American PHOTO 2013-03-04

plus
Dan Winters
Flying BaBy
Frans lanting
neW york nights
meet matt eich
20-inch taBlet
panorama gear
10 Wedding
Best
Photographers
2013
trends
Why would
a big-time
photographer
use a phone on
assignment?
profile
Tim Flach talks

about how and
why he makes
studio portraits
of wild animals.
The aesthetics
of an artist,
the reexes of a
sports shooter,
the people
skills of an
Oprahand
a big love
for Love.
Thats what
it takes to
be a top
wedding
pro today.
display until 5/6/13

March/april $4.99
LEARN FROM
NIKON MASTERS
WHILE TRAVELING
AROUND
THE WORLD
REED HOFFMANN
A professional newspaper photographer for over 20
years, Reed began shooting digital in 1996 and is
an acclaimed digital expert who has helped nearly
50 organizations make the digital transition and
created countless photographic instruction and
workflow programs. A lover of the outdoors and
wildlife, hes covered everything from presidential elections to the
Super Bowl to Eco-Challenge adventure races across the globe, and
is a two-time winner of the National Press Photographers Association
Regional Photographer of the Year Award. A Nikon Mentor since 2000,
he has guided over 3- dozen treks, and hes impressed.
Mentor Treks are extraordinarily well planned, with a full and varied
itinerary. Everybody goes home exhausted but thrilled with what
theyve accomplished over several days, talking and living photography
with people on the same wavelength, and receiving personal one-onone critiques from friendly, accessible Nikon pro photographers. Its a
grand photo adventure that gives you precious time for exploration
and self-discovery, all while having a fun learning experience with
professional help always available. Two great things the China
participants came home with are a better understanding of controlling exposure and clearer concepts of composition, including framing,
foregrounds and backgrounds, and optimizing depth of field.
There is almost no better, faster way to enhance

your visual creativity, upgrade your photographic
skills, tap into the knowledge base of seasoned
professional photographers, and experience the
camaraderie and passion of fellow photo
enthusiasts than joining a Nikon-sponsored
Mentor Series Photo Trek. Acclaimed by experts
and participants as the most effective,
enlightening and enjoyable events of their
kind, they provide a unique hands-on learning
experiencea total-immersion course in
visual expression wrapped in a seamlessly
organized, carefree, once-in-a-lifetime
photographic adventure!
DAVE BLACK
Mentored by approachable Nikon

professional photographers who share
their shooting secrets and priceless practical
tips, you will receive the kind of personal
one-on-one attention that will have you
shooting better pictures almost immediately.
You will also have the chance to use the latest
high-performance Nikon digital cameras with
legendary NIKKOR lenses, experience incredible
photo opportunities, and bring home images
to treasure forever.
An acclaimed sports shooter for over 30 years,

Daves dynamic images have appeared in such
iconic publications as Sports Illustrated, Time,
and Newsweek, and on the award-winning ESPN
show, Sports Century. Hes covered 12 Olympics,
countless NFL and NASCAR events, and his mastery
of specialized lighting is showcased in National Geographics moving
book on Arlington National Cemetery, Where Valor Rests. Ive conducted hands-on workshops for over 25 years, says Dave, and this
Montana trek was one of the best. It gave trekkers from other regions
an authentic western experienceeverything from working ranches,
to Yellowstone National Park, to a real ghost town. As usual, the entire
event was superbly organized and we always seemed to be in the right
location at the right time to capture spectacular natural light.
What makes Nikon Mentors so special? Read

their amazing proles and heartfelt comments
that follow.
Were there to help people learn and grow, to better understand

photography so they can find their own great shots. The social element
adds another dimension to the experience because youre constantly
feeding off other peoples energy and ideas. You just might make
friends for life.
One of the hallmarks of this program is that you dont waste time
youre usually busy making pictures, and when youre not, youre getting great tips on photo techniques and technology that you then put
to immediate use to hone your skills. We covered light painting at two
different ranches and the cowboys and cowgirls we shot were working
ranch hands, not professional models. Anytime you can capture pictures
of real people it always makes the experienceand the imagesmore
authentic and meaningful. Another great aspect is the willingness of
the staff to stop when picture opportunities present themselvesthat
flexibility is priceless, especially in Montana where wildlife is so accessible. The camaraderie was exceptional, with everyone pitching in
to help fellow trekkers succeed. Best of all, these folks actually bring
home and use what theyve learnedas a mentor thats truly inspiring,
and its why so many people sign up for more.
CHINA
Everybody goes home exhausted but thrilled with what theyve

accomplished over several days, talking and living photography with
people on the same wavelength, and receiving personal one-on-one
critiques from friendly, accessible Nikon pro photographers.
INSIDE REEDS CAMERA BAG

Nikon D800 and D600 bodies, 16-35mm f/4, 50mm f/1.8, and 70-200mm f/2.8 VR
Nikkor lenses SB900 Speedlight, Nikon Circular Polarizer, variable and graduated ND
lters. When shooting wildlife, add 200-400mm f/4 VR Zoom Nikkor.
MONTANA
One of the hallmarks of this program is that you dont waste

timeyoure usually busy making pictures, and when youre
not, youre getting great tips on photo techniques and technology that you then put to immediate use to hone your skills.
INSIDE DAVES CAMERA BAG

Nikon D4 and D800 bodies, 14-24mm f/2.8, 24-70mm f/2.8, 70-200mm f/2.8 VR, 28-300mm
f/3.5-5.6 and 200-400mm f/4 Nikkor lenses, 2 SB900 Speedlights, Nikon SV-800 Wireless
Speedlight Commander, graduated ND lter, (3X), circular Polarizer, SanDisk Extreme Pro CF cards.
PANAMA
The fun thing about a Mentor trek for me is that it takes a

learning experience and makes it fun and socialand when
you add travel, its a winning combination.
INSIDE MARKS CAMERA BAG

Nikon 1 System: Nikon 1 V1 (now 1 V2) body, 10mm f/2.8, 18.5mm f/1.8, 10-30mm or 11-27mm f/3.5-5.6,
30-110mm f/3.5-5.6 in Nikon 1 mount, Nikon FT-1 adapter for mounting Nikon F-mount lenses. Alternate:
Nikon D600 or D800 body, Nikkor 14-24mm f/2.8, 50mm f/1.4, 85mm f/1.8, and 70-200 f/2.8 VR.
DUBAI
In the course of 4-10 days of intensive shooting with the pros

you have a unique opportunity to experience and explore a
magnicent location in a safe and secure way while becoming
a better photographer.
INSIDE DAVIDS CAMERA BAG

Nikon D800 and D700 camera bodies, 16-35mm f/4-5.6, 24-70mm f/2.8, 70-200mm
f/2.8 VRII, and 80-400mm f/4-5.6D VR Nikkor Zooms 85mm f/1.4 Nikkor lens, variable
ND (3 stops) and graduated ND lters, electronic release, up to 5 SB800 Speedlights
MARK ALBERHASKY
A retired physician, author, inventor, internationally
published, award-winning professional photographer, and esteemed educator, Marks experience
spans over 40 years, shooting subjects as diverse
as nature, wildlife, cityscapes, and peopleall with
a masterful use of light. Panama is remarkably
diverse, ranging from tropical rain forests to sprawling Panama City
to the historic Panama Canal, Mark recalls, and it was delightful to
cover it all with a Nikon 1 V1, a serious camera I could hold in the palm
of my hand.
The educational experience is seamless because the feature set is
identical to a DSLR, and Nikon even provided Nikon AW-100 cameras
so we could shoot underwater pictures in a mangrove swamp! The fun
thing about a Mentor trek for me is that it takes a learning experience
and makes it fun and socialand when you add travel, its a winning
combination. Trekkers are invariably enthusiastic photographers, and its
gratifying to show them how to see and use light effectively because
you can watch them evolve before your eyes.
Participants are given the priceless opportunity to pursue a non-stop,
dawn-to-dusk photo experience grouped with like-minded people
excited about making pictures. Everything is perfectly organized with
special access to spectacular venues at optimum times. The instructors
are all very knowledgeable and friendly, with an uncanny ability to convey complex concepts one-on-one in simple language so you remember
what you learn. Their passion is contagious and thats one reason why
there are so many repeat trekkers.
WHERE ARE
WE GOING
IN 2013?
NEW ZEALAND
SAN ANTONIO, TX
WHITE SANDS, NM
CALIFORNIA COAST
SEDONA, AZ
UTAH
SOUTH DAKOTA
BLACK HILLS
GALAPAGOS
DAVID TEJADA
One of Colorados most esteemed location photographers, David specializes in shooting iconic images
for the corporate annual reports of Fortune 500
companies, and has over 30 years experience in
creating visuals for graphic design firms and other
demanding clients. His work brilliantly integrates
exciting color, strong graphic composition, and a masterful use of light
to make the emphatic and memorable statements that define his style.
A seasoned educator, he has taught workshops all around the world.
Dubai is a great ice-breaker for Westerners traveling to the Middle
East, David observes, because it combines traditional Arab culture
with a vibrant Western influence. Our incredible itinerary included a
hot air balloon ride at sunrise, photographing Whirling Dervish dancers,
a Bedouin dinner in the desert, and shooting from the top of the Burj
Khalifa, the tallest building in the world. Even more remarkable, while
taking in all these exotic sights, trekkers are busy meeting new friends,
shooting memorable pictures, and learning new skills from a variety
of accessible mentors, thereby increasing their joy of photography immensely.
In the course of 4-10 days of intensive shooting with the pros you have
a unique opportunity to experience and explore a magnificent location
in a safe and secure way while becoming a better photographer. Youre
having so much fun youre on sensory overload, and everybody including the mentors, goes home refreshed with new ideas and techniques
they can carry forward. Photography is always evolving and, as seasoned trekkers are well aware, its a great adventure.
MONTANA
THAILAND
SCOTLAND
For more information,

