Foto Care: When was elk rentals established?
elk rentals: We opened our renovated top floor studio in Summer 2012, shortly after constructing our corner cyclorama.

FC: Where is elk located?
er: We are located in Chelsea, specifically 164 W. 25th St. (SE corner of 7th Ave.) on the 12th floor. Most closely accessible by the 1, C, E, F, and M trains at 23rd street,
but the N, Q, and R are within walking distance as well from 23rd street.

FC: What kind of studio space is available? What amenities are included in these studios?
er: There are two spacious shooting studios, one with a corner cyclorama and both with blackout capability and skylight option, as well as a kitchen that can be used for shoots, plus two bathrooms.

elk rentals serves as a space to cultivate ideas and create outstanding visuals. The design is bright, natural, and airy, influenced by the space’s exposed beams, factory windows, and industrial skylights. Sliding barn doors, with exposed hardware, close off the studio, charmingly highlighting the historic feeling.

Amenities include: Two studios, totaling 2,400+ square feet shooting and prep space. Two bathrooms, a kitchen and prep areas. Full blackout capabilities and optional skylights. Unobstructed southern and western exposures.

FC: What equipment is available?
er: Equipment rental plus full pre and post production services are available. We have editing suites, makeup tables, expendables and, through our partnership with Foto Care rentals, a full range of lighting, grip and photographic equipment – all of which we can have waiting for clients onsite when they arrive to shoot.

FC: Why should photographers choose elk rentals?
er: elk rentals was founded by a two-person shooting team who really understand what’s needed in studio rentals, since we shoot ourselves.

We are a collective of like-minded creatives offering comprehensive photography, design and production services. Our creative studio serves as a space to generate ideas and create exceptional visuals. It is a warm and welcoming environment.

Many portrait and fashion photographers (shooting for Amex, New York Mag, The New Yorker, etc.) are drawn to the space for high-profile celebrity shoots not only because of its privacy, but also because of its intimate, warm feeling. We are a boutique photography studio, so we take the time to get to know our clients and establish long-standing relationships.

Whether it’s for photography, video, casting, events or something else, elk rentals is the perfect place for clients who enjoy working with us as much as we do with them. Put simply: we’re more than just a place to shoot.

elk rentals is truly an amazing space with a lot to offer. Check out some photos of the elk rentals space below:

Testimonial from photographer Chris Anderson: “Daylight, Daylight, Daylight!  I shoot at elk rentals because of the intimacy of the space.  It really puts my subjects at ease and lets them open up.”

For more information about elk rentals, visit their website at http://elkrentals.com/
Phone: 212.252.8550
Email: rentals@elkstudios.com

Julie is an adventure travel photographer and photojournalist that has traveled all over the globe to photograph exotic wildlife, intriguing people, and majestic landscapes. Julie’s latest body of work “Images of India” will be on display and we encourage everyone to stop by and take a look at her stunning pictures!

Foto Care: Tell us about yourself and how you got into photography?
Julie Maris/Semel: My interest in photography began at age three in my Dad’s darkroom where I watched prints develop—like magic. With a camera in hand by age seven, I discovered travel photography as a teenager. Later, I met Bill Maris, a well-known architectural photographer, who became my mentor. I moved from assistant to associate to partner. Since his death, I have produced architectural and garden stories for editorial clients that include Traditional Home, Better Homes and Gardens, and Design New England magazines. For the past fifteen years, I have also been photographing adventure travel. From trips to Antarctica, the Arctic, the Amazon, Asia, and Africa, my photographs cover people, landscapes, wildlife, and World Heritage sites. Many of my photos have been featured in brochures for Quark Expeditions, TCS Expeditions, and Country Walkers. My photographs have also appeared on the websites of Nikon and Perkins Center for the Arts.

FC: What was your break out job that helped launch your career?
JMS: Shooting for Marine Expeditions’ and Quark Expeditions’ brochures in Antarctica.

FC: What has been your favorite assignment(s) to date?
JMS: Photographing in Antarctica and the Arctic on Russian icebreakers. I’ve been incredibly fortunate that I had several opportunities to shoot breath-taking scenery with its unique light and amazing wildlife that also presented technical and physical challenges.

FC: Where do you draw your inspiration?
JMS: When photographing people, even with language barriers, instant communication usually results from a smile and holding the camera. The quality of light, especially in Antarctica, was mind-boggling and made it difficult to take a bad photo.

FC: What do you do to market your services?
JMS: I attend marketing events sponsored by national tourist boards and trade organizations, such as the NY Times Travel Show and professional travel organizations that include PATA and APTA, with follow-up personal emails.

FC: Do you use social media as part of your marketing mix? Do you think it is effective?
JMS: It’s effective but I don’t have the expertise to do it well so I only use LinkedIn. It would be a full-time job for an assistant if I had one.

FC: How has your work changed in the last few years?
JMS: Everyone is a photographer, everyone has an iPhone or a point-and-shoot, everyone is a blogger, and rarely is one paid for Internet images or articles. Editorial and print rates are half of those paid twenty years ago. Therefore, there’s virtually no income or work-for-hire, as everyone seems to be giving away photos. It doesn’t matter that professional photographs are better when free photographs are “good enough” for former clients that are increasingly more concerned about saving money than about quality. Because of my editorial background, I have the ability to develop comprehensive stories for publication and have been a photojournalist the past several years writing and shooting travel articles.

FC: Where is your work heading next? Where do you see yourself in the future?
JMS: I’m constantly re-inventing myself and wonder about the future for professional photographers for the above-mentioned reasons. I’ve considered video using the latest technology and cameras, but that needs a number of new tools and time to establish one’s credentials. There is no learning curve: it’s an angle that begins at a base line and continues to infinity. One must be constantly up-to-date with the latest technology or have the ability to hire assistants proficient in the latest software and trends.

FC: What equipment are you currently using to produce your work?
JMS: I love my Nikon D3 body and Nikon lenses and primarily use the 16-35mm, 24-70mm, and 80-400mm. I prefer to shoot with two cameras and two lenses and carry the 16-35mm in my backpack. On location, I carry a Mac laptop and a LaCie external hard drive.

FC: What equipment would you most like to own but don’t yet have?
JMS: I’m in the process of deciding which Nikon body to buy and am leaning towards the Nikon D4.

FC: Do you work with video? Have you stepped into the hybrid video market at all?
JMS: The Nikon D4 might be my first video camera but the additional external microphone and brace needed might be a handicap to my present shooting style.

FC: When/how did you first hear about Foto Care?
JMS: I’ve been a customer for over twenty-five years.

FC: What is it about Foto Care that brings your back?
JMS: The staff is extremely professional, knowledgeable, and supportive.

We’re excited about Julie’s photographs, and we want to share her work with you! Please come by on April 2nd and enjoy the show, which will remain on display in rentals for a few weeks after the opening. If you would like to RSVP to this event, please visit our events page here.

To see more of Julie’s work, visit her site at http://www.juliemarissemel.com

We are very excited about the GoPro Hero 3 Black Edition camera! Now available for purchase at Foto Care for $399, the Hero3 offers a number of great advantages for all photographers, especially the adventurous photographers.

This new camera is smaller, practically cutting the depth in half, making it incredibly light. Weighing in at a scant 2.6 ounces, the HERO3: Black Edition is 25% lighter and 30% smaller than previous models.

The Wi-Fi enabled HERO3: Black Edition is the most advanced GoPro, ever. No expense was spared during its development, resulting in a GoPro that is 30% smaller, 25% lighter and 2x more powerful than previous models. Wearable and gear mountable, waterproof to 197′ (60m), capable of capturing ultra-wide 1440p 48fps, 1080p 60 fps and 720p 120 fps video and 12MP photos at a rate of 30 photos per second, the HERO3: Black Edition is the world’s most versatile camera. Built-in Wi-Fi, GoPro App compatibility and the included Wi-Fi Remote (normally a separate $79.99 accessory) make the HERO3: Black Edition all the more versatile, still.

As for performance, the Hero3: Black Edition is king. This camera has 2X faster video performance and 3X faster photo performance.

Stop in to take a look and bring one home with you today!

Look at all that new equipment!

Come by Rentals to learn more about this pack! Our rental staff is very knowledgable and can help you get started.

If you want to learn more about what Profoto has to offer, stop by Wednesday and Thursday (1/30-1/31) for a hands-on demonstration of the Pro-B4 pack with Profoto rep, Cliff Hausner! Visit our events page for more information.

Parlay Studios is a fantastic studio space located in Jersey City. We had the opportunity to chat with Adam Himber, Executive Producer at Parlay Studios, for a more in-depth look at what this space is all about.

The motto at Parlay Studios is “More of what you want” and that really seems to be the way that this studio truly operates. For more information on this studio, visit the Parlay Studio website: http://www.parlaystudios.com/

Examples of the studio’s spaces as well as work created at Parlay are below:

What I liked:
- Above all else, this pack is user-friendly! All you need is 5 minutes with the pack and you’re in business.
- The lithium-ion battery is not only lighter, but charges so much faster! In just 45 minutes this battery is ready to go with a full charge.
- One feature that I liked was the covers over each of the plugs for the head and the water-sealing around the plugs on the newest head.

Other Features:

• Extremely fast recycling: 0.03-0.99s
• Unmatched flash duration 1/2,000s-1/25,000s.
• Huge (11 f-stops) power range (1-1,000Ws).
• Tough and Robust
• Exchangeable, high capacity LiFe (Li-Ion) battery.
• 220 full power flashes from a single battery.
• 2 individual lamp head sockets with precise control in 0.1 f-stops.
• Integrated Profoto Air remote control and sync.
• Up to 500W model light.

Curious about this pack? Stop on in and let the experts in rental show you the ropes!

For more information, visit the Profoto website: http://www.profoto.com/us/products/generators/pro-b4-1000-air

Post written by Kane at Foto Care

Keep your eyes peeled for a guest blog post from Daniel about his trip!

Motorcycle Mason from Thaddeus Harden on Vimeo.

Q. What inspired you to get involved in shooting video?
A. I bought a Canon 5dIII and 1DX in August 2012 from Foto Care specifically to add video productions to my arsenal of skills. Doing a video of my son was a great way of getting my feet wet and gain some experience with the cameras. I bought the bike for my son’s second birthday in May. He immediately took to it as if he was born to ride. He’s on it nearly every day and, as you can see in the video, he loves every second of it. This is my first “Action film!”

Q. What equipment did you use for this particular shoot? What kind of crew was involved in creating this video?
A. The main camera was the 5D Mark III and we used the 1DX as a secondary, camera B. Both do an outstanding job. And it was great to be able to have a second point of view (Camera B) while covering some of the scenes. With a 2.3-year-old child, we had to be as efficient as possible, and on a few shots we didn’t get a second chance. My favorite lens was the 14mm. Great, undistorted perspective, very close-up focus while still wide angle and staying sharp with the bike moving in and out at a variety of distances. We used a light weight flat-form dolly truck to do a lot of our moving shots while hand-holding the camera. This turned out to be a fantastic tool. All real “Man”ual labor, push and pull. Small, but we were able to be very quick and mobile with it. We also used a Cinevate Atlas FLT 35 for a few of the scenes.

My crew was all family. My main assistant was my nephew and he’s grown with me quite a lot over the years. My wife, besides being a great Mom on the set, also added some unique ideas of her own with some great perspective shots. Mason deserves a considerable amount of credit himself. He was outstanding throughout the shoots. Very patient, very easy, and as you can see, very cheerful. We really did ask a lot of him, and a few of the days were fairly long going from one location to the other. He not only followed directions incredibly well, he also gave us some of his own personality that we didn’t expect and no way could have directed.

Q. How long did it take you to shoot and edit the video? What programs did you use for postproduction?
A. We shot about 15 days of footage, but plenty didn’t make it into the final. Using Adobe Premier, we spent about the same amount of days editing, fleshing out some of our ideas. Working in Premier we had plenty of power, speed and tweaking all within the program. We’ve barely scratched the surface of what all is possible with it. The entire production took about 3 months in-between jobs, and two bikes. The first bike was “compromised” after some hard riding in his beginning days. I watched the bike closely over the shoot, and at one point, while doing some rehearsing (without Mason on the bike) we managed to total it. Though most of the story was pre-visualized, we did have a lot of the shots develop on the fly as we explored the city.

