ...............7.99
100 120 Roll ..............5.59
Portra
160 135-36 ...............7.99
160 120 Roll ..............6.39
160 220 Roll ............14.59
160 220 PP (5) .........72.95
400 135-36 ...............8.59
400 120 Roll ..............6.99
400 220 Roll ............15.19
400 220 PP (5) .........75.95
800 135-36 .............10.99
800 120 Roll ............11.39

Fax:

212-239-7770

Multicoated Filter
Technology

DIGITAL HT FILTERS
58mm 62mm 72mm
74.95
99.95 109.95
63.95
82.90 119.95
89.95 119.90 129.95
38.95
45.95
54.95
47.95
56.90
64.95
56.95
74.90 109.95
50.95
69.95
99.95
63.95
82.90 119.95
56.95
74.90 109.95

FILM – B&W AND COLOR

Superia
CA 200 135-24 ..........2.99
CH 400 135-24..........3.99
CH 400 135-36..........3.99
CZ 800 135-24 ..........3.99
Pro
400H 135-36 ...........10.29
400H 120 Roll ............7.55

800-947-9953
212-444-6653

BLACK & WHITE PRINT

COLOR SLIDE

Provia
RDP 100F 135-36 .....9.95

Velvia RVP
Pro 50 135-36.........11.69

135-36PP (5) .......49.75
RDP 100F 120 Roll ....7.19
135-36PP (5) .......35.95

Pro 50 120 Roll..........8.55
100 135-36 .............10.64

PROCESSING MAILERS

Slide
36 Exposures
(35mm) ..................10.59

Print C41 35mm ......13.49
Print C41 120 Roll ...15.49
Print C41 220 Roll ...30.95

Pan F+ 50 135-36.....6.50
Pan F+ 50 120 Roll....4.95
FP4+ 125 135-36......4.99
FP4+ 125 120 Roll.....4.39
HP5+ 400 135-36 .....4.75
HP5+ 400 120 Roll ....4.09
Delta Pro
100 135-36 ...............6.25
100 120 Roll ..............4.50
400 135-36 ...............6.29
400 120 Roll ..............4.95
3200 135-36 .............8.99
3200 120 Roll ............5.99
XP-2 Super
400 135-36 ...............6.49
400 120 Roll ..............4.75

Infrared
SFX 200 135-36 ........7.99
SFX 200 120 Roll .......6.99

Corner of 34th Street

New York, N.Y. 10001

We Buy, Sell and Trade
Acros 100 135-36 .....5.89
Acros 100 120 Roll....5.09

Tri-X 400 135-36 ......5.99
Tri-X 400 120 Roll .....4.85
TMX 100 135-36 .......5.95
TMX 100 120 Roll ......5.19
TMY 400 135-36 .......6.39
TMY 400 120 Roll ......5.39
BW 400CN 135-36 ....8.89

Used
Us
ed Equ
q ippme
ment
nt

Page 7

062015

LONG WEEKEND LOCATIONS
(Cont’d from page 51)
which is part of the allure, as well as a potential
hazard in the event of an emergency. Therefore, pack accordingly and, remember, safety
first. Some essential provisions would include
bug spray, water, bug spray, food, bug spray, a
tripod and some bug spray—hopefully by the
end of June, most of the annoying black flies
will have disappeared!
Down East Maine and Acadia National
Park on the Schoodic Peninsula, ME
No trip or vacation to Vacationland (Maine’s
license plate motto) would be complete without exploring the rocky and bold coast. For
many years now, Acadia has been one of the
10 most visited national parks in America, and
for good reason, as it’s absolutely beautiful.
However, in season, it can become frustrating
to deal with the crowds. For instance, in July,
I’ve been to the summit of Cadillac Mountain
for sunrise and shared the experience with
hundreds of people, most of them photogra-

phers, with the incessant beep-beep of autofocus confirmation ringing in the hills at 4:00 in
the morning! But that same sunrise could be
yours alone over on Schoodic. The Schoodic
Peninsula is about 45 minutes to an hour north
of Mount Desert Island and Bar Harbor; however, it’s only four miles across Frenchman Bay
as the crow flies. The peninsula is accessed
by a seven-mile, one-way park road, which
will lead to a number of hiking trails, dramatic
coves and the rugged pink granite coastline
that makes Acadia so popular. When there’s
a storm brewing, some of the massive waves
can be seen breaking along the shores. There
are more than enough coves, overlooks and
beaches to explore that will make a seascape
photographer feel more than inspired. Both
sunrise and sunset will afford dramatic light
and horizons to frame, and the sea breeze
keeps any malingering flying pests at bay. The
best aspect, however, in this photographer’s
opinion, is that Schoodic is all that Acadia has
to offer, just without the burgeoning crowds.