and to sign up
www.mentorseries.com
For more information on Nikons digital

line-up, please visit nikonusa.com
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March/april 2013
54
Features
28 The Top 10
Wedding Photographers
With the reexes of sports shooters and
the aesthetic skills of artists, the best
wedding pros bring their own sensibility
to the party. here are 2013s standouts.
BY aimee Baldridge
47 #iphoneonly
in the brave new world of breakneck
news cycles and global social media
platforms, savvy photographers have a
new favorite tool: the smartphone.
BY travis marshall
54 Animal Insight
We have no choice but to view animals
through human eyes. What do they
tell us about ourselves?
BY tim flach
cover: Matt Miller. this page, from top: tim Flach; Samm Blake.
28
On the cover
in Matt Millers double portrait, bride
and groom Kendrick and David bring
a little Mexican spirit to their
wedding in St. petersburg, Florida.
This page: Tim Flachs portrait of Grace,
of the great gray owl (Strix nebulosa)
species; Samm Blake captures bridesmaids
helping the bride into her dress. Next page:
Alligator hunting near Shell Island,
Louisiana, 2009 by Matt Eich;
actor Colin Firth by Dan Winters.
March/april 2013 aMericanphotoMag.coM 5
March/april 2013
Departments
13
10 EDITORS NOTE
Another Face
introducing our own art-world star.
By MiriaM Leuchter
Focus
13 ONE TO WATCH
Triple Threat
Matt eichs commercial work supports his ventures
in ne art and photojournalism. By MicheLLe Bogre
18 WORk IN PROGRESS
A Flock of Symbols
in suspended sculptures, thomas Jackson explores
the idea of groupthink. By judy geLMan Myers
20 BOOkS
Winters Wonderland
Dan Winters unleashed, Frans lanting in the wild,
nYc after hours, and arthur Meyerson on the road.
By jack crager
24 ON THE WALL
Cry Hometown
latoya ruby Fraziers city in ruins, george
georgious divided turkey, Sandy haber Fields
dreamworks, and more. By Lindsay coMstock
Gear
63 COMING ATTRACTION
Screen Star
panasonic shows off a 20-inch tablet prototype.
64 NEW STUFF
The Goods
the coolest tools for all kinds of photographers.
68 REVIEW
Works on Paper
We put canons new pixma pro-10 photo
printer through the wringer.
72 PARTING SHOT
Flight of Fantasy
in Flying Henry, rachel hulin sends her son aloft.
By Lori Fredrickson
20
SubScriptionS: American Photo (ISSN 1046-8986) (USPS 526-930), March/April, Volume 24, No. 2. American Photo is published bimonthly (Jan/Feb, Mar/Apr, May/June, July/Aug, Sept/Oct, Nov/Dec)
by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage paid at New York, NY 10016 and at additional mailing ofces. Authorized periodicals postage by the Post Ofce Department, Ottawa, Canada,
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6 aMericanphotoMag.coM March/april 2013
From top: Matt eich; Dan Winters
By andrew darLow
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editors note
10 americanphotomag.com march/april 2013
Another Face
few months ago, when i added the job of leading American Photo to my work as editor-inchief of Popular Photography, i vowed to make
the change as seamless for you as i could. this is my
second issue, and ive altered very little, aside from
sharpening our focus on contemporary photography
and how its practiced at its highest level. and one of
the people helping to reshape that discussion is also
helping to reshape the art of photography itself.
meet our new features editor, Debbie grossman.
readers of Pop Photo will recognize her as the
longtime writer of the monthly Software Workshop,
as well as the force behind its coverage of image editing. But Debbie (im forgoing our formal style as a
colleague and friend) is also an artist. While working
full-time for Pop Photo, she earned an mFa in photography, video, and related media from the School of Visual arts, where she won the paula rhodes memorial
prize; she is now represented by the Julie Saul gallery
in new York city. her images are in the permanent
collections of the metropolitan museum of art, Jewish
museum, and others. in fact, her series, My Pie Town, is
on view at the met in after photoshop: manipulated
photography in the Digital age through may 27.
one example of Debbies extraordinary work in
My Pie Town is at left. Using high-resolution, publicdomain scans of russell lees Depression-era photos
of pie town, new mexico, she
transformed it into a community made up solely of women.
She subtly reshaped jawlines
and gures, smoothed over
beard stubble, and erased at
least one husband altogether.
her artwork challenges assumptions about photography.
and i think that her experience and curatorial eye will
add a new dimension to what
you nd in American Photo.
Debbie Grossmans
Jessie Evans-Whinery,
Homesteader, with Her
Wife Edith Evans-Whinery
and Their Baby, 2010.
Debbie grossman/Julie Saul gallery
MiriaM Leuchter, editor-in-chief
march/april 2013 americanphotomag.com 11
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tHE pEopLE bEHind tHE piCs Work in Progress 18 Books 20 on the Wall 24
onE to WatCH
triple threat
Matt Eich hustles commercial work to fund his photojournalism and ne art projects
ven as an undergraduate at Ohio University in Athens, Ohio, Matt Eich had a
rigorous work ethic. He freelanced as
a photographer, interned at newspapers including
the Orange County Register in California and Portlands The Oregonian, and picked up honors as the
2006 College Photographer of the Year, always a
career boost.
Then, when Eich was 21, he became a parent,
and life changed dramatically. I knew I had to up
my game if I was going to be able to support my
Matt Eich
By Michelle Bogre
family, says Eich, now 26. I couldnt rely on one

client or one market. I needed some stability.
And up his game he did. Since graduating in
2008, Eich has built a roster of A-list clients such
as Apple, AARP, National Geographic, Time, and
Newsweek. Hes earned grants including an Aaron
Siskind fellowship, a National Geographic Magazine
Photography Grant, a ShootQ Grant, and a National
Press Photographers Association Short Grant. Hes
received international awards and his work is in
several museums and private collections.
Matt Eichs Chop, Houma,

Louisiana, 2010, from the
project Trouble in the
Water, about the alligator
industry in Louisiana.
MARCH/APRIl 2013 AMERICANPHOTOMAG.COM 13
one to Watch
14 AMERICANPHOTOMAG.COM MARCH/APRIl 2013
CLosE-Up
Matt Eich
matteichphoto.com
Lives In Norfolk, VA
Studied At Ohio University
Awards F25 Award for Concerned Photography, 2010;
Pictures of the Year International Community Awareness
Award, 2009
Clients Include Apple, Bloomberg Businessweek, Esquire,
GQ, Harpers, Mother Jones,
National Geographic, Time,
Sentara Healthcare
In the Bag Canon EOS 5D Mark
II; Canon EF lenses including
EF 35mm f/1.4L USM, EF 24mm
f/1.4L II USM, and EF 50mm f/1.2L
USM; Canon Speedlite 580EX II
Matt Eich (3)
This year Eich will present a new solo show (his

sixth) in collaboration with the Virginia Museum
of Contemporary Art in Virginia Beach for his
project The Seven Cities. I wanted to nd a reason
to work close to home, he says. I pitched to the
museum the idea of photographing all the cities that make up whats known as the Hampton
Roads and how dependent the area is both on the
water that surrounds it and the military industry.
Other work has come from the photo collective
lUCEO, which Eich formed with ve friends in
2007 to provide mutual creative feedback and camaraderie; he left it in 2012 to pursue other projects
and spend more time with his family. I thrive in a
creative community, and thats what lUCEO was
for me, he says. We would critique each others
work and thats where the real learning happened.
While with lUCEO, Eich began an ongoing
project, The Invisible Yoke, which comprises The
Seven Cities as well as two other series, Carry Me
Ohio and Sin & Salvaabove: tornado aftertion in Baptist Town.
math, Joplin, Missouri,
The latter began in
2011, from an assignment
2010 as a brief assignfor Esquire. Right: Guy
ment on rural health
McRoberts, Russellville,
care for the AARP
ohio, 2012, from Carry
Bulletin. Baptist Town
Me Ohio, part of Eichs
is a neighborhood in
project The Invisible Yoke.
top: Mail boat to tangier

island, Virginia, 2010,
from Eichs series Poems,
Half Remembered. bottom:
demolition derby, athens,
ohio, 2012, from the series
Carry Me Ohio.
people I had photographed and made friends.

After his second visit, one of the people hed befriended, Demetrius Butta Anderson, was shot to
death. Eich needed to photograph the funeralbut
he was broke. I didnt even have money for gas, so
a friend gave me money and my editor got me an
assignment so I could spend 48 hours there.
Even more determined to nish the project, he
raised $5,690 through the crowd-funding platform
Emphas.is so he could spend a month in Greenwood.
Then in 2012 he received $32,000 in grants, which
he applied to continuing the series. The Baptist
Town project functions well for me in the documentary sphere, but thats not enough for me anymore,
Eich says. I want the images to function for the
community, so Ive been thinking about how to have
it play out in the streets or in social media. This
idea was sparked when he used Instagram as a sort
of digital Polaroid to engage people. Instagram is
much more permanent than a Polaroid if I can tag
[the subject] on a social site.
In upping his game, Eich always has different
projects in play. Between sessions on The Invisible
Yoke, he shoots commercial work. I hope that people
hire me for the way I see, he says, but I also hope
they know my pictures arent always dark. I nd
that I can create a situationand then real moments
will occur if I step back and let life unfold. AP
Randal Ford (2); portrait by Austin lochheed
Greenwood, Mississippi, plagued by poverty and

crime but held together by a sense of family
and community. I knew there was a much bigger
story there about the real legacies of racism in the
South, so I begged my editor, Michael Wichita, to
send me back, he recalls. I brought prints to the
Matt Eich (2)
one to Watch
16 AMERICANPHOTOMAG.COM MARCH/APRIl 2013
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A Flock of Symbols
Thomas Jacksons suspended sculptures illuminate the idea of groupthink
ine-art photographer thomas Jackson

seeks to give form to shapes that appear
in his head. in his current work, those
shapes look a lot like self-organizing systems
or, in everyday lingo, ocks of birds, schools of sh,
termite mounds, swarming locusts. Swarming insects ll us with fear and fascination, says Jackson,
and he loosely employs them as models for the
sculptures he constructs out of everyday objects
to tap into our subconscious dread of those forces
which we cant see but we know are real.
Jacksons recent photo series, Emergent Behavior, also has roots in his work with found objects.
While working on an earlier series called The Robot,
Jackson fell in love with the art of building and
Works from Thomas

Jacksons series Emergent
Behavior reect the collective action of self-organizing
systems. Above: Glow
Sticks #1. Opposite, from
top: Cups #1; Leaves #1.
By Judy Gelman myers
lighting staged scenarios; he wanted to continue

that process with something more abstract. the
original idea was to pick up stuff lying around new
York city that i could build into a sculpture and
photograph to make come alive in a hallucinatory
sort of way, he says.
Jackson headed to an industrial section of imlay
Street, in Brooklyns red hook neighborhood,
where he found hundreds of pallet shards scattered
along sidewalks and gutters. he collected the scraps
and brought them back to his studio in Dumbo,
built a small sculpture, then returned to imlay
Street at 4 a.m. to photograph his creation in the
middle of the street with a 30-second exposure in
ambient light. he shot the sculpture in a slightly
thomas Jackson (3); portrait by carrie Dutcher
work in ProgreSS
different position, then repeated the process six or
eight times before assembling the shots digitally to
produce Broken pallet.
For his next image, leaves #1, he trekked to
the forest, where he gathered branches off the
ground. this time, though, he wove them into a
30-foot-long support structure hed built of wire
mesh. to get the oating effect, he hoisted the
thing eight feet in the air and attached it with
rope to nearby trees.
But Jackson soon became aware of the reality
of limiting himself to found objects: it basically
meant walking around new York city picking up
garbage, or out in the country picking up leaves
and sticks, he recalls. Ultimately, i found the
idea of extreme juxtaposition more interesting.
So for leaves #2, he rst took a photo at a city
intersection in Brooklyn, then wove that image
together digitally with shots of leaves thrown in
the air back at the studio.
context became the concept: For cups #1
he digitally relocated a welter of plastic drinkware from pennsylvania, where it was shot, to
the catskills, adding the shadow to give it a
sense of occupying space.
Jacksons preference, however, is to work entirely
in the eld and to create these mysterious effects in
camera. So now he uses the logistical lessons from
early experiments to build his sculptures onsite.
this often entails a race against the clock to get
materials assembled and shot by sundown and
battles with the weather. in plates #1, the sculptureplastic plates attached to dozens of monolaments strung between a tree and a stepladderis
35 feet long, 9 feet tall and 4 feet deep. his glow
Sticks #1 looks as if its suspended in space, but its
sitting on a stand to keep it from swinging in the
breeze. Jackson removes the sculptural supports in
post production to keep the magic, he says, but he
no longer builds images in photoshop. i subtract,
but i dont add, he explains.
Jackson says hes halfway through the series
and wants to improvise further: instead of working around the wind, hell use it, making sculptures that are supposed to move. he also hopes
to draw on scientic phenomena for his swarm
images. not long into his work on Emergent
Behavior, he was contacted by andrew hartnett,
a researcher at the couzin lab at princeton who
had seen Jacksons swarms. hartnett studies
startle events in schools of sh by poking one
of the creatures with a small monolament then
recording the schools response with a high-speed
camera. its super-cool, says Jackson, and
theres much more to be done with that.
he adds that hartnett is working on a theory
of collective decision making with potential applications on voting in human groups. Voting in
human groups? that should give Jackson plenty
of material for tapping into our dread of forces
we cant see but know are real. AP
CLOSE-UP
Thomas Jackson
thomasjacksonphotography.com
Lives In Brooklyn, NY
Studied At The College of
Wooster, Wooster, OH
Awards/Honors Critical Mass,
Top 50, 2012
Inuences Environmental
sculptor Andy Goldsworthy;
artist/writer Yayoi Kusama;
lm director Andrei Tarkovsky
In the Bag Shen Hao HZX45-IIA
eld camera; Schneider Kreuznach APO-Symmar f/5.6 135mm
and Caltar II-N f/5.6 150mm