Q. Do you think you’ll be delving a little deeper into the world of video?
Absolutely! This was just the beginning….

Q. When can we expect movie star Mason to bike on in to Foto Care to sign autographs?
A. Mason actually goes with me on a lot of my run-arounds in the city. He’s definitely one of my best buddies. I bring him into Foto Care a lot. I’m sure he’ll be more than happy to scribble out a few!

We think that this is a great first attempt at shooting video, and we are looking forward to what Harden, and Mason, come up with next!

The C100 is available to rent at Foto Care for $275 per day/weekend and $825 per week. The rental staff will gladly show you the ropes to help you get shooting.

You can also purchase the C100 at Foto Care for $6,499 (body only).

For one week only, Hasselblad Certified Pre-Owned Hasselblad Cameras for 25% off!

From December 21st to 31st, 2012 take an additional 25% off the already reduced Certified Pre-Owned inventory! This is a HUGE deal!

Certified Pre-Owned products come with a 6 month factory warranty. Supplies are limited and will be available on a first-come-first-serve basis.

Orders MUST be placed with Foto Care (Authorized Hasselblad Reseller) no later than 1pm EST on Monday, December 31st.

View Certified Pre-Owned inventory here:
http://www.hasselbladusa.com/media/1064797/husa_cpo_122012.pdf

Visit Hasselblad USA for more info:
http://www.hasselbladusa.com/promotions/certified-pre-owned.aspx

Or, give us a call at (212) 741-2990!

Last night was Foto Care’s Annual Holiday Party, and it was quite a success! More than 425 people joined the Foto Care staff for dancing, photos with Santa, food and drinks.

We want to thank HasselbladBron, Think Tank, Tether Tools, Omega Brandess, Manfrotto, Mac Group, Fujifilm, LacCie, Expo Imaging, Lumiquest, HP Marketing and GoPro for donating some awesome equipment for our door prize raffle!

Here are some photos of the party!

We all had a lot of fun and we hope our customers and guests had fun, too!

Canon recently visited the Foto Care staff to teach us about this exciting new camera! We were able to get hands-on with the system to test different lenses, try out the accessories and get to know the camera inside and out.

There were a few features of the camera that really set this camera apart:

1. The design of this camera is really conducive to videographers on the go and one-man video shoots, while still offering professional quality video. Weighing in at less than a pound (body only), this camera is extremely portable, which is comparable to the 5D Mark II and the 5D Mark III in general weight and size.

2. The C100 allows you to use and incredibly wide range of lenses including the Cinema lenses, EF lenses and EF-S lenses, which is very convenient for Canon shooters that already own Canon lenses.

3. The C100 has 4 built-in neutral density filters, including clear, 2, 4 and 6 stops. A small dial on the side of the camera allows you to easily switch from one filter to the other for greater control over your shot.

4. The EOS C100 can output video via HDMI to an external display, like our TVs, for monitoring purposes or to a separate, dedicated recorder.

Canon on the C100: “The Canon EOS C100 Digital Video Camera is the latest addition to the Cinema EOS family, bringing together the renowned technology of Canon CMOS sensors, DIGIC DV III Image Processor, and EF lens compatibility in a smaller, lighter body. Modular and compatible with a host of Canon and third-party accessories, the EOS C100 brings true cinema quality to independent event videographers and video production organizations.

“The EOS C100 sports the Super 35mm Canon CMOS Sensor and Canon DIGIC DV III Image Processor of the C300 and records at 24Mbps using an AVCHD codec for easy integration in existing production workflows. Operability and customization make the EOS C100 an ideal camera for one-person operation while providing expanded professional capabilities such as HDMI output with embedded Time Code, support for external recorders, remote operation, and complete manual control over both video and audio recording.

Pair the powerful and portable EOS C100 with the full range of Canon EF, EF-S and EF Cinema lenses, from fish-eye to macro to super telephoto, and make this expanded vista your new starting point on your cinematic adventure.”

For more information about the camera including features and tech specs, visit canon.com.

The C100 is now available to rent at Foto Care for $275 per day/weekend and $825 per week. The rental staff will gladly show you the ropes to help you get shooting.

You can also purchase the C100 at Foto Care for $6,499 (body only).

At Foto Care, we aim to inform and teach our customers about the latest and greatest camera equipment available, which is why we are so excited about the Sinar lanTec. Sinar is truly symbolic of the professional side of photographic history, revolutionizing photography since the first large-format Sinar camera, invented by Carl Koch in 1947. Since then, Sinar has made tremendous strides to make photography equipment that stands out both in quality and precision. The lanTec camera emphasizes the care and craftsmanship that Sinar has perfected over the past 65 years.

Though it was not developed solely for professional architectural and landscape photographers, the lanTec proves to be a powerful tool for these specific concentrations. The lanTec combines a number of great features to create a truly amazing, mobile camera system, including integrated spirit levels, modularity, an integrated slider and mobility.  Integrated spirit levels allow the photographer to perfectly level the camera and apply swings without losing alignment and photograph panoramas with an incredible ease. Modularity permits the use of individual components of the system on different Sinar camera platforms. The lanTec is the only camera with an integrated slider, which allows the camera to be moved from the focusing mode to exposure mode without removing the back, preventing dust and wetness from damaging the back. The most convenient aspect of the camera is its mobility, which is so important when traveling with a lot of equipment from shoot to shoot.

As for accessories, the lanTec offers a number of fantastic options. A full range of Sinaron Digital and Sinaron Digital HD Lenses are available to the lanTec, including focal lengths from 23 mm to 135 mm mounted on 100mm lens boards. The lanTec also allows the photographer to use digital backs made by Hasselblad, Mamiya Leaf and PhaseOne.

Interested in the Sinar lanTec? Have questions about the system? Come on in to Foto Care and our experts will teach you the ins and outs of the system, ensuring the best learning experience possible.

]]> http://www.fotocare.com/blog/product-reviews/the-sinar-lantec/feed/ 0 http://www.fotocare.com/blog/product-reviews/nikon-announces-new-dslr/ http://www.fotocare.com/blog/product-reviews/nikon-announces-new-dslr/#comments Thu, 20 Sep 2012 13:00:12 +0000 Foto Care http://www.fotocare.com/blog/?p=7174

Nikon has just announced the Nikon D600!

The Nikon D600 offers FX-quality images and HD videos Nikon’s most compact full-frame HD-SLR. Passionate photographers who seek exceptional full-frame, high-resolution performance rely on Nikon FX-format HD-SLRs. For the first time ever, that level of performance is available in a compact, affordable HD-SLR. D600’s 24.3 megapixel FX-format CMOS sensor captures every detail with lifelike sharpness. Its EXPEED 3 processing system manages all that data with remarkable speed and accuracy, enabling up to 5.5 fps continuous shooting at full resolution. And the lowlight performance synonymous with Nikon is again proven deserved – shoot crystal clear images from ISO 100 to 6400, expandable down to 50 and up to 25600 for extreme situations.

A remarkable new breed of FX-format HD-SLR, the D600’s 24.3 megapixel FX-format CMOS sensor captures every detail and nuance with the least possible noise. Nikon’s EXPEED 3 processing system manages all that data with remarkable speed and accuracy, enabling up to 5.5 fps continuous shooting at full resolution.

Flawless metering and Onboard Intelligence, the D600’s 2,016 pixel RGB sensor evaluates every scene, taking into account brightness, contrast, subject distance and the scene colors and is referenced against an onboard image database for consistently accurate AE, auto white balance, i-TTL flash and subject tracking autofocus performance.

Wide ISO range from 100 to 6400, can be set as high as ISO 25600, lets photographers shoot under varying lighting conditions with extremely low noise.

Cinema-quality HD video projects allow you to shoot Full HD (1080p) videos with selectable frame rates of 30/25/24p or 720p HD at 60/50/30/25/24p. Equipped with manual exposure control, fulltime AF with face-priority, dedicated inputs for a stereo mic and headphones, still image exporting, Simultaneous Live View, uncompressed 8-bit full HD via HDMI port and much more. NIKKOR interchangeable lenses offer dramatic perspectives and a cinematic look perfect for your customers next project.

Share images easily, anytime, anywhere with Wi-Fi connectivity with the optional WU-1b Wireless Mobile Adapter. Using the optional WU-1b Wireless Mobile Adapter users can automatically send great pictures to their smartphone or tablet and even remotely capture images from the D600. With its easy to use app, now when you can’t wait to share that great D600 image you don’t have to. Share it to your smartphone or tablet in an instant.

Nikon D600 includes Nikon D600 DSLR, Nikon 24-85mm f/3.5-4.5G ED AF-S VR Nikkor Lens, EN-EL15 Rechargeable Li-ion Battery, MH-25 Quick Charger, EG-D2 AV Cable, UC-E15 USB Cable, BM-14 Monitor Cover, DK-21 Rubber Eyecup, AN-DC8 Camera Strap, DK-5 Eyepiece Cap, BF-1B Body Cap, BS-1 Accessory Shoe Cover, Nikon View NX2 Software CD-ROM and 1 Year Nikon USA Warranty.

The Nikon D600 has a number of new features:

• Nikon’s most compact FX-format HD-SLR. Optimized for FX-format quality and versatility; streamlined for compactness and ease-of-use.
• Newly developed 24.3 MP FX-format CMOS sensor delivers endless resolution and sharpness across a wide range of lighting situations.
• Ultra-fast EXPEED 3 image processing, Nikon’s original comprehensive processing concept, achieves unrivaled high-speed performance and accuracy.
• Noise-free shooting from ISO 100 to 6400, expandable down to 50 and up to 25,600 for extreme lighting situations.
• Intelligent Scene Recognition System with 3D Color Matrix Metering II, Nikon’s innovative onboard metering system, uses a high-performance 2,016-pixel RGB sensor for consistently beautiful results.
• Ultra fast performance 5.5 fps continuous shooting, fast power-up (just 0.13 sec) and minimal shutter release lag (~0.052 sec).
• Superior 39-point AF system with 9 cross-type sensors and seven center points that work with an extended selection of teleconverters and long-reach lenses plus contrast-detect AF for fulltime AF during Live View shooting.
• Cinema-quality Full HD (1080p) video recording with MPEG-4 AVC/H.264 compression, selectable frame rates, manual exposure control, fulltime AF with face-priority and subject tracking, dedicatedstereo mic and headphone inputs, ultrasmooth 60p slow motion, time lapse shooting and much more.
• Share your best D600 images anytime, anywhere with the optional WU-1b Wireless Mobile Adapter. Wirelessly transfer photos to your smartphone, tablet or any compatible Wi-Fi enabled device, then upload your shots to the web or email them to a friend. With the WU-1b you can remotely control the D600 and see what the camera sees from your smartphone
• WU-1b you can remotely control the D600 see what the camera sees from your smartphone or tablet and fire off shots!
• Compatible with all NIKKOR lenses, FX- and DX-formats alike, for maximum creativity.

The D600 camera body is $2,099.95 and the D600 kit, which includes the AF-S NIKKOR 24–85mm f/3.5-4.5G ED VR lens, is $2,699.95. From September 18th-29th, 2012, a $100 instant rebate will be available to the D600 kit, bringing the total to $2599.95! For more information and technical specs, visit Nikon USA.

To preorder the Nikon D600, call us at Foto Care (212) 741-2990!!!