Take a loop through the park and photograph
sunrise, and then frame some nice coastal
shots in morning sidelight. After you’re satisfied, head out back to Route 186 and drive
north to Prospect Harbor. North of Acadia
at Schoodic, there are a smattering of small,
quaint and beautiful fishing villages. Starting with Prospect Harbor, then continuing to
Winter Harbor at Corea (take a right on Route
195), you’ll see small harbors packed with lobster boats and lined with the sometimes crumbling, and other times fascinating, infrastructure of a working fishing village. Photographs
abound in these harbors, of the boats and
gear, and the people who tend them. Speaking of which, try to make a point to introduce
yourself and let them know that you mean no
harm, but are just there to photograph what
you find beautiful and interesting. Locals will
appreciate you for that. There’s nothing worse
to a neighborhood or village than a photographer who appears to be sneaking around and
“taking pictures” versus making photographs.

(Cont’d from page 58)

Tuolumne Meadows, Yosemite National Park, CA

[ West ]

>> Joshua Cripps
www.joshuacripps.com

Tuolumne Meadows, Yosemite National Park, CA
When I think about my favorite locations on the
planet to photograph, there’s always one that filters
o the top of the list: the High Sierra. It’s a landscape
of simple, essential beauty: mountains, trees, lakes,
meadows, streams and little else. In particular, I love
Tuolumne Meadows in Yosemite National Park for its
collection of stately granite peaks, sweeping views
and peaceful tranquility away from the hustle and
bustle of Yosemite Valley.
om

For me, the perfect time to shoot in
Tuolumne Meadows is sunset during a summer thunderstorm. Typically, in early July,
scorching temperatures and monsoonal moisture collide to create massive thunderclouds.
The clouds can reach altitudes of 20,000 feet,
will stretch for miles in every direction and,
in the space of a few hours, can drench the
Sierra crest with buckets of rain and hail. More
importantly, when these clouds catch the last
rays of the day, they illuminate in light shows
that are as dramatic, impressive and stunning
as anything I’ve ever seen. For a grand landscape shooter like myself, the promise of that
kind of dramatic light is what keeps me chasing clouds in the High Sierra all summer long.
Other than your camera, tripod and favorite filters, there are two things you’ll want to
bring when shooting during the High Sierra
monsoon. The first is a rain jacket, for both
you and your camera. The summer monsoon
rains are brief, but absolutely drenching, and
many times, the best light occurs just after the
rain stops as the storms are breaking up. Having waterproof gear to protect you and your
camera ensures you’ll be ready to shoot when
conditions are at their most dramatic. The second is a huge can of bug spray. July is typically the peak of the high country’s mosquito
season, and if you don’t want to be bled dry
by the bugs, then some good, strong repellent
will do your body good.
OP
왘

MORE On The Web

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

"We've Got You Covered"
LensCoat makes unique, protective covers for camera lenses, bodies, and accessories.
Made from 100% closed-cell neoprene, LensCoat products protect your gear from bumps
and scratches, they keep rain and mist away from sensitive equipment, and they also
insulate your hands from cold equipment.
Lens Covers

Hoodie Lens Caps

• Available with a custom fit
for most popular lenses
• Clear, flexible window over
the AF/IS/VR controls and
the distance-scale window.
• Custom holes that reveal
the red-dot for easy
alignment to the camera
body without removing
the cover.
• Also available in white
for Canon lenses

• Fits snugly around your
lens hood or shade
• Features a reinforced
removable front
protection disc
• Available in
9 colors

Xpandable Series — Long Lens Bags

• Consists of 2 Pouches
• Pouches Snap Together
• 7 different colors/patterns
• Belt Hoop
• 4 Models: AA 4+4,
DSLR 1+1, DSLR 2+22
or Pro DSLR 1+1

This is one smart bag. Whether you're in the field or a
safari vehicle it’s perfect when you want to be ready to
take the shot at a moment's notice. Thee Xpandable bag
can be ingeniously folded to three
different sizes – or folded flat!