lenses; Profoto AcuteB and/or
AlienBees strobes
Background After taking photo
classes in high school and
college, Jackson put the camera
away for 15 years and worked
as a magazine editor and
writer. He bought a Leica M3 to
shoot landscapes and, later, a
4x5 Graex Crown Graphic to
experiment with staged images.
He shot commercial work before dedicating himself to
ne-art photography.
BOOKS
Winters Wonderland
The wild imaginings behind the craft of a top editorial image maker
By Jack crager
Dan Winterss america: icons anD ingenuity
splotchy ink patterns, and scientic forays such

as sepia-toned negative close-ups of honeybees.
With a chapter on space-shuttle photographs
from his project Last Launch: Discovery, Endeavour,
Atlantisthe subject of another book he released
in 2012Winters makes his point: The human
experience is the limit. photography has allowed
me to step into the lives of others, however briey,
and be inspired and amazed, he notes. it has
given me access to places and events that have
only been available to me as a practitioner of my
craft. He gives access, in turn, to his audience.
20 americanpHoTomag.com marcH/apriL 2013
Clockwise from left: Christina Ricci, Hollywood,

1997; Shuttle Endeavour
Launch, Cape Canaveral,
2011; Dolphin Tail,
Florida Keys, 1989.
Dan Winters (3)
By Dan Winters Telfair Museums of Savannah, GA $40

This book contains multitudes. Dan Winterss
America is at once wacky and poignant, buoyant
and grim, slick and artsy. Having established a
signature celebrity-shot style for publications
including The New York Times Magazine, Vanity
Fair, and Rolling Stone, Winters duly showcases
editorial portraits, from the campy Will Ferrell
cover image to somber studies of Heath Ledger
and Tupac Shakur. But Winters also reveals
his breadth with abstract art projects, surreal
anatomical montages, cameraless images of
OkavangO: africas Last EdEn
By Frans Lanting Taschen $40

expanding on material he rst published 20 years ago, photographer
Frans lanting returns to the okavango Delta region of Botswana to
update us on the fate of an untamed refuge. this volume offers a diverse
mix, ranging from insect close-ups to sweeping aerials, from scientic inquiry to aesthetic wonder. With his editor and wife, christine eckstrom,
lanting provides plenty of fun facts: We not only see warthogs butting
heads but also discover that lions consider them a delicacy. We learn that
antelopes have splayed hooves and eat tender
papyrus crowns, and that while hunters have made
crocodiles wary of humans, when crocs strike, they
do so with astonishing speed and strength. and we
witness an ecosystem in a delicate state of preserve.
in Botswana, he writes, the legitimate claims of
local people and the economic aspirations of a developing country must be balanced with the growing
concern over preserving the earths last edens.
nEw YOrk at night: PhOtOgraPhY aftEr dark
Edited by Norma Stevens and Yolanda Cuomo powerHouse $125

With the possible exception of paris, no city has held a
more constant sway on the cameras eye than new York.
the editors of this 100-year survey credit its nocturnal
charmsfrom the honeycomb glow of Berenice abbotts
cityscape to the shadowy grit of Weegees candid shots to
the underground vibe of nan goldins party scenes. like a
taxi ride down Broadway, the story veers wildly but clips
along: haunting portraits by Diane
arbus, a deftly framed candid by irving
penn, and an iconic study in light by
Walker evans coexist in this scattered
narrative. the book makes a noble effort to live up to its epigraph, by F. Scott
Fitzgerald: the city seen for the rst
time, in its rst wild promise of all the
mystery and beauty in the world.
thE cOLOr Of Light
By Arthur Meyerson Arthur Meyerson Editions $80

its abstract title sums up the contents: iridescent studies of
reections and shadows, textures and patterns, moods and
hues. meyerson is a houston-based commercial photographer whose nearly 40-year career has taken him to farung locales; this self-published volume (arthurmeyerson
.com/book) highlights personal
snaps made along the way. With
help from designer lowell
Williams, meyerson pairs scenes
that are separated by time and
place but linked chromatically.
his favorite images are photos
that ask questions, he writes.
this collection is full of them.
Clockwise from top left: Frans Lantings shot of four lionesses
awakening for the hunt in the wilds of Botswana; Berenice
Abbotts New York cityscape, The Nightview, 1932; Arthur
Meyersons Outdoor Restaurant, Vancouver, 2010.
clockwise from top left: Frans lanting; New York at Night: Photography after Dark edited by norma Stevens and Yolanda cuomo, published by powerhouse Books; arthur meyerson
BOOKS
on the wall
Cry
Hometown
LaToya Ruby Frazier faces a homeland
in ruins by Lindsay ComsToCk
LaToya Ruby FRazieR:
a HaunTed CapiTaL
in the tradition of social documentary that strives
to capture the essence of america, latoya ruby
Frazier has trained her lens on her troubled hometown of Braddock, pennsylvania. located downriver
from pittsburgh, Braddock began as one of the rst
steel-mill towns in the United States. Since the
collapse of that industry, the once-thriving city has
shriveled to a population of less than 2,500, and the
state has considered it a distressed municipality.
in both still and moving images, Frazier documented her family there for a decade, capturing human
resilience and family bonds amid the hard times.
her thought-provoking worksome of which was
included in the prestigious Whitney 2012 Biennial
and the new museums exhibition The Generational:
Younger than Jesustakes center stage in this solo
show of about 40 images.
an associate curator at rutgers University, where
shes also taught photography, Frazier calls her
artistic motivations both personal and sociological.
her work addresses how an individuals environment impacts the body and shapes how you perceive
yourself in the world, she said in a 2012 lm clip.
her stark black-and-white portraits challenge how
the poor are portrayed in the media, how we think
about the relationships between mothers and daughters, and how environmental racism persists in
many american cities like
From top, two of LaToya
Braddock, where environRuby Fraziers portraits
mental degradation occurs
from her series The
in low-income and minority Notion of Family: Self
neighborhoods. the mind
Portrait (March 10am),
is the battleground for
2009; Grandma Ruby
photography, Frazier says. and Me, 2005.
latoya ruby Frazier (2)
Brooklyn Museum, Brooklyn, NY, Mar. 22 Aug. 11 brooklynmuseum.org
on the wall
F GeorGe GeorGiou: Fault lines
Jackson Fine Art, Atlanta, GA, through April 13 jacksonneart.com
the title of georgious Fault Lines refers to the ssures between

eastern and Western culture in turkey, where the British
photographer lived and shot for several years. georgiou creates
planes of vivid color and surreal light, depicting everyday life
in these rapidly developing communities. the underlying social
tension is made palpable as religious, political, cultural, and
geographic battles brew and the country oscillates between
holding on to its tradition and moving into modernity.
G sandi haber FiField:

aFter the threshold
Also...
E Japans Modern Divide: The Photographs of
Hiroshi Hamaya and Kansuke
Yamamoto
The Getty Center, Los Angeles, CA, Mar. 26 Aug. 25 getty.edu
This exhibition contrasts the work of two inuential
Japanese lensmen: Hiroshi Hamaya, whose documentary work explored social and regional issues,
and Kansuke Yamamoto, whose experimental vision
brought traditional Japanese realism into the realm
of avant-garde surrealism.
Unseen: The Photographs of Jessica Lange

Museum of Photographic Arts, San Diego, CA, through May 19 mopa.org
MOPAs retrospective unveils cinematic stills by the Oscar-winning actress.
The black-and-white images from Langes shoots in Europe, Ethiopia,
Russia, and North America demonstrate an eye for everyday drama. I nd
photography a most mysterious process, she notes, capturing that
moment in time and space, elusive and eeting, and crystallizing it.
G Color rush: 75 Years oF Color

PhotoGraPhY in ameriCa
Milwaukee Art Museum, Milwaukee, WI, through May 19 mam.org
this collection explores innovations in color photography between

1907, when autochrome lm was rst marketed, and 1981, when
(the curators maintain) color photography was fully accepted by
the art world. included among the nearly 200 images and objects
are works by pioneers such as harry callahan, William eggleston,
nan goldin, cindy Sherman, and Stephen Shore.
Takuma Nakahira Circulation: Date, Place,

Events Yossi Milo Gallery, New York, NY, May 23 July 12 yossimilo.com
This solo exhibition was rst shown at the 7th Paris Biennale in 1971. Over
a week in Paris, the activist made around 100 images each day, developed
the lm at night, and showed works the next day without omissionwhat
he called pieces of reality cut out by means of the camera.
Clockwise from top left: Trabzon, by George Georgiou, 2006;
Missing Stair, from Sandi Haber Fields series After the Threshold;
A Chronicle of Drifting, 1949, by Kansuke Yamamoto; Huntsville,
Alabama, 1978, by William Eggleston, from Color Rush.
clockwise from top left: george georgiou, courtesy Jackson Fine art; Sandi haber Field, courtesy rick Wester Fine art;
toshio Yamamoto; John glembin, eggleston artistic trust, courtesy cheim & read, new York
RICk WeSTeR FINe ART, NeW YoRk, NY, APRIL 18 MAY 30 rickwesterneart.com
the dreamlike vision of Sandi haber Field is built on what she

calls collisions and alignments of unrelated images. Drawing from
her archive of imagery, Field threads together incongruent scenes
in triptychs and quadriptychs. as a result, she explains, formal
connections reveal themselves and suggest the reassuring possibility of meaning and order in the apparent randomness of experience. the show coincides with a monograph of the same title.
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The Top 10 Wedding Photographers
Morgan Lynn razi