At the 2012 Photokina in Cologne, Germany, Phase One and Mamiya/Leaf announced their new 645DF+ and Schneider Kreuznach 28mm LS f/4.5 Aspherical lens. The 645DF+ will be able to support more than 50 digital backs as well as 80 lenses. Phase One has called this camera, “the world’s more versatile camera platform for high-end photography” and rightfully so! The  645DF+ can also be used with both a focal plane or leaf shutter lens, in fact, the 645DF+ is one of only a few cameras on the market that supports both focal plane and leaf shutter lenses. Foto Care will care the Mamiya brand name 645DF+ and we’re excited about some of its features and tech specs:

• Excellent in shooting in low light or low contrast
• Shoots up to 1/4,000th of a second
• An enhanced auto-focus delivers accurately focused images fast
• Syncs with strobes at 1/1,600th of a second with leaf-shutter lenses
• Custom adjustment feature allows photographers to fine-tune the alignment of digital backs to the camera
• The body is tough, primarily aircraft grade aluminum and magnesium
• Camera includes a rechargeable Li-ion battery and charger at no extra cost, but you can buy a kit consisting of two batteries and a charger for $690. Shipping will start in October 2012.

The lens is rather fantastic as well. The 28mm LS f/4.5 Aspherical lens:

• Offers a 102° field-of-view
• Offers great sharpness,
• Has minimum focusing distance of only 1.15 feet (35 cm)
• Has fast flash synchronization capabilities up to 1/1600s
• Is ideal for interior, landscape, architecture and cityscape photography

The Schneider Kreuznach 28 LS lens is priced at $5,990. The 645DF+ will also total around $5,990. Shipping begins in October 2012.

Introducing the Hasselblad H5D!

We recently shared the news that Hasselblad has introduced the H5D to its H Series at Photokina. The new Hasselblad H5D has a ton of new features, including:

• New HCD 4.8/24mm lens
• New macro converter
• More accurate focusing with True Focus II
• New immediate focus confirm
• New print-ready JPG files
• New compressed multi-shot Raw files for faster and smoother workflow
• New camera configurator
• Larger and more ergonomic buttons
• Larger, easier to read display style
• Updated graphics user interface
• More programmable buttons
• New and improved weather sealing
• New and faster processors implementing Hasselblad image processing architecture

The H5D system will feature “a modernized design” and “a new electronic engine.” The camera system will have larger, “more ergonomic buttons,” and new sealing for improved weather proofing and will be available as 40, 50 and 60 megapixels models as well as 50 and 200 megapixel Multi-Shot. Hasselblad will also release the HCD 4.8/24mm lens, which is equivalent to a 17mm lens on a full-frame 35-mm format DSLR for the H series. A new Macro Converter for close-up photography will also be available.

Peter Stig-Nielsen, Hasselblad’s Director of Professional Camera Products said,

“Customers will immediately notice the new-look and improved ergonomics and this progressive system also brings upgraded performance on a number of levels. Hasselblad is a world-leader with an unmatched and comprehensive range of lenses. Now that line has been extended with the new wide angle HCD 4.8/24 mm lens, which offers the same performance as the HCD 28 mm and is the equivalent of a 17 mm on 35 mm DSLR format. Additionally, our new Macro Converter provides excellent close-up performance with the HC 50, HCD 28 and HC 35 lenses – negating the need for additional macro lens purchase.”

Now Hasselblad brings users a tethered solution with the Lightroom® 4 tether plug-in so they can have:

• Full camera control from Lightroom® 4
• Capture options from both Lightroom® 4 and our H4D
• Full remote camera control and capture from Phocus Mobile 2.0 through iPhone®, iPad® and iPod Touch®.

Canon has announced the new 6D, which features a 20.2MP Full-Frame CMOS sensor, which allows for high resolution, perfectly detailed images delivered with incredible speed and performance. A 35.8mm x 23.9mm sensor captures images of 5472 x 3648 pixels with a pixel size of 6.55 µm square for fantastic detail and a superior signal-to-noise ratio, resulting in great images from the start. With no conversion factor, the EOS 6D’s sensor ensures that lenses mounted on the camera will deliver the same angle of view they would on a traditional 35mm camera. Working in tandem with the EOS 6D’s DIGIC 5+ Image Processor, the sensor containing a new photodiode structure delivers ISO sensitivities of 100-25600 (with expanded sensitivities of L: 50, H1: 51200, H2: 102400) and can shoot at up to 4.5 frames per second. Wrapped up in the EOS 6D’s compact and lightweight body, photography with a full-frame sensor has never been so easy and so portable.

The new 11-point AF with EV-3 sensitivity for fast, accurate AF no matter the situation. With its new centered cross-type AF point with EV -3 sensitivity for improved performance and focus in low light, and a newly developed and bright 21mm eye point viewfinder with 97% coverage, the EOS 6D offers impressive performance in both composition and AF, even in the dimmest lighting situations. Offering not only One-Shot AF, AI Servo AF, and AI Focus AF, the EOS 6D’s AI Servo focus can be customized with tracking, acceleration and deceleration tracking sensitivities, and 1st or 2nd image priority adjustments. For even more customization, adjustment levels for the wide-angle and telephoto ends of particular lenses can be entered and recorded into the camera’s memory.

The Canon 6D also records Full HD video with a level of sophistication on par with professional movie cameras, offering phenomenal performance on a DSLR. It offers both All-I (UHS-I memory card is required) and IPB compression, supports H.264/MPEG-4 AVC High Profile, and automatically splits files greater than 4GB (FAT specifications) for extended recording without interruption. It offers the option of timecoding during recording only (Rec Run) or at all times (Free Run), useful for multi-camera shoots. It also features improved sound recording adjustment capabilities, offering 64-step volume control accessible through the Quick Control screen, as well as a 3.5mm microphone terminal. The CMOS sensor’s drive system significantly increases image processor performance, reducing color artifacts and moiré (a common problem that occurs in scenes with horizontal lines), and ensures that the EOS 6D can record at a number of frame rates up to ISO 25600 in H mode.

The new EOS 6D features built-in Wi-Fi, incorporating cutting edge technology into the camera’s compact and lightweight design. Full DLNA (Digital Living Network Alliance) compatibility means easy sharing between the EOS 6D and other DLNA products, like HDTVs, smartphones and more. Still images can even be transferred between two Wi-Fi enabled Canon cameras over a Local Area Network. Images and video can be uploaded instantly to CANON iMAGE GATEWAY for easy sharing on social networking sites, and photos can even be printed on a Wi-Fi compatible printer without the need for a PC. Remarkably, the EOS 6D gains all of these wireless features without the need for any additional accessories; they’re built right in!

Ideal for travel or nature photography, the EOS 6D’s built-in GPS can record longitude, latitude and altitude data as EXIF data, can track movement at set intervals with its logging function and can even set the camera’s internal clock to local time! When using the logger function on a computer, you will see the exact route you travelled, and the map will show you where and when you took each image.

Compared to the 5D Mark III, the 6D is incredibly light and portable, perfect for prosumers and photo enthusiasts. With an aluminum alloy and polycarbonate chassis and a magnesium polycarbonate resin exterior, plus a shutter rated to 100,000 cycles, the EOS 6D offers the perfect combination of lightweight and durable materials for reliable operation day after day.

It’s LCD monitor is rather impressive as well. The EOS 6D’s 3.0″ TFT LCD monitor has 1,040,000 dots, anti-reflective construction and features Canon’s Clear View technology for a bright, sharp display in any number of shooting situations. It’s ideal for reviewing settings and images, as well as for shooting in Live View mode. In Live View, grid lines can be displayed in 9 sections, 24 sections, or 9 sections with diagonals, as can the electronic level, which helps ensure accurate level by displaying roll. For image review, the EOS 6D has a dedicated Magnify/Reduce button. While pressing the button, zooming in or out (up to 10x) is achieved simply by turning the Main Dial. Images can be protected or erased quickly, individually or in batches, and slideshows can be created with some or all images and can be sequenced by date, folders, movies, stills or rating. A feature guide can be accessed for the selected menu, providing detailed reference information whenever needed.

Unlike many professional level cameras, the 6D is compatible with SD/SDHC/SDXC memory cards, including new Ultra High-Speed (UHS-I) cards. Compact and available in large capacities, SD, SDHC and SDXC memory cards are a perfect complement to the portable EOS 6D’s lightweight design.

Other features in the 6D include Peripheral Illumination Correction, Chromatic Aberration Correction, and Distortion Correction. The camera is also compatible with many Canon EF lenses.

We’re extremely excited about the 6D, and now you can preorder with Foto Care! Call (212) 741-2990 to preorder the Canon 6D for $2,099 today!!! The 6D body comes withe the EOS 6D Body, Eyecup Eb, Battery Pack LP-E6, Battery Charger LC-E6, Stereo AV Cable AVC-DC400ST, Wide Neck Strap EW-EOS 6D, USB Interface Cable IFC-200U, EOS Digital Solution Disk & Software Instruction Manual CD and Camera Instruction Manual.

For more information, visit Canon USA.

INTRODUCING:
The Profoto Pro-B4 1000 Air!

Have you ever felt that you’ve need a faster and more sturdy battery pack out on a shoot? Well, you’re in luck as Profoto just announced their new Pro-B4 1000 Air on August 24^th! This new battery pack is going to be the fastest on the market and don’t take our word for it!

Mark Rezzonico, Vice President from the MAC Group, said,

“Profoto’s new Pro-B4 1000 Air is the fastest, toughest and most versatile battery generator on the market today.” 

Quite a bold statement if you ask me!

What’s really got me excited, though, are those remarkable flash durations down to 1/25,000 of a second! Not to forget that this pack can give a burst of 30 flashes per second when set to a lower power setting, but also never making you wait more than a full second if you want the full power of the pack.
Since you’re always moving and in constant need of power from an on-the-go pack,  Profoto has managed to keep the charge time down to 45 minutes for a full charge on the battery. Of course, as with all Profoto stuff, the Pro-B4 1000 Air is built like a tank as it’s meant to withstand quite a beating in today’s fast-paced photo world.
If you want more info on this pack check out: http://www.photographyblog.com/news/profoto_pro-b4_1000_air/ or stop by in the fall to give it a look in our store.

Some Tech Specs:·

• Extremely short flash durations – 1/25,000·
• Exceptionally fast recycling – .99 seconds at full power – 30/fps at low power·
• Full Power recharge in only 45 minutes·
• 11 f/stop range – 1/10^th f/stop control·
• Full Profoto “Air” remote control
  

  More to follow…

Sabrina Thompson's Dream Big Gallery Opening at Fotocare

Sabrina Thompson (of Survivor fame!) had her first gallery opening last night at Fotocare.  We had a great turnout and the cupcakes were tasty! The show will be up until August 21st so stop by and check out Dream Big!

The process for shooting tethered with a 5D mark III has not changed, however the D800 has a new pop-up window when it is first connected.

After clicking Disable and restart, Capture One will automatically modify one of your preferences so that the D800 can function properly.

To change this setting, go to Preferences>Capture>Providers and check the box for Canon.  If you re-enable the Canon check box the D800 will no longer tether with Capture One, however all supported Canon bodies will resume functioning.

We were able to supply the Go Pros without a problem, but the next request took a little thinking.  Marco needed a way to mount a Go Pro in front of his subject, but for creative reasons a chest mount or helmet mount was out of the question.  We scoured our grip gear and the internet for an easy way to do just this, but ended up in a Home Depot.  With a pipe bender, a piece of aluminum conduit and the Go Pro Chesty mount we were able to create a custom rig for their video.

The video features Xenia’s grandmother Carmen, an unlikely but appropriate star.  With 9 Go Pro cameras mounted all over her she goes thru her morning routine, goes shopping, and even sits down to a tasty looking meal.

The video was released on Vice and has a nice interview with Xenia, you can find it here.

You can also see the Making Of video and blog post here.

Check it out!

Directed by Francesco Lettieri

Framed Studio, located in the heart of NYC’s fashion district, is the newest boutique studio ideally suited for small productions and castings.

Here are some of Framed’s features:

• 15 foot Cyc with blackout curtains and southern exposure windows
• 1050sf space
• Client Lounge
• 2 full size vanity mirrors and partitioned changing area
• Profoto power packs and light modifiers
• iMac Digital Tech station
• Assorted Grip/stands/backdrops/autopoles

For more information on Framed, visit their website or stop by their open house on Wednesday, May 23rd from 4-7 pm at 330 West 38th, studio 404 (between 8th and 9th ave).