• Wrap around the upper leg of your tripod
• Tightly grips to your tripod
so they will not slide

Over 300,000 products,
at your leisure

www.BandH.com

X-Small ..2.75" to 3.25"
Small ......3.25" to 3.75"
Medium ..3.75" to 4.25" 2X-Large ..5.5" to 6.25"
Large ......4.25" to 4.75" 3X-Large .....6.25" to 7"
X-Large ..4.75" to 5.25" 4X-Large .....7" to 7.75"

Battery Pouches

LegCoat Wraps (set of 3)

The Professional’s Source™

• Removable lid with pocket zips on
easily & securely at all three positionss
• Male and female ends on removable
shoulder strap allow for strap to be
used to secure bag
• Removable reinforced insert
panels allow you to configure
the weight and support
• Removable harness (sold separately)
• Multiple connection points to secure the bagg
• Built to last with heavy-duty water-ressistannt
Codura and lightweight, water-resistant nylon lining
• Soft sided construction allow the bag to be folded nearly flat
• M.O.L.L.E webbing system to easily add pouches & accessories
• Expandable exterior mesh pocket
• Available in Black, Digital Camo, Forest Green Camo,
or Realtree Max4 • Made in the USA

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

212-239-7770
Store & Mail Order Hours:

Shown with
optional
harness

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

May 24-25................. Closed
3X pandable Internal dimensions 8" x 8" x 19.75" or 23.5" or 27.75"
Accommodates camera body with lenses such as Canon 200-400mm, 300mm f/2.8, 400mm DO,
500mm, Nikon 200-400mm, 300 f/2.8, 500mm, Sigma 500mm, 300-800mm, Sony 500mm

4X pandable Internal dimensions 9" x 9" x 21.5" or 24.5"or 28.75"

Folded Flat

Accommodates camera body and lens
such as Canon & Nikon 400mm f/2.8,
500mm, 600mm, 800mm

Memory Wallets

RainCoat 2

• Lightweight waterproof
• Easy clip on tether
• 7 different
colors/patterns
• 6 designs:
CF6/10, SD9/15,
Combo 43/66

The LensCoat® RainCoat 2 has all same
great features as the original RainCoat but
adds an additional integrated pocket with
foldaway arm sleeve on the left side.

420 Ninth Ave.
Corner of 34th Street

New York, N.Y. 10001

Pro

Pro 30.5" 11.6oz
(hood extension for 600mm & 800mm 8" 2.4oz)

When in New York,
Visit our SuperStore

We Buy, Sell and Trade

Used
Us
ed Equ
q ip
pme
ment
nt

Standard 20.5" 9.4oz

Other Innovations from LensCoat®
• Gimbal Pouch • CB Gimbal Pouch • Manfrotto 393 Gimbal Pouch
• RRS PG Pouch • BeamerKeeper • FilterPouch 2 • FilterPouch 8
• TravelCoat • LensPouches • FlashKeeper • iPad Sleeve • LegCoat Wraps

Page 8

062015

Tin Man Lee

last frame

Bird Bath
Far from the newest pairing of unlikely animal friendships, nature
photographer Tin Man Lee captured a one-in-a-million shot in
Yellowstone. “It was late May, and the bison were giving birth to
calves,” he explains. “While most of the photographers were only
focusing on photographing the bison calves, I found this adult
bison full of character. He was grazing in one direction without
a care. But not far away from him in that direction, there was a
brown-headed cowbird picking on insects. The cowbird also gave

98 Outdoor Photographer outdoorphotographer.com

no attention to the bison as he was walking closer and closer. I
thought to myself that this was going to be interesting. Lo and
behold, the bison stuck his tongue out and almost touched the
cowbird. The cowbird fluffed her feathers and gave out a chirp
before she flew away. It was a special moment. I turned around,
hoping to talk to other photographers who shared this moment
with me, but all of them were far away from me photographing the
calves.” See more of Tin Man Lee’s work at www.tinmanlee.com.

EVERYDAY

GY-HM200*

THAT’S JVC
Integrated 12x
Ultra HD Lens

Dual SDHC/SDXC
Card Slots

A precision 29.6-355mm
zoom lens delivers razor
sharp imagery. 24X
dynamic zoom in HD.

Record hours of 4K Ultra
HD onto convenient,
economical media.

4:2:2 60p 50Mbps

Live Streaming

Ideal for general HD
production work.
50Mbps files are stored
in the Quicktime (.MOV)
format for easy editing.

Easily deliver live HD
to content delivery
networks such as
USTREAM and YouTube.

2K / 4K
* GY-HM200 shown with optional microphone.

thatsjvc.com

Myth:
You can’t get shallow depth of ﬁeld
with mirrorless cameras.

Image shot with the Olympus OM-D E-M1
with the M.Zuiko 40-150mm f4.0 PRO lens
by Olympus Trailblazer, Peter Baumgarten

Fact: See photo above.
The powerfully compact Olympus OM-D E-M1 delivers an amazing shallow
depth of field with its patented system of digitally designed lenses. But
don’t take our word for it, get all the details at getolympus.com/myths.

GET POWER. GET PORTABLE. GET OLYMPUS.

E-M1

Outdoor Photographer - June 2015 USA - docshare.tips (2025)

References