Morgan Lynn Razi met both of her great loves
photography and her husband-to-bewhen she
was just 15 years old. By the time she was a ne-art
photography and business student at the University
of colorado, Boulder, she was already shooting weddingsnever mind that her sideline didnt impress
her instructors or peers. i didnt feel like it was a
cool, hip thing to do, she says. But she combined
her artistic training with a meticulous technical
approachand came into her own just as wedding
photography was becoming more respected. now
its a really desirable job to get into, she says.
even more than her photographic skills, its her
afnity for great love stories that allows her to
bring out the beauty in each event. i get excited
and inspired by peoples joy and emotion, and by
people who are in love, she says. i can really
relate to that, because ive been so lucky in love.
the couple are now based in houston, where her
husband, amir, has recently started shooting with
her full-time.
razi applies her technical skill in the houston
event halls where receptions with elaborate and
varied lighting are often held, seeing the possibili-
Above: The groom realizes

his wifes dress is hiked up
dangerously high during a
Houston wedding. Below:
Bride and bridesmaid dance
to a favorite song.
ties in challenges that many photographers would

nd daunting. her view reects the sanguine attitude she has toward every wedding she captures:
i probably have rose-colored glasses on, she says,
but i want to believe that these are two people
who are insanely in love with each other.
this page: matt miller (3). opposite: morgan lynn razi (2).
Matt MiLLer
Sometimes it takes a big shift to set you on the path to the love youre meant
for. after matt millers punk-rock band decided to take a break in 2007,
he moved back to atlanta from Brooklyn and tried various jobs, including as
a concert photographer. When a friend recommended him to assist on a
wedding gig, he was skeptical. it sounded awful, he recalls. i didnt know
anything about wedding photography, and all i could think of was overly posed,
very stiff weddings, tuxedos, and boringness. But he needed the money, so he
went for it. the wedding, it turned out, had so much love and interestingness
to it, which for some reason id never thought of in wedding photography, that
i kind of fell in love with it. after assisting for three years, he took the lead
and started booking his own shoots.
as fate would have it, his background as a musician turned out to be a boon
for his wedding career. Being in a touring band for seven years, i got to meet
people across the U.S. and worldwide, he explains. i know tons of people in
bands and the punk-rock subculture, so a lot of the weddings i shoot are very
alternative. thats been a blessing for me. it ends up being a lot more personal.
the lighting skills miller picked up while working with bands in dark venues
also come into play in his wedding work. During receptions, he often sets up
studio lights that illuminate the whole space.
as miller has stuck around the wedding scene,
Top: The newlyweds say
his rock-star dreams have taken a back seat, makfarewell to friends and
ing way for a brighter photographic styleand a
family in the Blue Ridge
sunnier disposition. the more weddings i shot, the
Mountains, Georgia. Midmore i fell in love with it and with the people getdle: The bride and groom
ting married, he reects. my outlook as a perdance at the reception.
son became a little bit happier. When my outlook
Bottom: A guest sweeps the
changed, the images started changing, too.
barefoot bride off her feet.
When I started doing weddings, it was a eld

day for me, says new Yorkbased ryan Brenizer.
he had been working as a photographer for
columbia University, shooting academic events
that were usually less than exciting. at a wedding, he says, i was walking into a scenario where
there were emotions and there was beauty, and i
could just build on that.
Brenizer certainly had the tools for the job,
with a knack for the technical and a background
in journalism. i do tend to approach weddings as
assignments, he says. Whoever the people are, i
want to tell their story. i want to show the things
that are different and unique about them, what
makes it their wedding.
recognized for his own unique approach,
Brenizer uses such techniques as composite lighting, free-lensing, and light painting, and he has
even come up with a way to capture panoramic
portraits with shallow depth of eld thats become
known by photographers as the Brenizer method.
nevertheless, he insists, the technical stuff is just
a means to an end. Whats important are the
moments between people.
Top: The 11/11/11 newlyweds, also pictured on the

previous spread, kiss at
their reception. Bottom: A
ower girl hams it up at
a Manhattan reception.
this page: ryan Brenzier (2). opposite: Samm Blake (4).
ryan Brenizer
SaMM BLake
As a young photographer, Samm Blake explored
multiple genres, earning a degree in communications and making professional forays into the
fashion and commercial worlds. But it was the
wedding photography shed gotten into as a student just to make a little money that ended up
captivating her. it was the one type of photography where i was given complete creative freedom,
she explains. i could be completely myself and
have no one telling me how to shoot or what to
shoot. i guess im stubborn like that.
not that her approach is just about her creative
druthers. Blakes shooting style is informed by the
lessons in restraint learned from personal docu-
mentary projects. i realized that when im quiet,

its giving room to the couple, because im not
interjecting, she says. thats where the shots that
i really love start to happen. Blake gives her subjects room to breathe compositionally too, creating
a spacious feel that echoes the western australian
landscape where she grew up, even when shes
shooting in her latest base, new York city.
many of Blakes clients work in creative elds
and appreciate her blend of artistry and documentary, but above all, both they and Blake herself
value the moving authenticity her subtle style
achieves. i dont want it to just be a pretty picture
on a wall, she says of her work. When somebody
looks at my photography, i want their heart to beat
faster for a moment.
Clockwise from top left: The

newlyweds go up the stairs
of the Parliament House in
Melbourne, Australia. The
bride takes a moment. The
couple greets cheering reception guests. On a balcony.
ryan JoSeph
Opposite: A moment after

the bride has put on her
dress in Tuscany, Italy.
Right: The groom enjoys
a cigar and a scotch at his
reception in Montego Bay,
Jamaica. Below: In Tuscany, the bride and groom
share their rst dance after
the rain.
ryan joseph (3)
When Ryan Joseph was recruited to play football at ohio University, little did he know that he
was enrolling at a school with a top photography
program. Four years later, he left ohio with a
photography degree in hand, eventually settling
in tampa and opening his own studio. joseph
works in a ne art style, but relishes drawing on
a wide variety of skills to achieve it. a wedding
photographer has to be a little bit of everything,
he observes. Youve got to be a photojournalist,
a portrait artist, a storytellersometimes youve
got to be a psychologist.
When it comes time for portraits, joseph puts
on his directors hat, making careful compositions
that use natural light. he also brings an attentiveness to his subjects that allows their personalities
and presence to determine the look of the images. the point of a portrait is exposing who that
person is on their wedding day, he explains. the
enduring quality of those pictures, joseph says,
comes from bringing out the genuineness in his
subjects. i want them to be as classic 20 years
from now as they are today, he says. and the job
never gets old for joseph. every time i think ive
seen it all, something else happens at a wedding,
he says. it keeps me on my toes.
eMin kuLiyev
For Emin Kuliyev, each wedding is a journey of discovery, a photographic treasure hunt embarked upon
with an unusually happy bunch of traveling companions. You dont know where youre going; you
dont know the people; you dont know anything, he
explains. Youre like a bee ying to the ower.
Kuliyevs own journey began when he left his
native city of Baku, azerbaijan, and settled in new
York. after he found work as a graphic designer,
his course made an unexpected turn when a car
crash took him off his feet for a year. he used
the time to learn how to operate his new digital
camera. When i could walk with a cane, he says,
i started to shoot everything around my building.

Soon, he was exploring the city with his camera,
honing his skills by photographing everything from
portraits to cityscapes to gorillas at the Bronx Zoo.
When Kuliyev discovered wedding photography,
he realized hed found what he was looking for: im
my own boss, he says. i like to see happy people
around me, and i use all my skills in the wedding
eld. his thoughtfully composed images are by
turns witty, expressive, and poignantthe work of
someone who has, as he puts it, found my passion.
that isnt to say hes not open to the next adventure. its hard to say what will happen tomorrow,
he muses. maybe i will write a poem, or paint
something interesting.
Top: A ower girl with

balloons. Bottom, from
left: A bride gets ready.
Bridesmaids talk with the
bride. The bride and her
sister help their father x
his bowtie.
this page: ashley and jeremy parsons (2). opposite: emin Kuliyev (4).
aShLey and
JereMy parSonS
When Ashley Parsons was rst asked to photograph a wedding, she was working as a doula and
presenting at a health fair for expectant moms. i
just laughed and said, im not a photographer, but
thank you, she recalls. But the requester, who had
seen family photographs she had taken, wouldnt
let it go. Shooting that rst wedding turned out
to be a revelation. i went from one experience to
another, and every photograph that i made was
like giving myself a present, she recalls. i came
home and said, jeremy, we have to become wedding photographers. her enthusiasm won him
over. i went for it because i love spending time
with my wife and i hated my job, says jeremy, who
was working for a loan servicing company in their
home base of Kansas city, missouri, at the time.
the couple spent their savings on a booth at a
bridal show. they booked 18 weddings, and jeremy quit his job. now, after years of developing a
natural-looking documentary style together, the
parsons work with clients whom they get to know
personally before the wedding. Weve got to have a
connection to them that feels different than a client, ashley explains. if we wanted to work with
clients, we could go back to the business world.

We want to have couples that we get. We get their
stories and what theyre about, and they get us.
that the leap of faith they made together has
worked out so well doesnt seem to surprise them.
as ashley says, how can you not feel inspired
when you have the love of your life with you?
Top: Newlyweds on the

Baltic Sea island of Gotland, Sweden, where the
groom spent summers when
he was a boy. Bottom: The
same bride, just before leaving her cottage to walk to
the nearby church.
Sean FLanigan
Sean Flanigan began his career in 2005 shooting a combination of photojournalism and weddingswork hed begun as a photography student
at the art institute of Seattle. But he came to a
crossroads when he was offered a staff position
at a newspaper. i was getting assignments, he
recalls, but they ended up not being as fun as the
jobs i was getting from wedding clients. Flanigan
turned the position down and began to cultivate a
clientele that valued his sometimes unconventional
aesthetic. only images that i would want to take
again would go in my portfolio, he explains.
as a result, many of his clients today are creative professionals who share his enthusiasm for
an artistic take on the wedding event. my bride
and groom are like my art directors of the day, he
says, and i want to get them on board with me to
collaborate as much as possible, so were coming
away with the images as a team.
Flanigans artistic approach includes occasional
shots with lomo lm cameras, plus a keen eye for
available light developed in the Seattle area, where
he grew up and where his business is based. it has
Above: Newlyweds share

a playful moment in Paris.
Below: The brides sisterin-law-to-be xes her hair.
Opposite: Bride and groom
with a skull the groom
found.
a real scarcity of directional light, he says of his

hometown. So when i see the light, i go right to
it. ive got a knack for seeing where the interesting
light is. it just jumps out at me.
Beyond technique, Flanigan credits his success to the trust and access his clients give him in
capturing the event. Ultimately, he says, what it
comes down to for me is just seeing them get married and the looks on their faces. its awesome.
Sean Flanigan (3)
Todd Hunter McGaw
Todd Hunter McGaw The Top 10 Wedding Photographers
The bride walks across

a eld on the family
property in the Gold
Coast hinterland of
Queensland, Australia,
where her wedding
was held.
MARCH/APRIL 2013 AMERICANPHOTOMAG.COM 43
todd hunter
Mcgaw
he says. But as much as his clients love the portraits, theyre often pleasantly surprised when they
see the candid shots in their album. Says mcgaw:
We tell people, Youre really going to love the photos of you kissing your mom, and they say, Yeah,
yeah, but lets get to the interesting stuff. then
when they see the albums, they really appreciate
those little moments, which is honestly the whole
reason we do it.
Above: A bride with her

bridesmaids. Below: A
groom (second from left)
walks off jitters with his
groomsmen.
this page todd hunter mcgaw (2). opposite: tyler Wirken (4).
I didnt set out to be a wedding photographer,

says todd hunter mcgaw. i always wanted to be
a commercial photographer. But when someone
asked the Brisbane, australiabased photographer
to shoot a wedding, he realized he could work with
all of the elements he liked from multiple genres in
one place. i found that i could bring variety to my
approach to photographing weddings, and people
responded to that, he says.
mcgaws location brings lots of variety to him,
too. australia is quite a multicultural society, he
explains, so we do Vietnamese and chinese weddings, tea ceremonies, Serbian orthodox weddings,
and also people with pop-culture inuences. mcgaw
has shot a wedding ofciated by Darth Vader and a
video-game-themed event where the bride walked
down the aisle to mario Brothers music. there are
lots of people injecting their own personalities into
their event, which we love, he says.
the common thread running through all the
weddings mcgaw shoots is his clients enthusiasm
for photography and the inventive portraits he creates with their collaboration. Were known for the
conceptual, creative shoots we include on the day,
tyLer wirken
Were not for everybody, says tyler Wirken of his
Kansas city, missouri, studio. his clients, he explains,
are usually more interested in images of other people
at their wedding than of themselves. theyre not
center-of-attention people, he says. You could say
the same of Wirken himself. having started out as
a photojournalist, he takes an unobtrusive approach
to capturing the wedding day through candid shots
of shared moments. outside of portraits, i dont
direct anything, he says. if i talk to them a lot,
then i end up affecting the integrity of the moment.
Wirken even removes himself from the scene, at
times shooting with remote cameras in churches
and reception halls. But that doesnt mean he
doesnt have a personal connection with his clients.