Yesterday Leica announced an exciting addition to their digital rangefinder lineup, the Leica M Monochrom.  With an 18 megapixel, black and white CCD sensor, the Monochrom promises to be the world’s first full frame black and white digital camera.  The Monochrom also boasts the ability to make toning decisions (sepia, selenium, etc) in camera.  Because the sensor doesn’t have RGB filters to make color channels, each pixel reads the whole luminance level at its location.

After the jump we talk about the Leica X2, the M mount 50mm f/2.0, and a new adapter that adds lens options for the S2.  Technical data on all cameras is available as well.Leica’s #May10 was full of surprises as three new cameras, a new lens and a new lens adapter have been unveiled.

Leica M Monochrom

Camera type- Compact digital rangefinder system camera with black-and-white
sensor

Lens attachment- Leica M bayonet with additional sensor for 6-bit coding

Image sensor- Active area approx. 23.9 x 35.8 mm, 5212 x 3468 pixels (18 megapixels). Infrared filter for non-visible spectrum over 700nm, no low-pass filter

Storage medium- SD cards up to 2 GB, SDHC cards up to 32 GB

Sensitivity range- ISO 320/26° to ISO 10000/41°

Flash exposure metering- Control with center-weighted TTL pre-flash metering (with SCA-3501/3502 adapter, or SCA-3000 standard flash unit such as Leica SF 24D/Leica SF 58).

Exposure modes- Through the Lens (TTL) metering, center-weighted with variable aperture. Center-weighted TTL metering for flash exposure with system-conformant SCA-3000/2 standard flash units.

Monitor- 2.5″ monitor (color TFT LCD) with 230,000 pixels

Software- Adobe Lightroom, Nik Silver Efex Pro, as download versions (highspeed internet connection required)

The Leica M Monochrom page on Leica’s website

Leica X2

The X2 is a fixed focal length 24mm f/2.8 ASPH (35mm equivalent) compact point and shoot with a 16mp sensor that replaces the X1 in the Leica product line.  The newly developed sensor gives the X2 better image quality, especially in low light.  A pop-up flash and new leather trimming round out the changes that Leica has made.

Lens- Leica Elmarit 24mm f/2.8 ASPH.

Image sensor- 16.5 MP, APS-C, CMOS image sensor (effective 16.1 MP).

Metering modes- Smart multi-segment metering, center-weighted metering, selective (spot) metering.

Sensitivity- Auto, ISO 100, ISO 200, ISO 400, ISO 800, ISO 1600, ISO 3200, ISO 6400, ISO 12500.

Continuous shooting- 3 fps or 5 fps, max. 8 consecutive exposures with constant shooting speed in DNG + JPEG fine quality.

Exposure modes- Standard, dynamic, natural, b/w natural, b/w high contrast.

Flash Modes- Auto, flash exposure correction, red-eye correction, fill-in flash, slow sync, studio, 1st /2nd curtain sync. Hot shoe Compatible with Leica SF 24D, Leica SF 58 flash units.

Monitor- 2.7″-TFT LCD with 230,000 pixels, wide-angle

Storage- Internal memory (Approx. 110 MB)

Memory card compatibility- SD, SDHC, SDXC.

Interfaces- HDMI out, USB (USB 2.0 high speed).

Software- Adobe® Photoshop® Lightroom® (free download option after camera registration)

The Leica X2 page on Leica’s website

Leica APO-Summicron-M 50mm f/2 ASPH

The new M mount 50mm lens from Leica boasts unprecedented sharpness, fast speeds, and even an integrated lens hood that rotates into position.

From the Leica press release:

The LEICA APO-Summicron-M 50mm f/2 ASPH will offer the following advantages:

High speed standard lens delivering outstanding imaging performance

Supremely soft rendering of blurred image areas (Bokeh)

Integrated lens hood, extendable by rotating

Product package includes milled brass lens front cap

Exclusive presentation packaging box

The 50mm/f2 on Leica’s website

Leica V-Lux 40

The V-Lux 40 is Leica’s newest addition to their compact digital camera line.  With a 20x super-zoom lens (24-480mm!), a 15.3 megapixel sensor and the ability to shoot up to 60fps in high-speed mode the V-Lux promises to be a welcome addition to the photographer who doesn’t want to sacrifice portability for quality.  Some of the V-Lux 40’s other nifty features include a built in GPS module, optical image stabilization, and full-HD video recording.

Lens- LEICA DC VARIO-ELMAR 4.3 – 86 mm f/3.3-6.4 ASPH

Sensor- 1 / 2.33” CMOS with 15.3 MP (effective 14.1 MP)

Exposure modes- Program mode (P), Aperture priority (A), Shutter speed priority (S), Manual Setting (M)

Metering modes- Multi-field / Center weighted / Spot

Sensitivity- 100, 200, 400, 800, 1600, 3200

Monitor- 3.0” TFT-LCD, approx.. 460,800 pixel, Touch Screen functionality

The Leica V-Lux 40 page on Leica’s website

The Leica M9-p ‘Edition Hermes’

The last addition that these purveyors of fine camera equipment made to their lineup on #may10 is the result of a collaboration with Hermes, a company equally defined by fine craftsmanship.  The is the third in a line of premium special editions of the M-System to be created in collaboration with the well-known Parisian house Hermès. The Leica M9-P ‘Edition Hermès’ is being offered as a strictly limited edition. For more information visit the manufacturer’s product page below.

The Leica M9-p ‘Edition Hermes’ on the Leica website

More images from the show after the jump!

More details after the jump:

The Prodaylight Air 800 provides 800 watts of continuous, 5600K light.  The cooling system within the head is designed to be as quiet as possible, allowing a photographer to use the light shaping tools that they have been using for years.

For more information visit the Profoto product page

Updated 4/17/2012

Updated 4/24/2012

Canon’s replacement for the 5D Mk II was released last week and there was a flurry of movement to the new 5D Mk III.  Unfortunately, almost all of the software regularly used by photographers requires an update to function with the new Canon CR2 (raw) file.  Today we will go over some of the workflows and workarounds that can get you using your 5D Mk III.

Adobe Camera Raw 6.7

Before Adobe releases a new software update they go through a couple of different phases of testing.  Adobe starts with internal versions of the software and builds to the “Release Candidate”.  The Release Candidate is the final step before software is widely released and promoted as functional.

The Adobe Camera Raw 6.7 Release Candidate is available for download from the Adobe Labs website here.  This Release Candidate version will expire on May 31st and will have been replaced by the full release of Camera Raw 6.7.  Also, Camera Raw 6 is only compatible with Photoshop CS5, so anyone using an older version of Photoshop will have to upgrade.

This upgrade will allow you to open the 5D Mk III CR2 file in the Camera Raw interface of Photoshop.  The interface will not have changed from earlier versions of Camera Raw

Adobe DNG raw converter

Adobe has a Release Candidate version of the DNG Converter 6.7 available on the Adobe Labs website here.  Users can convert the file from CR2 to DNG, which will work in an older raw workflow.

Canon Utilities

The CR2 file from a Mk III can be interpreted by any of the software that Canon included with the camera.  The EOS Digital Solution disk version 25 (pictured below) has an updated version of Digital Photo Professional and EOS Utility.  DPP will allow you to convert files from CR2 to 8 or 16-bit tiffs, which you can then use in a raw workflow.

Canon Asia has issued an update to DPP to 3.11.26 to fix a bug that was causing softness in raw file conversions.  A translated page with the download can be found here.

Link on Canon USA for DPP 3.11.26 here

EOS Utility currently provides the only tethered support for the 5D Mk III.

This option will only work with for Mac users on OS 10.6.8 or newer.

Lightroom 4

Lightroom 4 users can update to the Release Candidate version of 4.1 here.  This version will allow users to work within Lightroom 4 with the CR2 file from the 5d Mk III.

Capture One Pro 6.4

The latest version of Capture One Pro (6.4) has added support for the 5D Mark III files for processing only. Capture One 6.4 has not added tethered capture support for the 5D Mark III or D800.

You can find the updated version of Capture One Pro (6.4) here.

Legacy Software Compatibility

Photoshop CS4 and earlier- not compatible with Camera Raw 6.x (5D mk III not supported)

Lightroom 3 and earlier- Lightroom does not utilize the Camera Raw plugin.  Support for cameras is built right into the program and since LR3 was replaced by LR4 (and therefore no longer supported) the 5D Mk III is not compatible

Capture One Pro 6- Currently both raw processing and tethered capture are not supported.  Phase One has not issued a statement to when they will be updating.

Born to Play Baseball will be opening at 6:30 PM, March 20th at Foto Care Rentals and is sponsored by Presidente Beer

Q. These images are a big departure from the refined, lit work we see from you in the commercial realm.  How did you come to shoot a project with available light thousands of miles from home?

A. I’ve been very interested in baseball all my life.  I’ve played it and I’ve always heard about the Dominican Republic and its almost mythic ability to create great ball players.  I’ve never had clear answers to why the DR has always been able to turn out such talent and I always wanted to see it for myself.

It came to me when I was down there, they play ball not for sport but for hope, or a means to get out of the country.  Kids grow up with the idea that if they are good enough they might have the chance to take care of their family or community.   The level of dedication and athleticism that you see from these young kids is incredible; they are hitting home runs, turning double plays, and throwing pitches at 70+ miles an hour while kids their age back in the states are just learning the game. It’s crazy.

Q. So did you do a lot of pre-production before the trip or just kind of show up and see what you could find?

A. For 7-10 days I just traveled around and documented baseball.  Basically myself, a backpack and two assistants.  I had a translator and I was able to tell him to pass along the message that “I’m not here, try not to look at the camera” to the kids I am photographing.  I wanted the viewer to have a realistic view of what is going on there, nothing posed or produced.

I shot almost 10,000 images, narrowed them down to 1600 selects, and for the show I think we’re at 30 images.  I’m making a book, which is going to have around 100 images in it.  The book will have two purposes.  The first is a promo piece that I’ll give to creative directors and the people that I work closely with throughout the year as a thank you.  In the photo industry you are only as good as your last project.  I’m going to make 1,000 books, half of which will go out as promos.  The other half I’m going to sell and send all of the profits to a charity that will help to provide equipment and clothing to the kids in the Dominican Republic.  To me, you have to give back.

My passion is taking a camera and documenting something that I care about, you can only plan out so much.  My next book is going to be about Sumo in Japan, I’m following 10 wrestlers as they train and prepare.

Q. Wandering around with a backpack full of lenses and a body or two is pretty similar to how you started in photography, right?

A. I started shooting skateboarding, surfing, and snowboarding.  There was nothing better than that.  As I got older and needed to expand my horizons I turned to more production, artificial lighting, etc.  I also started to find an outlet in working on the files, figuring out how to combine that style that I love and grew up with and mix it with a polished, commercial look.  I still learn every day; there is always something new to learn.

Q. How has your time in the DR affected your approach to photography (if at all) since then?

A. The only thing it really did is made me stick to an idea.  I kept putting it (the trip) off, saying it would be too difficult, that there was too much other work to do here. I am glad I stuck with it and went there,  if anything it has spawned a few other projects that I am very much looking forward to start.

As an artist I will print something,  show something or put it online and then just hate it a week later.  I don’t have any of my own images up in my studio; everything is either an illustration or a painting or sculpture done by someone else.

Born to Play Baseball will open at 6:30 PM, March 20th at Foto Care Rentals

Top 10 People with Only One Known Photograph

List Guru site TopTenz.net has a fun one on the top 10 famous people who have been commemorated on gelatin just once.

We love to look at pictures because it gives us a chance to remember a specific moment in time.  For this reason, family portraits are among the most cherished items in most households.  In the 1830s, the first commercially successful photographic process, the daguerreotype, was invented.  Daguerreotype photography spread rapidly across the United States in the early 1840s.  People loved the process because they were able to obtain an exact likeness of themselves and their family members for the first time, making portrait photographs extremely popular.