i spend a lot of time with my couples before the
wedding, he explains, so by the time i get there,
ive got their trust.
establishing that personal relationship resonates with his family-oriented clientele. i think
my style really ts in here, he says. most of my
clients still live in the town they grew up in. that
strong family bond really makes a difference.
illuminating long-standing bonds is his ultimate
goal, which is why he stays until the very end. if i
can dig deeper and show more of who people are,
aside from it being a wedding day, then i feel ive
succeeded, Wirken says. Usually at the end of the
night, that comes out. the partys over, and they
one hundred percent become themselves. AP
Top: The bride sheds a tear

during the rst dance with
her husband. Bottom, from
left: The bride tosses her
bouquet. Reception guests
celebrate. The groom
dances his signature dance.
Camera. Lens. Lightroom.

Youve got the camera, youve got the lens. Now theres one essential tool lef:
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2012 Adobe Systems Incorporated. All rights reserved. Adobe, Photoshop, Lightroom and the Adobe logo are registered trademarks of Adobe Systems Incorporated in the
United States and/or other counties. All other trademarks are the property of their respective owners.
From left: Benjamin lowy/reportage by getty images; Benjamin lowy/reportage by getty images for the Magnum emergency Fund (4).
#iphoneonly
s Superstorm Sandy bore down on the
eastern Seaboard, Time magazines direc
tor of photography, Kira pollack, had a
snap decision to make about how to document the
impending chaos. We came in Monday morn
ing [october 29, 2012]Sandy hit Monday night,
pollack says. We really didnt know what would
happen: whether the power would go out, or how
we would le images.
the solution? pollacks team contacted ve photo
journalists and handed them the keys to Times
instagram feed, granting unmediated access to
the magazines presence on the socialphotography
platform; the images would also appear on light
Journalist Ben Lowy

covered the aftermath of
Superstorm Sandy (above,
left) with his phone. Hed
used his phone for his work
before, for instance, documenting events in Libya
during the summer of 2012
(above, right).
Smartphone-savvy photographers
nd their niches in the brave new
world of pocket publishing
by Travis Marshall
Box, the magazines online photography portal.

i had immediate access to hundreds of thou
sands of viewers, photographer Michael christo
pher Brown says about shooting the assignment.
there was this tremendous sense of power, as
i was both a photographer and an editor, able to
reach an audience faster than any wire service.
Within hours, ve shooters hit the ground to
document the devastation: Brown, fellow editorial
photographer Ben lowy, frequent National Geographic shooter and Vii member ed Kashi, recent
australian transplant to new York and World
press photo award winner andrew Quilty, and
Stephen Wilkes, whod earned accolades for his
#iphoneonly
largeformat interiors in Ellis Island: Ghosts of Freedom. the kicker: Four of the ve relied primarily
on their smartphones. (Quilty used his DSlr and
his iphone; Wilkes had a laptop, which he used to
download one image.)
it was really about speed, pollack says. it was
a way to get images up as quickly as we could, but
we had to have the right photographers to make it
work. She explains that lowy, Brown, and Kashi
especially were chosen for their smartphone shoot
ing chops. these are extraordinary journalists, and
what they do with the technology is equally amaz
ing, she says. Brown was literally shooting images
in the middle of the nightin total darkness, with
the power out in the city and only minimal light
availableusing nothing but his cellphone.
lowy and Brown are no strangers to chaos in
the eld. each specializes in conict photography,
where, theyve found, smartphone technology adds
a layer of exibility and freedom to their jour
nalism. in libya, everyone used phones to take
pictures and videos, so what i was doing was no
different, Brown says.
Brown had shot mobile for a project in china
and then got his rst smartphoneonly assign
ment covering the Democratic republic of congo,
rwanda, and Uganda for Times mobile tech issue.
i ew to africa with three phones and no photo
equipment, he says. i have to thank Kira pollack
for believing in the project. on previous jobs with
other publications, the consensus was we were only
safe if we were using a 35mm.
lowy similarly garnered recognition when im
ages he took in afghanistan with the app hipsta
matic landed in The New York Times Magazine.
i ew back to new York from california as the
storm was coming in, lowy says. When the plane
landed i had an email from deputy photo editor
paul Moakley at Time saying they were thinking
of having me cover the storm, and i realized the
rockaways and coney island were where i needed
to be. in hindsight, his instincts were right on; his
iphone image of the waves pounding coney island
made the cover of Times subsequent print issue.
ConneCted Cameras
Digital photography has become easier for every
one to create and distribute thanks to smartphones
and access to instantpublishing tools.
i think, with the democratization of photogra
phy, people look at what they have readily available
and they can say, i take a picture of my lunch or
my cat with my iphone, and this guy is using an
iphone to photograph afghanistan or libya or the
hurricane. it brings it that much closer to them,
lowy says. its not some foreign tool. its like a
very small psychological bridge that you can use to
connect with your audience.
this simple tool may have the power to change
how professional photographers interact, not only
Michael christopher Brown (3)
with their craft, subjects, and audiences but also

with the outlets that buy their work. its difcult to
shrug off the impact of connected photography.
in november 2012 Samsung released the galaxy
camera, a rst attempt to incorporate the android
oS and a cellular antenna into a compact camera.
then canon introduced the eoS 6D, a fullframe
DSlr with WiFi and sharing tools built in. this
connectivity will become the new normal, says
richard Koci hernandez, an emmywinning
multimedia journalist, assistant professor of jour
nalism at Uc Berkeley, and mobilephotography
maven. i never bet against technology.
Covering the Democratic

Republic of Congo (opposite
and above) with his iPhones
has given Michael Christopher Brown increased
freedom and exibility.
hernandez was an early adopter of iphone

photography and social media. as a photojournalist
for the San Jose Mercury News, he bought his rst
iphone in 2007the rst iteration, with its brutally
grainy 2Mp cameraand almost immediately start
ed using it on the job. the combination of a camera
and an internet connection meant i didnt have to
bring out my laptop, hernandez says. it was so
convenient, i didnt want to use anything else.
hernandez was an avid lomo and holga user
before he embraced the iphone, and he thinks the
smartphones shortcomingslike poor lowlight
performance and lack of manual controlsare
small sacrices to make for the ability to edit and

publish images from the palm of his hand.
today hernandez has more than 160,000 follow
ers on instagram, and the moody blackandwhite
street images that populate his feed have been pub
lished everywhere from The New York Timess lens
blog and Slate to a national geographic book (pub
lished in germany) titled iPhone-Fotograe, which
features hernandez alongside four other iphone
photographers, including Michael christopher
Brown. With the iphone 4S, at least, the camera is
nally acceptable, hernandez says. good enough

to get blown up for a national geographic book.
at a time when every part of the imagemaking
businessne artists, news outlets, multinational
brandsare ghting for increasingly fragmented
and distracted audiences, nding ways to engage
people through social media and photosharing
sites is considered the brass ring. ive been ap
proached numerous times by major car companies,
clothing lines, and alcohol brands looking for mobile
photography expertise, hernandez says.
#iphoneonly
Instagram takeover
the role socialsavvy photographers such as her
nandez play in galvanizing communities around a
topic, whether its a new craft distillery or a vital
news event like Superstorm Sandy, is still very
much in its Wild West phase. But examples abound
of pioneering shooters who take great images with
simple tools, engage online audiences, and ulti
mately carve out careers for themselves based in
some part on photography they make with their
smartphones.
take liz eswein, whowith two other insta
grammers with big followings, Brian DiFeo and
anthony Daniellecofounded the Mobile Media
lab, one of the rst socialmedia marketing con
sultancies built almost entirely around instagram.
eswein was a student at nYU when she joined
the startup social photography site in 2011, well
before its current status as a Facebookowned
tech juggernaut. She casually chose the username
@newyorkcity. i decided i wanted to show photos
of the city. i tried a few names, and amazingly this
one was available, eswein says. i was so excited
when i had 50 followers, but then it just exploded.
eswein quickly realized the inherent value
of her username when people from all over the
world started liking, sharing, and commenting on
her snapshots of skylines, street scenes, food, and
fashion. her following quickly swelled into the
hundreds of thousandsmore than 560,000 as this
went to printand early last year eswein started
getting offers from nYcbased brands willing to
pay to build their mobile marketing and appear in
her photo stream.
Fresh out of college, eswein, then 23, had inad
vertently become a onewoman publishing house
with an audience to rival that of many magazines,
her feed the de facto face of new York city. cue
the light bulb.
Brian, anthony, and i were already being ap
proached individually when we decided to cofound
the company, and we got a big campaign with
Samsung right after we teamed up, eswein says.
its been really successful so farid say about 95
percent of our clients approach us, rather than the
other way around. Mobile Media labs recent work
has included coverage for Krastase at new York
Fashion Week and evian at the U.S. open, as well
as virtual guest appearancesknown as instagram
takeoversfor such outlets as Lucky magazine.
richard Koci hernandez (3)
toward a mobIle aesthetIC

one byproduct of the spike in demand for mobile
photography is the widespread use of lters and
frames on images shared through instagram and
similar apps. they serve to mask the aws that
come with lowerquality images, but ltering has
also become its own kind of aesthetic.
Veteran sports photographer Brad Mangin
brought that look to the print pages of Sports
Illustrated when the July 23, 2012, issue included a
Early adopter Richard

Koci Hernandez (who
shot the three images on
this spread) has been a
camera-phone devotee since
he started using the rst
iPhone (with its 2MP
camera) to shoot assignments for the San Jose
Mercury News.
threepage spread comprising 18 instagram base

ball images that he took during spring training
and the regular season.
like many photographers getting a new per
spective on their craft thanks to the simplicity and
creativity of smartphone photography, Mangin
found it liberating to shed his big cameras and just
experiment. We are always looking for ways to
present the game of baseball in a fun photo essay,
Mangin says. and we liked the idea of instagram
because it was kind of newnone of the big weekly
magazines had done much with it yet.
my dark room, apparatus, and gallery, Young says.