The first use of photographic film was pioneered by George Eastman.  Eastman’s first camera was named the “Kodak” and was offered for sale in 1888.  The time period between the first photo and the first commercially sold camera (1838-1888) has become known for a large collection of rare pictures.  Many famous outlaws from the American Old West and influential personalities from the middle of the 19th century have only a few known photographs.

In some rare instances, famous historical figures are known to have only one existing photograph.  This article will examine ten famous people with only one remaining picture.  Some notable figures that were not included are Mary Seacole, Bahadur Shah II, David Owen Dodd, Ike Clanton, Moondyne Joe, Regina Jonas, Etta Place, and Louis Keseberg.

10. Karl Denke

In 1870, Karl Denke was born in Münsterberg, Silesia in the Kingdom of Prussia (now Zi?bice in Poland).  There is not a great deal of information about Denke’s life as a child, but as an adult he was well-liked in the community.  Between the years of 1918 to 1924, Denke operated a rooming house in his hometown.  His tenants affectionately called him “Papa.”  He also played the organ for the local German church.  It has since been realized that Denke led a much more sinister lifestyle.  He was a mass murderer that cannibalized the remains of over 30 people.

On December 20, 1924, one of Denke’s tenants, a coachman by the name of Gabriel, heard cries from Denke’s flat.  After rushing down to see if everyone was alright, Gabriel witnessed Karl Denke in the process of murdering a man with an axe.  The police were called and Denke was arrested.  In his house, the officers found the remains of human flesh in huge jars of curing salts.  They discovered a ledger that contained the details of over 30 people Denke had murdered and cannibalized.  The ledger had information about the victim’s weight and how to pickle a human.  Apparently, Denke had specialized in killing beggars, tramps, and journeymen who seemed unlikely to be missed.  In a disturbing fact, he sold the flesh of his victims to the local market in Breslau (today’s Wroclaw).

The Picture

The day after Karl Denke was arrested he committed suicide in jail by hanging himself with his suspenders.  Denke was never fully interrogated by the German police and little is known about his true personality.  After his death, one photograph was taken to document the case.  The picture shows Denke’s dead body and is the only known picture of Karl Denke.

9. Johnny Ringo

Johnny Ringo was an outlaw of the American Old West.  He was born in Greensfork, Indiana, of distant Dutch ancestry.  In 1879, Ringo turned up in Cochise County, Arizona Territory.  He quickly made an impression on the town when he shot an unarmed man named Louis Hancock in Safford, Arizona for refusing a drink of whiskey.  Hancock survived the gunshot, but the event gave Ringo a reputation for anger.  On January 17, 1882, Johnny Ringo and Doc Holliday traded threats in the streets of Tombstone and almost got into a gunfight.  Both men were arrested by chief of police James Flynn and hauled before a judge for carrying weapons in town.

It remains unclear, but Johnny Ringo could have participated in a large number of robberies and killings with the Cowboys.  In March of 1882, Ringo was suspected by Wyatt Earp of taking part in the murder of his brother Morgan.  On July 14, 1882, Johnny Ringo was found dead in the crotch of a large tree in West Turkey Creek Valley, near Chiricahua Peak, Arizona.  He was shot once in the head.  Ringo’s revolver was found hanging by his hand and the death was officially ruled a suicide.

Many people have been put forward as Ringo’s possible murderer, including Wyatt Earp, Doc Holliday, Mike O’Rourke, and Buckskin Frank Leslie.  Author Louis L’Amour has found no information in Old West history to commend the idea that Johnny Ringo was a noteworthy “badman.”  It has been speculated that perhaps Ringo’s memorable name, coupled with his confrontations with the “good” Earp brothers, has contributed to his current-day reputation.  In the movie Tombstone, Johnny Ringo is portrayed as a leader of the Cowboys and one of the best shots in the Old West.

The Picture

Around the year 1880, Johnny Ringo posed for his only known photograph.  In the picture, Ringo can be seen with a large and bushy mustache, which is typical for men during the early 1880s.  He is wearing a nice suit and is groomed for a professional portrait.

8. Ichabod Crane

In 1787, Ichabod Crane was born in Elizabethtown (now Elizabeth), New Jersey.  In 1809, he was commissioned as a second lieutenant and assigned to the USS United States, a 44-gun frigate commanded by Stephen Decatur.  During the War of 1812, Crane served on the Niagara Frontier.  In 1832, he led five companies in the Black Hawk War.  The Black Hawk War was a conflict between the U.S. Government and the Sauk Native American tribe headed by Black Hawk.  During the Second Seminole War (1835–1842), Crane commanded the 2nd Artillery unit and acted as Commander of the U.S. Army District of Northeast Florida.

Ichabod Crane died in October 1857 while still on active duty.  He is buried in Asbury Methodist Cemetery, in New Springville, not far from his former home.  Crane’s grave marker bears the inscription: “He served his country for 48 years and was much beloved and respected by all who knew him.”  The name of Ichabod Crane is familiar as it was used by Washington Irving in his novel The Legend of Sleepy Hollow.

Washington Irving never admitted that the character is named after Colonel Crane, but the two men met at Fort Pike located on Lake Ontario in Sackets Harbor, New York in 1814, while Irving was an aide to New York Gov. Daniel D. Tompkins.  The similarity between the two Ichabods seems to end with the name, as Colonel Crane was known to be a respected military man with a loving family.  Cranes’ somewhat unusual and memorable first name Ichabod comes from the biblical name of the grandson of Eli the High Priest and son of Phineas.

The Picture

In 1848, Ichabod Crane posed for a daguerreotype photograph.  It was taken for his official U.S. military portrait.  The portrait remains the only known picture of Crane.  At the time of his death, Ichabod Crane was a Colonel, 1st Artillery, in the U.S. Army.

7. Jack Swilling

Jack Swilling was born on April 1, 1830, at Red House Plantation, Anderson, South Carolina.  In the 1850s, Swilling was elected captain of the Gila Rangers militia company that was formed for protection from Apache stock raids on miners in the Arizona territory.  In 1860, the Gila Rangers made an expedition to the unexplored Bradshaw Mountains of central Arizona to “chastise” Apache raiders.  This resulted in some noteworthy discoveries, including the existence of the Hassayampa River and traces of mineral riches, including gold.

During the American Civil War (1861–1865), Swilling was a Confederate States Army minuteman, but could not fight much due to injuries he sustained in 1854.  He was also a civilian aide to the U.S. Army during the end of the war.  In 1863, Jack Swilling played an important role in the settlement of the previously unexplored central Arizona highlands in the vicinity of modern-day Prescott, Arizona.  He sparked a major gold rush in the area, and in turn led to the establishment of Arizona’s first Territorial Capital at the brand-new town of Prescott.

In 1867, Jack Swilling founded the city of Phoenix, Arizona.  He organized the first successful modern irrigation project in Arizona’s Salt River Valley and started a small farming community that has since grown into the modern day Phoenix.  In the early days, Jack Swilling was one of the most prominent leaders of the Phoenix settlement and was its first postmaster and first justice of the peace.  Jack’s friends remember him as an honest, hard-working, and generous man that was always ready to help people in need.  “Swilling would put his own life at risk for others, literally riding to the rescue when he heard of an Apache attack.”

The Picture

In 1878, Jack Swilling died near the small mining community of Gillette, a few miles south of today’s Black Canyon City.  The details surrounding his death are unclear and he is survived by only one known photograph.  The picture shows Swilling with long hair and holding what looks like a pistol in one hand and a hat in the other.  It is unclear when the photograph was taken.

6. Margery Booth

In 1905, Margery Booth was born in Wigan, Greater Manchester, England.  In 1936, she began her singing career in Covent Garden, London, but moved to Germany in the late 1930s and achieved fame with the Berlin State Opera.  At the outbreak of World War II, Booth was positioned at Freigegeben Stalag IIID by the Third Reich, a camp for potential recruits to the British Free Corps.  At the camp she worked as a British spy with agent John Brown and obtained details surrounding British traitors.  During the war, Booth helped prisoners of war send coded messages back to their chiefs in London.

On one occasion, Margery Booth met and sang for Adolf Hitler at a British prisoner of war camp.  While singing for the Fuehrer, Margery had a collection of secret ciphers hidden inside her undergarments.  Hitler was so taken by Booth’s performances that he once visited her dressing room, and sent her 200 red roses wrapped in a sash with a swastika on it.  After being discovered as spy, Booth endured torture by the Gestapo, but kept her silence.  At the end of the war, Margery escaped to Berlin and fled to Bavaria.

Margery Booth was a valuable spy during World War II and the information she provided was used to convict both Lord Haw Haw and John Amery of treason.  Unfortunately, after returning to England Margery was rejected by the people and viewed as a Nazi sympathizer.  She was not offered work and eventually forced to move to New York, where Booth died from cancer in 1952.

The Picture

The only known picture of Margery Booth was taken at Freigegeben Stalag IIID during World War II.  On the photograph Booth wrote “With kindest remembrances, Good luck, Margery Booth.”  The picture emerged from a private collection in 2010 and was auctioned off at Ludlow racecourse in Shropshire.

5. Blind Lemon Jefferson

“Blind” Lemon Jefferson was an American blues singer and guitarist from Texas that was born blind.  He was one of the most popular blues singers of the 1920s and had a strong influence on the Texas Blues scene.  Jefferson is remembered for his distinctive high-pitched voice and guitar play.  He was one of the first people to record a solo blues guitar album.  Between the years of 1926 to 1929, Jefferson released about 100 tracks with a large number of popular songs.  He traveled around the United States and was a popular act.  Blind Lemon Jefferson helped make Paramount Records the leading music recording company for blues in the 1920s.

At the height of his popularity, Blind Lemon Jefferson died in Chicago on December 19, 1929.  His death certificate officially states the cause of death as “probably acute myocarditis.”  However, a large number of theories have been proposed.  In the 1930s, rumors circulated that a jealous lover had poisoned his coffee.  Others think he died of a heart attack after becoming disoriented during a snowstorm (i.e., he froze to death).  Some people have written that Jefferson was attacked by a dog, while others claim that he was killed while being robbed by a guide escorting him to Union Station.

In 1929, Blind Lemon Jefferson was buried at Wortham Negro Cemetery (later Wortham Black Cemetery) under an unmarked grave.  In 1967, a grave stone was placed in his honor at the cemetery.  In 2007, the cemetery’s name was changed to Blind Lemon Memorial Cemetery.  Given his influence on the history of music, it is unfortunate that we don’t know more about Jefferson’s life.  His sound has influenced a large number of great recording artists, including B.B. King, T-Bone Walker, Lightnin’ Hopkins, Canned Heat, and Robert Johnson.

The Picture

Around 1926, Blind Lemon Jefferson posed for his only known photograph.  The picture is of bad quality and was heavily retouched in the 1920s.  Record executives even painted a fake tie on the photo.

Just like Jefferson, Robert Petway is a blues musician that has only one known photograph.  Robert Petway recorded only two sessions for Bluebird Records (Chicago) in 1941 and 1942.  He released 16 songs and suddenly disappeared in the early 1940s.

One of Robert Petway’s most influential songs is Catfish Blues, which was recorded in 1941.  Muddy Waters used the lyrics and style of the song for his first single Rollin’ Stone.  Robert Petway’s short musical career influenced some notable blues and rock musicians, including John Lee Hooker and Jimi Hendrix.

4. Samuel Wilson

In 1766, Samuel Wilson was born in historic Arlington, Massachusetts, to parents originally from Greenock, Scotland.  In 1789, Samuel and his brother Ebenezer moved to Troy, New York, where they went into business.  At the time of the War of 1812, Samuel Wilson was a prosperous middle-aged meat-packer in Troy.  He obtained a contract to supply beef to the Army, which he shipped in large barrels.  The barrels, being government property, were branded with the initials U.S. for United States, but the teamsters and soldiers would joke that the initials referred to “Uncle Sam”, who supplied the product.

Over time, it was believed that anything marked with the same initials (U.S.) was also linked with the name Samuel Wilson.  On September 15, 1961, the United States Congress issued the statement: “Congress salutes Uncle Sam Wilson of Troy, New York, as the progenitor of America’s national symbol of Uncle Sam.”  If you are unfamiliar with the image, Uncle Sam is a national personification of the American government.  To honor Wilson’s achievement, a collection of monuments were built in his honor, one in Arlington, Massachusetts, and the others at his grave in Oakwood Cemetery, Troy, and outside his second home in Mason, NH.

The Picture

There is only one known photograph of Samuel Wilson.  It was taken sometime before his death in 1854 and shows Uncle Sam’s grey hair and stern facial expression.  The photo is small and of low resolution, but you can still see the famous expression that made the image so popular in America.

3. Billy the Kid

William H. Bonney (Billy the Kid) was a 19th-century American gunman who participated in the Lincoln County War and became a frontier outlaw in the West.  According to legend, he killed 21 men, but the actual number is generally considered to be between four and nine.  Bonney was 5 feet 8 inches (173 cm) tall with blue eyes, a smooth complexion, and prominent front teeth.  He was said to be friendly and personable at times, but could have a bad temper.

Contemporaries have described Billy the Kid as a “neat” dresser who favored an “unadorned Mexican sombrero.”  Bonney was relatively unknown during his lifetime, until New Mexico’s governor, Lew Wallace, placed a price on his head in 1881. In addition, a collection of newspapers published stories about Billy the Kid.  Bonney was incredibly skilled with a firearm, which has contributed to his image as both a notorious outlaw and beloved folk hero of the Old West.  After his death at the hands of Sheriff Pat Garrett, several biographies were written about Billy the Kid.

The Picture

Sometime in late 1879 or early 1880, Billy the Kid had a ferrotype (tintype) photograph taken by an unknown photographer.  The photograph is a 2 x 3 inch (5.08 x 7.62 cm) picture and the only image of Bonney which scholars agree is authentic.  A tintype is a photo made by creating a direct positive on a sheet of iron metal that is blackened by painting and lacquering.

After Billy the Kid’s death, Dan Dedrick, one of Billy’s rustler friends, kept the picture and passed it down to his family. The ferrotype appeared in several copied forms before the original was made public in the mid-1980s. The original photograph of Bonney was sold at auction on June 25, 2011, in a three-day Western show.  It was purchased for $2.3 million dollars, some six times the estimate.  The picture became the 6th most expensive photograph ever sold.

2. Chief Seattle (Si’ahl)

The American Indian Wars is the name used in the United States to describe a series of conflicts between American settlers and the native peoples of North America.  The wars were spurred by ideologies such as Manifest Destiny, which held that the United States was destined to expand from coast to coast on the American continent.  As a result, the Indian tribes were pushed westward.

Many tribes rebelled, but other Native American leaders accepted the white settlers and tried to form a friendly relationship.  One of these men was Si’ahl (Chief Seattle).  In 1780, Chief Seattle was born on Blake Island in the state of Washington.  He was a prominent figure among his people and earned the reputation as a leader and warrior.  Si’ahl was known as a great orator.  It was said that when Chief Seattle spoke, his voice carried from camp to camp, a distance of 3/4 of a mile.  In 1856, during the Battle of Seattle, Si’ahl kept his people out of the fight.

There is a lasting controversy over a famous speech given by Chief Seattle concerning the concession of native lands to the settlers.  Even the date and location of the speech has been disputed, but the most common version is that on March 11, 1854, Si’ahl gave a speech to a large crowd in Seattle, Washington.  After Chief Seattle’s death, Dr. Henry A. Smith wrote an English version of the speech based on notes.  Chief Seattle purportedly thanked the white people for their generosity, demanded that any treaty guarantee access to Native burial grounds, and made a contrast between the God of the white people and that of his own.  Chief Seattle died June 7, 1866, on the Suquamish reservation at Port Madison, Washington.  The city of Seattle and numerous related features in the Pacific Northwest are named in his honor.

The Picture

In 1864, at the age of 84, Chief Seattle posed for a picture taken by E. M. Sammis.  The photograph remains the only known picture of Chief Seattle.  Unfortunately, Si’ahl has his eyes closed in the image.

1. Emily Dickinson

In 1830, Emily Dickinson was born in Amherst, Massachusetts, to a family with strong community ties.  As a child she was stricken with a “deepening menace” of death, especially the deaths of those who were close to her.  Emily Dickinson lived a reclusive lifestyle and was rarely seen outside her home.  She wrote nearly eighteen hundred poems, but had fewer than a dozen of them published during her life.  Many of her poems contain short lines, no titles, and often use slant rhyme.  In her work, Dickinson deals with the themes of death and immortality.

Most of Emily Dickinson’s poetry was not recovered until after her death in 1886, when Lavinia, Emily’s younger sister, found her cache of poems.  Lavinia burned most of Emily’s correspondence (by request of her sister), but recognized the value of the poetry.  Emily Dickinson’s first volume was published four years after her death and her work has remained in print since 1890.  Dickinson is now considered a persistent figure in American culture.  Twentieth-century critic Harold Bloom has placed her alongside Walt Whitman, Wallace Stevens, Robert Frost, T. S. Eliot, and Hart Crane.  Today, Dickinson’s life is taught in American literature and poetry classes all over the United States.

The Picture

In December 1846 or early 1847, Emily Dickinson had a daguerreotype photograph taken at Mount Holyoke in South Hadley, Massachusetts.  The picture remains the only authenticated photo of Emily Dickinson.  As a child she had a portrait painted with her family.  The original photograph is held by the Archives and Special Collections at Amherst College.

BONUS:  Leo Tolstoy

Lev Tolstoy (known in the West as Leo Tolstoy) was a Russian writer of novels and short stories.  His two most famous works, the novels War and Peace and Anna Karenina, are widely considered to be two of the greatest books ever written and a pinnacle of realist fiction.  Many people consider Tolstoy to be one of the greatest authors ever.  During his lifetime, Tolstoy was known for a complicated personality and extreme moralistic views.  He became noted as a social reformer and strongly rejected the use of violence to solve problems.  Tolstoy’s work had a profound impact on such pivotal twentieth-century figures as Mohandas Gandhi and Martin Luther King Jr.

The Picture

In May of 1908, Leo Tolstoy was photographed at his Yasnaya Polyana estate (12 kilometers (7.5 mi) southwest of Tula, Russia) by Sergey Prokudin-Gorsky.  The picture remains the only known color photograph of the writer.

To see more of Nichols’ wild work visit http://ngm.nationalgeographic.com/visions/field-test/nichols-serengeti/assignment

Michael Nichols is working with a micro-copter, an adapted toy helicopter, to photograph lions in the Serengeti National Park in Tanzania.  ©National Geographic/Ken Geiger

Nichols has done just that, taking a Micro-copter and a remote controlled “lion tank”, an armored camera on wheels to offer unique perspectives for the series.  The ground “tank” provides an up-close and intimate angle, while the micro-copter hopes to offer wide-angle, overhead shots from 15 feet above the pride.  Check out this view from the tank and this aerial of the wildebeest migration from the microcopter.

A lioness gets to know a new creature on the savanna ©National Geographic/Michael Nichols

The original model of Lion Tank didn’t stand up to the punishment that the big cats dished out, but a new iteration designed by a U.S. robotics company should offer a sturdier tool.

Photographer Michael Nichols taps out an email from inside his custom-built, camera-laden vehicle.  ©National Geographic/Michael Nichols

Another cool piece of technology that Michael has been utilizing is a set of infrared cameras and lights mounted to a 4×4 that allow him to photograph through the night.  To read Nichols’ daily entries and follow along with his progress on the project, visit the National Geographic’s Field Test site.

The DR-40 is a linear recorder with two high quality stereo condenser microphones built into it.  The Tascam rents for $20/day or $60/week

The Tascam DR-680 is a virtual studio-on-the-go.

• 8-track portable recording
• Record eight individual inputs or six inputs plus a stereo mixdown
• Up to 96kHz/24-bit Broadcast WAV file resolution for 8 channels
• Stereo 192kHz/24-bit recording mode
• 4-channel MP3 recording
• Digital monitor mixing (level and pan) with recordable stereo mixdown
• Mid-side microphone decoding, either during recording or monitor/mixdown
• Ganged input option for use with stereo microphones
• Ideal for surround music and effects recording
• Cascade function for running two units together
• Pre-recording feature
• Auto-recording mode begins recording when the input reaches a certain level
• Mark function during recording/playback
• Edit functions such as divide and delete
• 128×64 backlit LCD display
• Powered through (8x) AA batteries or (included) PS-1225L adapter
• Records to SD/SDHC card media (not included)
• Premium AKM Audio4Pro™ 192kHz A/D converters with over 100dB signal to noise ratio

Tascam DR-680 $55 day / $165 week

For a demonstration of either of these recorders come in and see us at 41 w 22nd street!

Tell us about yourself and how you got into photography?

I attended Hallmark Institute of Photography.

What was your break out job that helped launch your career?

A stylist referred me for a job at an advertising agency and I was hired on the spot.  Then my first big client was Victoria’s Secret and that really solidified me as a young photographer.

What has been your favorite assignment(s) to date?

Yet to be done… That said, I really enjoy assignments that take me out of the studio and on location… I love concept driven assignments.

Where do you draw your inspiration from?

Contemporary art, Music, Photo literature, Irving Penn and my family.

What do you do to market your services?

I use a website, have an agent, and utilize magazines.

Do you use Social Media as part of your marketing mix? Do you think it is effective?

I do use social media but I question how effective it is.

How has your work changed in the last few years?

I am doing much more editorial and I am enjoying the shooting process more than ever.    I am also doing much more stop motion for an ipad app.  The ipad has changed the game yet again.

Where is your work heading next? Where do you see yourself in the future?

Completing my next book project on the cremated remains of patients forgotten at the Oregon State Hospital.  The future, teaching, gallery shows, books and of course assignment photography.

What equipment are you currently using to produce your work?

I use a hasselbald 503 cw and a phase one P45+ back.  For lighting I use everything. HMI’ s Profoto, Broncolor…

Do you work with Video? Have you stepped into the Hybrid Video market at all?

Yes, I am approaching it slowly as there is so much bad video work being produced.  That said there is also some beautiful work being done and I am trying to be one of the photographers who will make the transition from photographer to director without sacrificing the quality that my clients have come to expect from me.

How did you get interested in telling the story in photos of Ward 81?

I was working on another photographic project at the time on the cremated remains of thousands of patients whom had died at the hospital and were never claimed by their families.  I was informed that I could get into the infamous Ward 81 if the Oregon state legislation and the hospital board approved me.  I was approved and I wanted to tell that story of “the Demise of Institutional services.”

When/ How did you first hear about Foto Care?

I have been working with Jeff for 18 years now and I call him a friend!

What is it about Foto Care that brings you back?

Jeff and his staff are always, helpful, their rental gear is reliable and in great condition, the service is unmatched!  As you can tell I really love and respect Jeff!

Please RSVP to RSVP@fotocare.com for Bill’s January 26th Opening!

More on RAID’s after the jump…

RAID 1

When two drives have been configured in a RAID 1 they are exact copies of each other, making the possibility of losing data very slim.  If one of the drives dies, swap the dead drive out for a new one and the RAID unit will copy all of the information from the working drive to the new drive.

RAID 5

A RAID 5 can be difficult to understand how it works, yet quite simple to work with.  RAID 5’s are normally built with four to eight hard drives.  With this configuration, your data is being written onto separate drives in the system.  Thanks to a formula involving a process called parity (better explained on Wikipedia), when one drive fails, your data will still be safe.  When a drive failure does occur in a RAID 5, just swap out the dead drive for a new one of the same size and let the RAID rebuild.  Most units will do this automatically when they detect a new drive.

So what kind of RAIDs are out there?

We are big fans of the RAID systems made by our friends over at Wiebetech.  Their ToughTech Duo is a high-performance RAID storage system using dual 2.5″ notebook hard drives that are bus powered from a Firewire 800 interface, making it the perfect device for on-location archiving.  When you are done with a shoot you have two drives with all of your images on them.  For the truly paranoid you can then split up the two drives into different bags for travel so that if one is lost there is still a duplicate of the images from the shoot.