the technology lets me share test images with ef
fects quickly, then turn around the nal shots on a
tight deadline, but at the end of the day, my clients
want me for my artistry, not the device.
edItorIalIzIng
Web publishing is another venue for which instant
mobile photography is a perfect t. the past ve
years have seen an explosion of original online
content, and it all needs Weboptimized images
Brad Mangin (4)
Former art director turned iphoneographer

tim Young had never seriously picked up a camera
before he began sharing his iphone photos on insta
gram, but two of his images were selected for inclu
sion in the rst international iphoneography Show
at the Soho gallery for Digital art. the ensuing
snowball effect included a book with the creators of
the apps FX photo Studio and color Splash Studio,
more gallery shows, and commissioned works.
im a photographer that chooses to use an
iphone. its about ease of use, unobtrusivenessits
#iphoneonly
that can move from camera to reader quickly.
Kirsten alana, a travel photographer, blogger,
and socialmedia consultant, fell into iphone pho
tography thanks to an equipment malfunction. My
canon eoS 5D Mark ii had a bad water encounter,
she says. So i decided to travel light and carry less
equipment, testing myself to see if i could still cap
ture images good enough to submit to editors.
now alana spends much of her life on the road
as a contributor for travel outlets such as Afar
magazine, Gadling, and Hostelworld and as a cor
respondent for expedia; she gives talks and classes
about smartphone photography along the way. ive
now been using an iphone as my work camera for
nearly two years, she says. So far, no complaints.
alana credits the pocketsized portability,
endless supply of apps, and the ability to publish
photos from anywhere as the primary reasons shes
chosen to work with a smartphone rather than her
DSlrs. i want people to feel like they are there,
traveling as well, experiencing a destination along
with me, she explains. an iphone lets me do this
better than most digital cameras.
From top: liz eswein; Kirsten alana
the tos debate

as this article was being led, instagram an
nounced planned changes to its terms of service,
sparking criticism among pros who use the site,
including many of the photographers interviewed
here. the most controversial among the proposed
changes were those construed as giving instagram
and parent company Facebook the rights to publish
and sell images for advertising without consent
from or compensation for the photographer.
the huge backlash among highprole users led
instagram ceo Kevin Systrom to release a clarify
ing blog post within 24 hours, part of which read,
to be clear: it is not our intention to sell your
photos. Shortly afterward, Systrom announced,
We are reverting this advertising section to the
original version that has been in effect since we
launched the service in october 2010.
Michael christopher Brown was willing to wait
for the dust to settle. initially, my reaction was to
wait for the nal verdict, he says. though if they
had changed the terms to what they were propos
ing, i would have closed the account. Mangin says
he was worried and would have left the service had
instagram not rolled back to its original terms, but
ultimately, is happy that the company listened to
its users. he continues to use the service.
in the era of social networking and instant
publishing, debates like these will keep popping
up. instagram, like many other social networking
platforms, may be a powerful publishing tool, but it
is also a forprot enterprise.
Sports photographer Brad

Mangin (opposite) used
an iPhone and Instagram
for his baseball portraits,
which later became part
of a book. Liz Eswein, who
shoots on Instagram with
the handle @newyorkcity,
has turned her feed into a
business. This shot (right)
was part of a sponsored
series for handbag designer
Gryson. Constantly on the
road, travel photographer
Kirsten Alana counts on
her iPhones camera to
quickly turn around images
like the one below.
them: in a fastpaced world, convenience, speed,

and connectivity rule the day.
Both a magazine and its readers benet when
reporting spreads as far and wide as possible.
pollack had published smartphone images before
Sandy; she even incorporated instagram into
Times rst Wireless issue. But the magazines
storm coverage was still very much an experi
mentits rst attempt at using the platform for
a breakingnews event of this magnitude.
the experiment worked, driving 13 percent of
the entire websites trafc during a week with one
of the highest trafc days in its history. the images
were strong, immediate, and emotional. and they
spread like wildre, pollack says. When it lends
itself to the right story, with the right photogra
phers, ill do it again. AP
prInt-worthy
Ultimately, the reasons that Times photo team
chose smartphones to cover Superstorm Sandy
are much the same reasons eswein and alana use
Jambo, a chimpanzee living

at Twycross Zoo in Warwickshire, U.K., suffers
from alopecia totalis
and has no hair. Hes the
dominant male chimp in his
colony; this may account for
the scar on his head, perhaps a consequence of trying
to maintain control over
the other chimps.
Animal
Insight
We have no choice but to look at animals through human
eyes. What do such portrayals tell us about ourselves?
by Tim Flach
A commercial photographer based in London, Tim Flach rst became fascinated with
animals in 1993, when an ad shoot for Guinness required him to pair a python with a
vulture. He went on to pursue an ambitious seven-year study of horses that culminated
in his rst book, equus, in 2008. From there he took on an in-depth survey of mans best
friend in his 2010 volume, Dogs. In late 2012 Flach published more than human, which
examines a wide swath of the animal kingdomfrom insects to apes to elephants. Here
he shares the stories and ideas behind his ongoing exploration of our natural cohabiters.
ne of the rst animals i brought into the studio was a panther that wasnt
very cooperative. it got so annoyed that it snarled at the camera. But thats
whats great about working with animalsi love the uncertainty. im interested in the juxtaposition of chaos and control. on set, i am bringing an unexpected
elementthe animalinto a situation that is otherwise controlled. and i become an
observer of the unpredictable events that unfold in front of my lens.
You can have a framework and an idea, but one of the most productive spaces to
be in is one where youre not married to what you think youll get. and that which
surprises you can in turn surprise others. perhaps by choosing animals, im relying
on a subject that forces me to work in that kind of space.
a lot of my images deal with anthropocentrism, the idea that reality is dened by
the human perspective. We inevitably project our own values upon animals. and its
often tempting for us to imagine ourselves in their place.
take the case of rajang, the orangutan in the photograph at the top of page 56.
he was placed in a breeding program many years ago. at that time we were just
starting to do Dna sequencing, and they discovered that he wasnt a purebred, that
2012 tim Flach
On the Job
Clockwise from above:

Rajang, an orangutan
hybrid at Colchester Zoo
in Essex, U.K.; Jambo, a
Northern white-faced scops
owl at AmeyZoo, an exoticanimal shelter in Hertfordshire, U.K.; Ivory, a
White Transvaal lion at the
T.I.G.E.R.S. Preservation
Station in South Carolina.
beauty & The beasts at the root of my work are

two things: a celebration of natures beauty and
an exploration of how we shape nature and how it
shapes us. there is a tendencyparticularly with
beautiful pictures in advertisingtoward a commoditization of imagery. But you can have something that looks to a scientic idea and is pretty
at the same time.
my experience as a commercial photographer
informs my work with animals. my art background,
having trained as a painter, informs it as well. and
my concern with the debates around animals is relevant to a broader audience than just the artwork.
i think aesthetics offer a way to bring into a debate
2012 tim Flach (3)
he was actually a cross between a Bornean and a

Sumatran orangutanwhich meant they had to
give him a vasectomy, because it would be contrary
to the practice of zoos to breed hybrids. and he
wasnt suitable for wild release, either. So the poor
guy had been sitting in a zoo for more than 30
years and not allowed to breed.
after hearing this story, you might look at him
and say, look at his sad eyes! thats anthropocentrism: our projection of what we think hes thinking.
But how can we possibly know what he is thinking? its hard to know another persons perceptual
space, let alone some other species. But we tend to
have more empathy toward a subject that seems
to extend our own understanding of intelligence.
carrier pigeons, for example, can navigate without
using a gpS, yet we dont worry about their ethical
position, do we? Because that intelligence is beyond
our comprehension. But when we see an animals
intelligence as an extension or our own, we get more
concerned about where the boundaries of ethics lie.
So i tend to look for the human connection. in
the shot of the owl on the opposite page, i like the
delicateness of the eyelashes. i try to nd little
details that connect us to the animals.
people who might not come otherwise.

ive heard that my work looks stylized. i nd
that interesting because i do value the evidence
in front of the cameraand that is what i photograph. i dont want to cause trouble here, but i
would suggest that some documentary photographers arent always as transparent about what lies
in front of the camera. and yet, when you look at
my pictures, you might question whether they are
real. Which is a bit ironic.
i like the idea that photography can fragment
a moment, like the ight of a bird, or that you can
take a very small subject and bring it up in scale,
like the close-up of the chimps handsactually a
chimp holding his own footat the bottom of page
59. observing something in detail, with the context
removed, allows us time to reect on its meaning.
an image works well when you know what youre
looking at but you still have space to wonder.
i do keep the background quite neutrali want
you to engage purely with the animal. most of
the time i shoot with a hasselblad h4D-50 and a
digital back, with Broncolor lights, and when possible ill bring the subject into my studio and place
a black velvet behind the animal.
often ill take the studio to the animal. the
shot of the lion, below, for example, was made in a
private breeding program; i did a series of portraits
where i looked at different colorations of great cats.
On the Job
On the Job
2012 tim Flach (4)
there was black velvet behind the animal, but for

other shots there was concrete, so i set up a beamed
light source so that the background goes black, to
approximate a sense of studio-quality lighting.
Very rarely do i add black in post production.
i wouldnt even shoot something on a gray background and then go make it black, because i feel
thats articial. in an exhibition setting, a lot of my
pictures go up to three and a half meters longi
dont believe they would hold up if i were trying to
do some dodgy bit around the background.
in some cases i engage with the animal, maybe by
having a trainer dangle a chunk of meat on a stick.
in other situations, im shooting through glass and
i dont control anythingi have no way to inuence
what the animal does. there is always uncertainty.
the animal might pee or poop or just decide that its
having a bad day. no matter how much production
or research goes into an image, the key is never to
be distracted from the act of observing.
closest Kin my book More Than Human features
many species that are genetically quite similar to
Homo sapiens. We think of chimpanzees in this
category; their Dna is about 98.4 percent the
same as ours. But bonobosas seen in the middle
image at leftare an alternative social scenario
of our closest relatives. Whereas chimps might
use more aggression to create order and control,
bonobos tend to use sex to negotiate. they are
matriarchal, not patriarchal, and are affectionate,
as this image suggests.
the capuchin monkey on the opposite page
may look like hes counting his ngers, but we
have no way of knowing. For this photo i wanted
to reference a project led by Keith chen, associate
professor of economics at Yale University, where
they introduced a monetary system into a colony
of capuchins by encouraging them to buy food with
tokens. an interesting outcome: the monkeys were
risk-averse and very clear about what they would
negotiate with their tokens. and at least one monkey reportedly used a token to buy sex.
then there are the animals who have, in tandem
with humans, become the most domesticated. While
working on my 2010 book project, Dogs, a central
challenge was not just
dealing with the dogs
Clockwise from far left:
but also the owners,
Rupee, a white-faced capubecause it seems that
chin monkey at Hollywood
Animals, Santa Clarita, CA;
a domestic dog would
Djala, a Western lowland
almost rather be with
gorilla at Port Lympne Wild
a human than with
Animal Park, Kent, U.K.;
its own species. and
Ditou and Cheka, a pair of
when the human gets
bonobos at Twycross Zoo
stressed out, the dog
in Warwickshire, U.K.;
does as well. a dogs
Tojo, a chimpanzee at
Twycross Zoo.
sensitivity to smell is
hundreds of times greater than oursso they can

smell the chemistry, if nothing else.
the afghan hound above is a show dog who
was brought in wearing shoes, with a scarf around
his neck to protect his beautifully manicured hair.
i showed him looking down to be evocativeso you
concentrate on the parting. im sure many women
would be proud to have hair like that. i was making a direct reference to the idea of grooming.
if you think about the dogrooted in the gray
Above: Chico, a champion

show dog, is an Afghan
hound, rst introduced to
the West around the 19th
century. Originally developed
for hunting, Afghans possess
exceptional speed and vision,
not to mention hair.
wolf, yet theres everything from a chihuahua

to a great Daneit is the one animal that weve
brought into our homes and whose fate weve
determined like no other.
Whether the subject is a species we are close
to or one that the human race threatens, i see my
photography as a way of examining our attitudes
and responsibilities toward the natural world. to
look at animals with intensity is to question what
we are all doing here.
As told to Jack Crager
2012 tim Flach
On the Job
INTRODUCING!
PopPhoto Poses with Lindsay Adler is the essential posing

guide for photographers looking to add creative and unique
posing options for their clients. Each photo includes the
tips and techniques to easily direct and shoot fashion.
Fashion Poses
EW!l
N
L
L
A ssentia
The e fashion
r
app fo graphers
photo
Lindsay Adler is a portrait and fashion photographer based

in NY. Her images have appeared in dozens of publications
internationally. Lindsay has authored two photography
books and teaches thousands of photographers annually how
to improve their vision and craft.
PopPhoto Poses with Lindsay Adler
Scan to see
a photo tip
from Lindsay
WHAT PHOTOGRAPHERS NEED THE GOODS 64 REVIEW 66
COMING ATTRACTION
SCREEN STAR
Panasonic introduces a super-tablet for super visuals
n a digital technology landscape littered

with me-too tablets, its rare that a prototype captures the imagination. But at
the 2013 International CES show in Las Vegas
in January, Panasonic garnered a lot of buzz with
its 20-inch version, whose astonishingly highresolution display, a 4K IPS Alpha LCD touchscreen, promises to show off photographs better
than any other portable devicetablet or laptop
computeravailable today.
Not that this puppy is meant to be carried
around all that much. Measuring nearly 19 inches
on its longest side (the 20-inch designation is a
diagonal screen measurement) and weighing more
than 5 pounds, the tablet wont t easily in a
camera or computer bag.
Panasonic is positioning it more for use in studios and design-intensive ofces. Photographers
will benet from not just the screens super resolutionits more than four times the pixel count
of Full HD and signicantly higher than Apples
Retina displaybut also the high-precision digital
BY MIRIAM LEUCHTER
pen that comes with it for retouching, image

editing, and note taking.
Although the tablet might have a competitor
or two by the time it arrives in stores later this
year, at this point Panasonic has no real rivals.
The closest is Wacoms Cintiq, a line of interactive displays for retouching, drawing, and
editing images directly using a remarkably
precise pressure-sensitive pen (or less-precise
ngertip on the 24-inch touchscreen model). But
the Cintiqs resolution tops out at 1920 x 1200
(compared with 3840 x 2560 for the Panasonic)
and it must be tethered to a computer to operateits only a display, after all. And aside from
its smaller 12-inch version, the Cintiq offers little
in the way of portability: The top 24-inch model
weighs nearly 64 pounds.
Well see to what extent this forthcoming Panasonic changes how photographers interact with
their images in the studio and on the road. But it
certainly augurs well for the future of mobile technology for imaging. AP
NOTEWORTHY
SPECS
DIMENSIONS 18.7 x 13.1 x 0.4 in.
(475 x 333 x 11 mm)
WEIGHT 5.3 lbs (2.4 kg)
RESOLUTION 3840 x 2560 (230
ppi); 9.83 million pixels
OPERATING SYSTEM Windows 8
Pro 64 Bit
CPU Intel Core i5 3427U
vPro 1.80GHz
MEMORY 4GB (16GB max);
128GB ash drive (SSD)
WIRELESS IEEE 802.11a/b/g/n
(Wi-Fi); Bluetooth 4.0
USB PORT USB 2.0
MEMORY CARD SLOT microSD
BATTERY LIFE Approx. 2 hours
BUY IT Available 2nd half of
2013, price to be announced;
panasonic.com
MARCH/APRIL 2013 AMERICANPHOTOMAG.COM 63
the goods
Cool new gear for photographers
By the editors of american photo
PACKed Pistol
neo-ClAssiC
UPdAte
Fujilm X100S Its been well over two
years since Fujilm unveiled its retro
rangender-style compact, the X100. Now its
APS-C-sized X-Trans CMOS sensor has been beefed up, and with it, the autofocus system.
Besides 16 megapixels (up from 12.3MP) for capturing images, the new sensor on the X100S has embedded
phase-detection pixels for speedier, more accurate AF. Prefer to focus manually? It will be easier with the new
digital split-image focusing and focus-peaking features; the former shows the center of the frame split by
seams that align the image as it comes into focus, while the latter highlights the sharply focused areas within
the frame. A hybrid nder lets you switch between an electronic and a 100 percent accurate optical view. As
did its predecessor, the X100S sports a 35mm (full-frame equivalent) f/2 lens for a street shooters classic
angle on the world. BUY IT $1,300, fujilm-x.com
Vanguard GH-300T This unique ballhead

for tripods wears its difference
prominently: Its pistol grip makes
repositioning the camera a snap, and the
handle can be rotated 360 degrees for
comfortable use at any angle, even when
the camera sits ush to the ground. But
less obvious is the orange button that
controls a remote shutter trigger built
into the handle. Using a universal 2.5mm
DC shutter release cable (it comes with
versions for Canon and Nikon DSLRs),
this allows the photographer to snap a
photo without letting go of the handle,
making it much easier to shoot while
panning along with a moving subject.
The 360-degree panorama base just
below the camera mount has 72 clickstops to regulate sequential shots to be
stitched together later, and a second
panning plate closer to where the head
ts into the tripod affords a full range
of horizontal motion in tracking. Besides
adding the shutter trigger, Vanguard
redesigned its signature head to hold
more weightit now supports a rig of up
to 17.5 pounds, up from 13.2 pounds.
BUY IT $200, vanguardworld.com
tiny tele
Sigma DP3 Merrill This sleek little compact, the third in
Sigmas DP Merrill line, promises big performance.
First theres the fast (f/2.8) xed telephoto lens:
50mm, which on the cameras APS-C-sized sensor
scales up to the equivalent of 75mm on a full-frame
sensor. Then theres the sensor itself, Sigmas
Foveon X3, a three-layered imaging chip that
forgoes the Bayer pattern of most camera sensors
and instead has separate layers for its 15.3 million
(each) red-, green-, and blue-sensitive pixels.
Built similarly to the DP1 and DP2 Merrills, but with
longer reach (the others lenses are 28mm and
45mm equivalents, respectively) the DP3 Merrill is
made for tele purists and Foveon fans who want a
truly pocketable camera and are willing to pay a
pretty pennywhile the DP3 hasnt been priced yet,
its siblings sell for just under $1,000. BUY IT Price to
be announced, sigmaphoto.com
neW diMension in 3d
sPeed MeMory
Lexar Professional 1100x XQD cards and XQD USB 3.0 reader
So far, only the Nikon D4 takes XQD memory cards,
but Lexar is diving in (after Sony) with cards in
32- and 64-gigabyte capacities. With a minimum
guaranteed read transfer speed of 168 megabytes
per second, XQD provides the fastest transfer
of any card format, reducing the time it takes to
move those big les from camera to computer.
BUY IT $300 (32GB), $580 (64GB), $45 (reader);
info at lexar.com
Samsung NX300 and 45mm f/1.8 2D/3D lens

With these additions to its line of
interchangeable-lens compacts, Samsung
is taking a new approach to 3D. Used on
the NX300, this 45mm lens res its twin LCD
shutters to capture alternate left- and righteye shots; set to 2D, it works like a regular
lens on any NX body. Photographers who
stick to two dimensions will like the cameras
20.3MP APS-C-sized CMOS sensor, stunning
3.3-inch AMOLED display, and souped-up
autofocus system. BUY IT Price for kit (as
shown) to be announced, samsungimaging.net
hArd GlAss
Hoya HD2 lters These high-quality lters come
in three varieties: UV to block ultraviolet light,
polarizing to control glare and reections, and
protective to shield the lens from dings and
scratches. The thin-frame, high-pass circular
polarizer transmits more light than most. Made
of hardened optical glass with eight layers
of coating, the HD2 series resists oil, water,
smudges, and stains. Thats stuff no digital lter
can do. BUY IT $50 to $225, thkphoto.com
stellAr PAnorAMAs
Celestron Sky-Watcher Virtuoso Versatile Mount Nothing takes the hassle
out of shooting enormous multi-shot panorama images like an
automated mount. GigaPans robotic models pretty much had
the corner on this specialized eld, but now telescope maker
Celestron is bringing this kind of gear down to earth. Its Virtuoso
Vesatile Mount includes a 14-20-thread L-bracket that holds most
types of cameras, from DSLRs to camcorders to smartphones.
Although it comes with a remote trigger for Canon EOS Rebel
bodies, it will accept cables from other camera makers.
The Virtuoso affords dual-axis tracking for horizontal
or skyward panoramas. And with accessories such as
eyepieces for astronomical viewing and a solar lter and
nder for safely viewing the sun, the Virtuoso might make the
most terrestrial of shooters take up astrophotography.
BUY IT $250, celestron.com
Review
WOrKS On PaPer
Canons new Pixma Pro-10 is not your average inkjet
ew pigment-ink photo printers dont come

around often, so when canon released its
pixma pro-10 in late 2012, we were excited
to get our hands on one. it joins canons other
13-inch pigment printers, the pixma pro-1 from
2011 and the older pixma pro9500 mark ii, adding
Wi-Fi connectivity for wireless printing to keep up
with the demands of tech-savvy shooters.
in many ways the pro-10 resembles the pixma
pro-1: same angled manual-feed tray, same built-in
ethernet port, same chroma optimizer in the ink
sets. and it costs about $300 less than the pro-1.
But this version also makes cutbacks, using 10 14milliliter pigment-based ink tanks instead of the
dozen 36ml tanks of the pro-1, and three monochrome inks down from ve. (Both printers can produce a made in a black-and-white darkroom look,
with rich, even tones from highlights to shadows.)
like the pro-1, the pro-10 allows switching
between matte and gloss/semi-gloss papers without
wasting time or ink because matte black and photo
black inks are always on board and ready to go (unlike most pigment-ink printers from other companies, including epson). and these inks are made to
last. most inkjets (including others from canon)
use dye-based inks. But pigment inks almost always last longer, prove more water-resistant, and
BY anDrEW DarLoW
dry faster, allowing critical color inspection just a