Specifications

• RAID1, RAID0 and Single Drive operation modes.

• Default RAID1 Mirroring to assure data integrity and protection on the road.

• Easy-release removable 2.5” drive sleds.

• Designed for Solid State (SSD) & standard SATA HDDs.

• Quad host interface: eSATA, FireWire 800/400 & USB 2.0

Wiebetech also makes a 2-bay RAID called the RTX220-QR.  While it operates just like the ToughTech Duo, the RTX220 takes a larger, 3.5″ desktop hard drive and requires wall power.

Specifications

• RAID1, RAID0 and Single Drive operation modes.

• Default RAID1 Mirroring to assure data integrity

• Easy-release Tray-Free technology makes swapping drives in and out a breeze

• Designed for standard SATA HDDs

• Quad host interface: eSATA, FireWire 800/400 & USB 2.0

The larger, 4-bay brother to the RTX220 is the RTX-400QR. The RTX-400 is configurable as a RAID 5, meaning that you can protect your data from hard drive failure without needing exact copies of all your data.  This is a great solution for the photographer who is constantly creating new work and needs the space to hold it all.

For more information call Foto Care Sales at 212-741-2990

From Thomas:

I came up with an idea to shoot these close ups of insects with high end accessories awhile back. The only thing keeping me from shooting it was the lack of insects, and the absence of a lens that could do the job. I knew that I wanted these insects to be larger than life so I had to find a lens that was almost like a microscope. After searching online for a short while I ordered some insects, and came across the canon 65mm macro lens. This lens allowed me to get 1x-5x closer to my subject. Perfect, it was truly what the lens was made for. I called up Fred at Fotocare and he came through for me and got the lens so I could rent it. It was quite an exercise lighting these little bugs. The slightest movement of the light and it would throw the whole look off.  After a little trouble shooting and setting up a rail system so I could focus my shots, the shooting went relatively smoothly. Being a still life photographer I feel that I tend to look at the normal things in life a little more closely. I try and find what makes them stand out, what makes them special. This was the purpose of this shoot. By making the subject larger than life we get to see what makes these bugs special, they almost start to have a personality when you get so close.

So where did you find all the bugs?

After searching around and doing a small test with dead bugs that had been dried out and taxidermied, I found out that I had to get bugs that were really fresh.  Believe it or not, I got all the bugs on eBay.  There are actually a lot of people that collect insects and there is a huge market for it on eBay.  I ended up getting a collection of 65 insects that came in a solution so they were fresh and not dried out.

Which bug is your favorite?

I have two favorites, the black beetle with the gem on its back and the beetle holding the jewel in its arms.  The one with the jewels in its arms seems to be almost talking to the earring.

What first inspired you to combine bugs and fashion accessories?

I wish I could say that I saw a bug on the sidewalk one day and I dreamed that it told me it really wanted to wear earrings and walk around in pumps.  The reality is, I was riding my bike home one night and it just sort of popped into my head.

Opening night drew the largest crowd we have had at a gallery show to date (250+ visitors!)  While the show hung we had a steady stream of guests coming in to see the electrifying imagery from Burning Man.  The images are all packed up but here is a last look at a Beautiful Burn!  More images after the break…

Tell us about yourself and how you got into this field?
My interest in photography was casual when I was young.  It wasn’t until high school when my father gave me his old Nikkormat that I began to explore the creative side of photography, but even then I didn’t shoot much.  The camera’s light meter was broken which made it hard to successfully expose entire rolls of film.  I would typically use a whole roll to take one picture, experimenting with the settings and different types of film.  I learned a lot about exposure, but for a kid it was an expensive process so I didn’t do a lot of it.  I got into film making in college and learned about lighting and how to tell a story visually, but it wasn’t until Digital SLR’s began to take over that my interest returned to still photography.

What was your break out job that helped launch your career?

I can’t say that my career as a photographer has necessarily been launched yet.  A portion of my income comes from photography but not a significant amount.  When I moved to New York City a friend that worked for a publishing company gave me my first assignment, I’ve been working with them ever since, about six years now.  I feel lucky to have that connection, there are a lot of photographers that make more money than me, but few of them could say that they have over a dozen books published.

What has been your favorite assignment(s) to date?
I worked on my most recent book, Past Objects, for almost two years.  The author and subject of the book is a man named Scott Jordan who has been digging in construction sites and backyards in and around New York City for decades.  He is an amateur archeologist of sorts, he digs up artifacts from old New York, things like bottles, shoes, toys, and pottery.  All of it is hundreds of years old.  His apartment is a museum of this stuff.  For the book I photographed thousands of these artifacts, also Scott on digs, his apartment, everything.  Scott and I became friends over the two years we were working together, I think the friendship had a lot to do with my attachment to the project, that and I like old stuff.

Where do you draw your inspiration from?

Other photographers.  Before I leave for a trip or start a new project I always study the work of the photographers I admire.  But once I’m out in the field it’s my subjects.  The land, the light, the people, the animals, all dictate what the picture is.  When I was younger, I remember seeing an exhibit of Frans Lanting’s photographs at the George Eastman House in Rochester, NY.  It really opened my eyes to the possibilities of wildlife and nature photography as an art.  He photographs nature in an often abstract way and his pictures erase any idea of the presence of humans thereby creating a prehistoric look.  I didn’t know it then but Lanting would become one of my biggest influences.  When I accomplish what he has I’ll retire.

What do you do to market you services?

Not much.  I have a full time job that I am dedicated to and this takes up a lot of my time.  I still take photography work when it comes to me but between the assignments from the publishing company and my own projects it is hard to find time for much else.  Photography is something I always want to love, even if it were to become a full time job I would only want to do work that interests me on a personal level.

Do you use Social Media as part of your marketing mix? Do you think it is effective?

It is effective for what I want to do, which is share my pictures.  Making a buck off of my photography is always a great thing, but the bottom line is that I want people to be able to view and appreciate what I am doing and social media sites are great for this.  I also use them to keep the people that know my work updated as to what I am doing.  As my business grows social media will become more and more essential just like with any other business these days.  People want to find out what is going on through social media, if you can’t provide information in this way people will lose interest.

You mentioned you have a full time job — what field is this in? At what point, if ever, would you consider the transition from a full time 9-5 job to dedicating yourself to a career in photography? Is this a goal of yours?

I’m general manager at Eastern Effects Inc. in Brooklyn, NY, a grip and lighting rental house for film and television production. When would I transition to photography full time? When National Geographic calls…but really, I’ve thought about this a lot.  I enjoy the stability that my job provides, and the people I work for understand how important photography is to me and give me the time to take on big projects.  In all honesty I wouldn’t be able to do what I do without that job, it provides me with the resources I need.  I think a full time career in photography is inevitable, but it’s a long ways off, I’m happy with where I am.

How has your work changed in the last few years?

It has just plain improved.  It gets better and better year after year.  This is important for me now because in the grand scheme of things I haven’t been shooting seriously for very long.  Challenge drives it, whether that be the environment I’m in or the subject I’m faced with.  My biggest fear is my work becoming stagnant, and I think that as long as I continue to challenge myself it will continue to improve.

Where is your work heading next? Where do you see yourself in the future?

It’s more of where am I heading next, that’s the real question.  Traveling has become a love of mine and I never do it without a camera.  I am becoming more and more interested in leaving my comfort zone, going farther into the wilderness or visiting places where I don’t speak the language.  I just got back from a trip to Japan, I shot a lot at night and with the idea of converting the images to black and white.  All of this was new to me and I believe I was successful in creating the look I wanted.  I want to continue to adapt my style to the places I visit and hopefully turn traveling with a camera into a career.  What I don’t want to do is manipulate my photographs in a dishonest way.  I like things to play out naturally in front of my lens, I think I’m attracted to both nature and street photography for that reason.  With both of these subjects things are out of the photographer’s control, it’s chaotic, I like that.

What equipment are you currently using to produce your work?

Canon DSLR’s and Canon lenses.  I have nothing against any of the other brands, Canon is just what I started with.

What equipment would you most like to own but don’t yet have?
Anything that weighs less than what I currently use, when I go backpacking I typically carry one camera and three lenses, along with a bunch of other camera junk I don’t need to survive in the wilderness.  Needless to say I carry a heavy load.

Do you work with Video? Have you stepped into the Hybrid Video market at all?
I own a 5D and 7D, I bought these because they are fantastic still cameras and I could rent them out as video cameras and make a little money back.  I don’t have much of an interest in shooting video myself, but I believe the future of advertising photography is the moving image.  So… I don’t know, maybe I should start, but I don’t want to, I like stills.

To Learn More about JK Putnam Photography:

www.jkputnamphotography.com

facebook: www.facebook.com/jkputnamphotography

Book: Past Objects by Scott Jordan, with photography by J.K. Putnam: http://markbattypublisher.com/books/past-objects/

Merry Christmas From Lee Friedlander is on view at Janet Borden, Inc New York through Dec. 31.

Baby with cigarette from The Art of the American Snapshot
Unknown photographer, September 1969, chromogenic print. National Gallery of Art, Washington.

Anonymous: Enigmatic Images from Unknown Photographers – $21.86

“Haunting, cryptic photographs…fire the imagination. The images come with no explanation, only speculation, so we are free to let our minds roam wild.” —Miami Herald

The wonderfully diverse images reproduced here include many of transcendent beauty and psychological insight, all with the magical, mysterious charge that comes from speculating on the circumstances in which they were taken. Novelist William Boyd, whose introduction identifies thirteen ways in which to look at photographs, explains: “The anonymous photograph…makes us ask, with new concentration, what it is about a photograph that elevates it above the casual and the banal…why some images move and enthrall and remain in our memories.”

The number of collectors of anonymous photographs is growing exponentially. Robert Flynn Johnson has spent more than a decade on a personal journey of discovery through what were previously uncharted waters to find the works reproduced here. Reflecting themes that govern our lives—birth, death, love, war, travel, celebrity—these photographs are pleasurable and poignant, giving insight into the human secrets with which we can all identify. Over 220 illustrations.

The Art of the American Snapshot - $36.66

Book Description: The impact of the humble American snapshot has been anything but humble. Any American who takes a snapshot contributes to a compelling and influential genre. Since 1888, when George Eastman introduced the Kodak camera and roll film, the snapshot has not only changed everyday American life and memory; it has also changed the history of fine art photography.

Cowboy
Unknown photographer, “Taken Dec. 20 at home 1959. Bud and Jeff, “gelatin silver print, printed January 1960. National Gallery of Art, Washington.

The distinctive subject matter and visual vocabulary of the American snapshot–its poses, facial expressions, viewpoints, framing, and themes–influenced modernist photographers as they explored spontaneity, objectivity, and new topics and perspectives. The book shows that among the countless snapshots taken by American amateurs, some works, through intention or accident, continue to resonate long after their intimate context and original meaning have been lost.

Child in Bag
Unknown photographer, January 1965, chromogenic print. Collection of Robert E. Jackson.

Reviews:
“The prints in The Art of the American Snapshot are reproduced at their actual modest size, with lots of blazingly white space, and have taken their riddles into oblivion with their anonymous creators…The camera, that highly evolved mechanism, put into Everyman’s untrained hands the chance to become, if half by accident, a death-defying artist. The collector Robert Jackson deserves the last shot; his afterword to the catalogue manages to cast a pall of reasonableness over his curious passion.”–John Updike, The New Yorker

“Professionals who leaf through The Art of the American Snapshot 1888-1978 may despair as they realize that offhand efforts with a camera frequently produce more visual excitement than their studied exercises…Sarah Greenough…and her colleagues help to give meaning to the ordinary by probing, in their essays, how deeply the artless has shaped what we now consider art.”–Richard B. Woodward, Wall Street Journal

Blurb.com Personal Photography Book or a Blurb.com Gift Card (so they can make their own)

If you really want to surprise your camera toting loved one, and you have the time to create and access their images (high res of course) you will most certainly bring a burst of joy to the recipient of this gift. Imagine their surprise as you present him or her with a printed photography book only to discover its their own work beautifully printed as a coffee table art book.  With Blurb, you’ll find all the tools you need to make your own photo book and you can count on bookstore-quality printing and binding with a range of choices from Hardcover photo books to Softcover paperbacks in an array of trim sizes.