few minutes after output. print longevity specialist
Wilhelm imaging research estimates that prints
from the pixma pro-1 (essentially equivalent to the
pro-10) will last 100 years or more before noticeable fading when displayed under UV acrylic (200
or more years in dark storage).
Setting it uP
the pixma pro-10 can t just ne into most home
ofces or studios. Weighing just under 44 pounds,
its solidly built and feels as though it will stand the
test of time. Because of the way its feed trays work,
the printer can be placed close to a wall.
From the time we lifted it from its box, it took
only about 45 minutes to download the printer
drivers and software (from the canon website instead of the provided DVD, for the latest versions),
install the print head, load the inks, run the print
head calibration (this requires two sheets of plain
paper), and make our rst test print. this was using
USB; printing via the network connection, and then
wirelessly (using canons iJ network tool and onscreen manual), came later and worked awlessly.
We found the mini master Setup application to
guide the process on the site, which also provides
well-made how-to videos on many topics, from
KEY SPECS
MAXIMUM PAPER SIZE 13x19 in.
(standard); larger for custom
paper sizes
INK TANKS 10-ink Lucia set, 14ml
each: photo black, matte black,
gray, cyan, photo cyan,
magenta, photo magenta,
yellow, red, Chroma Optimizer
INK TYPE Pigment-based
MEDIA Cut-sheet media from
3.5x5 in. to 13x19 in. (standard);
plain, super high gloss, glossy,
semi-gloss, matte, ne art
paper, CD/DVD
RESOLUTION Up to 4800 x 2400
dpi (color and black)
INTERFACES Wireless LAN, Ethernet, Hi-Speed USB, PictBridge
(cable not included)
SOFTWARE Print Studio Pro
plug-in for Adobe Photoshop,
Lightroom, and Elements (Mac/
Windows); My Image Garden
DIMENSIONS 27.2x8.5x15.2 in.;
43.9 lbs
BUY IT $700, usa.canon.com
How to Outsmart
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Only the Robin Hood of Watchmakers can steal
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wasnt looking for trouble. I sat in a caf, sipping my espresso and

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when I decided to roll up my sleeves and teach him a lesson.
Nice watch, I said, pointing to his and holding up mine. He
nodded like we belonged to the same club. We did, but he
literally paid 100 times more for his membership. Bigshot
bragged about his five-figure purchase, a luxury heavyweight
from the titan of high-priced timepieces. I told him that mine
was the Stauer Corso, a 27-jewel automatic classic now
available for only $179. And just like that, the man was at a
loss for words.
Think of Stauer as the Robin Hood of Watchmakers. We
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The Stauer Corso is proof that the worth of a watch doesnt depend on the size of its
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why we can only offer the Corso in a limited edition of 14,999.
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Please mention this code when you call.
Rating of A+
Scan for additional

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Polarized with
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www.stauer.com
Stauer
27-jeweled Vertex automatic movement - Interior dials - Transparent caseback - Dual-toned stainless steel case and bracelet band fits wrists 6 "9"
Review
Print SPeed trialS
setting up the printer to

how to print a disc label.
We started the clock from the time the printer started feeding the paper. Heres how the Canon
canon provides a lot of
Pixma Pro-10 fared.
software with the pro-10,
including its print Studio
Paper Type
Print/Paper Size
Quality Setting
Time (min:sec)
pro plug-in and other
tools for printing cards,
Medium
3:37
calendars, stickers, and
Matte
albums. the plug-in works
8x10
High
4:42
on
with canons Dpp and
Medium
2:29
8.5x11
adobe photoshop, lightroom, and elements, but
Semi-gloss
High
3:20
we opted for a tried-andHighest
7:14
true approach, loading the
driver via the mini master
Medium
5:30
Setup rst, and using
Matte
11x14
High
6:55
lightroom and photoon
shop to get our printing
Medium
3:37
13x19
done. another rare item
included: canons color
High
5:07
Semi-gloss
management tool, which
Highest
10:35
lets you make custom
paper proles and calibrate the printer (color-management hardware is
Canon Pixma
media type in the canon driver. this affords just
Pro-10
required for this feature).
about any margin as well as custom paper sizes.
Some of the items we like in pro-level printers
caveats: Youll sacrice a tiny bit of image quality
ProS
from epson that are missing or not as congucompared with the art paper settings, theres no
M Excellent build quality
rable with the pixma pro-10 include the ability to
manual feed option, and youll need to make your
M Stunning print quality on
glossy and semi-gloss papers
adjust the printers head clearance for individual
own proles or let the printer manage colors since
M Excellent print quality on
papers (instead, it can be done in the print utility
there are no proles provided for plain paper.
matte papers
for all papers) and the ability to increase overall
M No internal or manual
ink density inside the driver when printing with
Print Quality and SPeed
change-over needed to switch
proles through a color-management-aware ediWe performed a number of print tests to judge
between the matte black and
photo black inks
tor such as apples aperture, adobe photoshop,
print quality and speeds: You may be surprised at
M Vivid colors and excellent
or lightroom. ink density and other adjustments
the quality you can achieve at settings lower than
black-and-white output
can be made inside the driver when the printer
the highest permitted. the speed bump can be
M 14-inch-wide down to 3.5x5manages colors, but not when selecting a custom
especially dramatic if you print a lot.
inch paper capability
or vendor-supplied prole in lightrooms print
on high-quality semi-gloss and gloss (includM Two separate feed trays for
module or photoshops print dialogue box.
ing ber gloss) papers from canon, hahnemuhle,
media up to 350gsm
ilford, moab, premierart, red river paper, and
M Chroma Optimizer cartridge
for smoother surface appearothers, we got stunning results with canons pro
Handling tHe PaPer
ance on gloss/semi-gloss
semi-gloss proles, paper-manufacturer-supplied
the two paper-feed trays on the pro-10 are well
M CD/DVD and borderless
proles (though this varied), and our own customdesigned and perform superbly. We tested the rear
printing capability
made proles. Sharpness, color saturation, lack of
feed tray, actually located on the top of the printer,
M Relatively quiet
visible dots, and overall image depth were fantastic. M Wireless printing; apps to
with many paper types, from single sheets of copy
But prints made on high-quality matte inkjet
paper to a stack of about eight 300gsm sheets of
print from phones and tablets
M Ink use very efcient despite
papers from many of these companies impressed
art paper. in the rear of the printer is a drop-down
its relatively small cartridges
us less at rst, especially when compared with the
tray called the manual feed tray, which accepts
same images printed on the same papers using an
sheets only one at a time but is easy to use when
ConS
epson Stylus pro 3880, a 17-inch pigment printer.
feeding papers up to 14 inches wide.
M 30mm border requirement
prints were a bit at and lacked punch. however,
the print driver allows users to choose from a
for matte ne-art papers (see
adjusting image contrast in photoshop or lightnumber of paper types, but as the pro-1 does, the
workaround in the article)
room hugely affected both print contrast and satupro-10 produced some mixed messages. For exM Comparatively small ink
cartridges (14ml)
ration, making differences nearly imperceptible.
ample, when we chose a matte art paper setting,
our black-and-whites from the pro-10 were
which uses matte Black ink, we received an error
M Limited print driver options
(speed, head clearance, ink
excellent overall, particularly on ber gloss papers,
telling us that we needed to use a paper-size setting
density)
though we preferred the slightly more detailed look
canon calls art paper margin 30, indicating that
M On matte papers, slightly
of semi-gloss B&W prints from the pro-1, which
the printer requires at least a 30mm border on the
lower print quality than some
uses up to four gray inks at any one time when
top and bottoma problem if you want to print
competitors
printing. the canon driver offers a dedicated
closer to the edge of the paper or use a custom page
button to have the driver take over the B&W
size. We got around this by using the plain paper
Actual size is 40.6 mm
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REVIEW
conversion, and it does a very good job. And much
as with Epsons Advanced Black and White driver
option, you can ne-tune the monotone tonality, contrast, and other characteristics under the
Manual Color Adjustment section (Windows) or
Color Options menu item (Mac).
Print speeds were goodin some cases, great.
We clicked on Custom inside the driver to set the
print quality/speed, but even then we had only two
options in most cases. The good news is that the
medium setting on matte papers produced virtually the same image quality as the highest settings,
but with a signicant speed bumpabout a minute
for an 8x10 image on 8.5x11-inch paper, and close
to a minute and a half for an 11x14 on 13x19-inch
paper (see the table on page 68).
For semi-gloss/gloss papers, we saw more difference between the medium- and highest-quality
settings, but in many cases medium (specically,
the setting just below Fine for semi-gloss/gloss
papers) will t the bill, and at speeds that are
signicantly fastersometimes twice as fast.
The Pro-10 surprised us with how little ink it used

during our tests: The level in most of our cartridges dropped only about 25 percent after more than
50 8x10 prints. For photographers who make just a
Andrew Darlow (imagingbuffet.com) is a photographer and

consultant and the author of 301 Inkjet Tips and Techniques:
An Essential Printing Resource for Photographers.
AMERICAN PHOTO
THE BOTTOM LINE
few prints a week, there are advantages to purchasing a printer like this one with relatively small cartridges. Based on that usage, the inks should take
six months to a year to cycle through, and replacements will be less expensive than those needed for
printers with larger-capacity ink tanks.
Overall, the Canon Pixma Pro-10 has much to
recommend it, from its sturdy construction to its
ability to make affordable, long-lasting, high-quality
prints on a wide range of papers. AP
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AMERICAN PHOTO
The Last Can of Air

Youll Ever Have To Buy!
PARTING SHOT
he most magical part of childhood is

the ability to live in the imagination.
providence, rhode island, and new York
citybased rachel hulin often draws on her
early fantasies of levitation for her editorial and
commercial photography. But the inspiration for
her new childrens book, Flying Henry (powerhouse
Books, 2013), came mostly from her son.
in 2011, henry, then 6 months old, loved being
held aloft and sailed around the room. after
photographing this a few times, hulin was struck
by how much it appeared as if he were caught
in his own experience, oating apart. it was an
allegory for how he seemed so in his own world,
she explains. i was always trying to gure out
what was going on in his mind.
She began staging shoots of henry in ight, using
a tripod and self-timer as she (and occasionally,
her husband, David) held him. the photo sessions
usually took 10 minutes, netting ve shots of
the background and ve of henry before he lost
In this photo from Flying

Henry, the baby decides
its time to y the coop in
search of adventure. Rachel
Hulin photographed her
son Henry to tell the story.
Rachel Hulin sends her son aloft
By Lori Fredrickson
interest. She composited the images and erased the

adults in adobe photoshop. encouraged by positive
responses from friends and colleagues on Facebook,
she pitched the photos as a childrens book.
But crafting a storyline was tough going for
hulin. i knew where henrys adventure started
in the homebut i wasnt sure where it would
end, she says. after making images at home, she
devised trips to a topiary garden and a zoo during
a halloween festival: life for a oating baby truly
in the outside world. the books conclusionhenry
realizes that the world is much more fun to explore
with friendswas captured with the help of the
smaller guests at Davids 35th birthday party.
the image here was taken in Davids parents
kitchen when henry was about 10 months old. its
a solitary, quiet momentthe light when it comes
in during the afternoon is beautiful, hulin says.
this is the moment where nothing in the kitchen
is quite within his reach. its when he decides to y
off and have all of these adventures. AP
rachel hulin. From Flying Henry by rachel hulin, published by powerhouse Books
Flight of Fantasy
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American PHOTO 2013-03-04

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