If gaining access to their work is not possible – fret not; Blurb gift cards are a great way to give the gift of bookmaking to your favorite people. You can give a Blurb gift card to anyone, whether they’ve used Blurb or not, and let them take part in the fun of making their own book. The process is easy. Simply select a gift card in dollars, pounds, or euros at any of the increments and you’ll receive a unique code to pass on to the lucky recipient. You can either print out your gift card as a note to share, or you can send it in an email.

The F-Stop Watch- $35

You’re a little fuzzy around 2, start feeling fine around 8, but at 11 you’re sharp, focused, and ready to party. The f-stop watch gets you. Aperture numbers mark off the hours on this understated timepiece. The zinc-alloy frame encircles a glass-encased dial, and a 9.25″ band sits comfortably on your wrist.

A quartz movement ensures accurate time-keeping, and a bright-red second hand is ready to help you time your manual exposures. Truly, ’tis a timely accessory for photo-making that any photographer would love.

Nikon or Canon Camera Lens Mugs - $24 – $30

The ultimate head-turner. Drink out of a lens! Clever Canon or Nikon Lens Mugs that look JUST LIKE your favorite lens. Be careful, they are so realistic you might have to use post-its just to remind yourself which is for coffee and which is for taking photos. The 24-105mm black lens has a realistic lens-cap lid with rubber-grip focus zoom rings. It even has an auto-focus switch that actually switches. The 70-200mm white lens has a liquid tight travel lid and a rubber-grip bottom to keep it from sliding on your dash. Both mug models are equipped with an easy to clean, heat preserving, stainless steel lining. 

Happy Holidays!!

G.M.B Akash Photo Exhibit at Anastasia Photo Gallery
166 Orchard Street, New York, NY 10002
212.677.9725
http://www.Anastasia-Photo.com
The gallery is open seven days a week, 11:00 – 7:00

“To be able to articulate the experiences of the voiceless and to bring their identities to the forefront gives meaning and purpose to my own life.”

Eleven year old working in a silver cooking pot factory

Akash’s current show, Survivors, spans a 10-year period where he aims his lens at child laborers and sex workers in Bangladesh, India, Nepal, Sri Lanka, Philippines, Pakistan, and Bhutan. The New York exhibit showcases photographs from Bangladesh. While the images will tug at your heart, Akash successfully documents, even in the most trying circumstances, the resilience of the human spirit.

The owner of a texture factory beating a twelve-your old child laborer. The boy works for 10 hours a day and earns about $1. Dhaka, Bangladesh, 2005

A child working in a textile factory in Dhaka. The average child laborer earns between 400 to 700 taka (1 USD = 70 taka) per month

Children carry bricks on their heads at a brick factory. Dhaka, Bangladesh, 2003

When asked how he is able to get so close to what is going on or to capture an injustice to a child, he explains,   “In the beginning, it feels like forbidden territory, a place you are not supposed to enter surrounded by borders of privacy… You, the photographer, are there at a factory or brothel with your simple black bag hanging from your shoulder…the first days following these intrusions, I never take pictures, they would not be good. I have a friendly conversation….and there is consent. People don’t accuse me, reject me or pose in unnatural ways. Then I click away and it feels like conversation.”

Judith is preparing for her clients as the evening crowd gathers. Bonded sex workers put on make-up several times between the morning and midnight, transforming their faces into white masks which is considered beautiful by their clients.

What’s astonishing about these pictures is seeing close-ups of children working for ten dollars a month in extremely hazardous jobs to support their families. Often times the families do not care of the child’s welfare–they welcome the money to the family. Each of the fifteen photographs in the exhibition has very descriptive captions that add to the sadness/power of the photos. For example, several captions explain how underage sex workers in the brothel are given a drug that makes them appear older since the law says they have to be 18. It also causes them to retain water and appear plump—which some Bangladeshi men like.

Anastasia Photo specializes in Documentary Photography and Photojournalism. The gallery also serves as a center for discussion and portfolio review. To connect these photographic images and the events they depict, Anastasia Photo endows each exhibition with a related, on site, philanthropic organization. For this exhibition, we have chosen Free the Slaves (www.freetheslaves.net), which is a non-profit organization dedicated to ending slavery worldwide.

Anastasia Photo specializes in Documentary Photography and Photojournalism. The gallery also serves as a center for discussion and portfolio review. To connect these photographic images and the events they depict, Anastasia Photo endows each exhibition with a related, on site, philanthropic organization. For more information about the charitable organizations we help fund, click on the links below:

A River Blue
A Leg To Stand On
Focus For Humanity
Free the Slaves
Partners in Health
Reporters Without Borders
Sacre Coeur
Save the Elephants
St. Kizito Orphanage

Manfrotto/Gitzo will be in Foto Care on Friday, November 18th and Saturday, November 19th taking your trade-ins towards a new tripod!

Hours

Friday, Nov. 18th 12-6

Saturday, Nov. 19th 12-4

Each day there will be a drawing and one lucky person will win a free photo bag or backpack!

(Need not be present to win)

Here are the offerings:

Manfrotto

$25 received for the trade-in of a head

$75 received for the trade-in of a tripod

$100 received for the trade-in of a kit

Gitzo

$50 received for the trade-in of a head

$150 received for the trade-in of a tripod

$200 received for the trade-in of a kit

Kodak has made a few major changes to their film lines, including the move of some stock to special order only.  Only the listed products are effected, all other films and/or formats of the film types below will not be discontinued and will continue to be produced.

Discontinued

Kodak Professional Plus-X 125 Film/px135-24

Kodak Professional Plus-X 125 Film/px135-36

Special Order

Kodak Professional T-Max 100 film/ 35mm x 100ft

Kodak Professional Tri-X 320 film/ 320 TXP/ 10 sh 8×10 in

Kodak Professional Ektar 100 film/ 10 sh 8×10 in

Packaging Changes- these products have a different look

Kodak Professional Tri-X 400 film/ TX 120

Kodak Professional T-Max 400 film/ TMY 120

Kodak Professional Ektachrome film E100VS/ 120

See more work on Jonathan Lipkin’s Portfolio Site.

Tell us about yourself and how you got into this field?

While I had always dreamed of being a photographer, it was only after returning from a two-year trip around the world did I dedicate myself to image making as a career. After a while, I realized that I don’t just shoot pictures. I practice visual anthropology, telling image-based stories based on a framework of culture, tradition, and practices usually behind the public’s view. I do this in my work documenting Carnival around the world, a marketing campaign for a business, or when I photograph a musician for their promo kit.

Visual anthropology means learning as much as possible about what to shoot before I shoot it. It means listening to my inner voice, and potentially photographing things that would not normally be captured — a symbol on a wall; a backyard shrine; certain tattoos or markings; maybe a kind of costume or how it is being made; or one aspect of a ceremony.

What was your break out job that helped launch your career?

One break out job was photographing the band Antibalas. They have many musicians in their collective, so the opportunity to have them together was limited. In a short time, we shot some outdoor, conceptual work, some studio work, and I added a serendipitous shot to the range of images. While moving to another planned location, the band was walking in a V formation and I captured that. It was a long and hectic day but the band members still tell me they’ve never had group shots quite like the ones from that day. This was a breakout because they are a major band and the shoot was for the cover of a national music magazine and the band licensed them for promotion. The label distributed my photos widely. Even now, years later, they’re still using a few of those images.

What has been your favorite assignment to date?

My favorite project has been my multiple visits to Pernambuco, the state in the northeast of Brazil, because it has been the most significant toward forming my point of view of being a visual anthropologist. I started by documenting one traditional music group by taking photos of their preparation for and performance during Carnaval. As I gained their trust, they started to invite me to their sacred spaces to photograph the private rituals and shrines that were intertwined with their identity and their involvement in the culture. Then I continued with other traditional music groups and movements in the area.

I strive to place my photos of culture, music, dance, and ritual in a larger framework. Carnaval is more than just the popular conception of a wild party, especially in Pernambuco, where it’s widely recognized as an authentic, folkloric blend of color and tradition, as well as having a democratic and populist nature, being largely free and in the streets.

This work has resulted in photos published in Rolling Stone Brazil, articles in the world music magazine Global Rhythm, an assignment with the Associated Press, a photo license contract with Putumayo Records, publication in Revista Magazine of Harvard University, and exhibits sponsored by the Brazilian Consulate in New York in 2007 and San Francisco in 2010.

What do you do to marketing you services?

I publish a monthly newsletter informing my database of updated projects and images. I do a lot of networking in the creative and general business community. I also co-produce a networking event for people in the creative industry, called Toasted Almonds. Last event had over 150 attendees!  Since I do not have a traditional formal education in photography, I’ve had to rely on the power of word of mouth and marketing to drive my business. I always recommend to other photographers to visit events outside of their normal circle of contacts. Pick an alumni association, church group, or any kind of gathering where there is a shared affiliation to tell your story in a group setting.

Do you use Social Media as part of your marketing mix? Do you think it is effective?

Yes, I use social media, and I’ve seen results from it. I used Facebook, Twitter and Linked In to promote an exhibition I had in San Francisco last year. I only knew a few people in the city before I installed the show, yet by tweeting every day to promote the exhibition, and promoting a FB event invitation, more than 200 people came to the opening. It was amazing! One FB friend invited 1500 of his friends. I sold books and prints that night

Where is your work heading next? Where do you see yourself in the future?

I’m aiming my work toward multimedia and video space, especially as I work on documenting more culture, music, and events that require audio and visual components. I see myself doing longer, larger projects, perhaps working with cultural foundations and universities to not only document culture but also to travel and teach, showing the importance of culture as a dynamic force in our modern lives.

Do you work with Video? Have you stepped into the Hybrid Video market at all?

I’m experimenting with video, and learning about the technical and creative aspects of storyboarding, shooting, and editing, using all assets available to me to tell a story — video, audio, still and archival footage.

I’m finishing a video I shot in New Orleans earlier this year, interviewing a Big Chief of the Mardi Gras Indian tribes, and interweaving that with live footage and still photos. I’m showing another side to New Orleans Mardi Gras — the societal influences. Hopefully my work will allow viewers to develop a richer understanding of the world around them. For me, culture reveals the universal ways humans communicate their most profound thoughts and beliefs.

When did you first hear about Foto Care?

I’ve known about Fotocare since the beginning of my career. In the beginning, when I assisted photographers, and when I was doing tests, their rental department was phenomenal, patiently explaining the ins and outs of certain equipment setups. They’ve been always supportive of emerging photographers. Their service is among the best, and photographers know that and keep returning.

To learn more about Jason Gardner check out his website: Jason Gardner Photography

Based in Brooklyn, NY, his photography has been published by The New York Times, Rolling Stone, Photo District News, Time Out New York, New York Magazine, The Washington Post, The New York Daily News, SPIN Magazine, Harvard University’s Revista Magazine, Relix Magazine, and Global Rhythm Magazine.

He has completed assignments for Stern Magazine, Gourmet Magazine, Epitaph Records, Putumayo Records, AFS International, Adelphi University, and various corporations, nonprofits, and design companies. Jason was the official photographer for Celebrate Brooklyn’s 2008 season, shooting over 25 performances in one summer.

Foto Care mourns the loss of Pierre Bron, the “photographic industrialist”, who passed away peacefully in Switzerland on November 5th.  Pierre and his brother co-founded Bron Elektronik AG in 1948, quickly rising to prominence in the photographic world.  A more detailed history of Pierre and Bron Elektronik AG can be found on the Bron Imaging Blog.  Our thoughts go out to his friends and family.

The Artist as Art
The Gallery at Hallmark is pleased to announce the opening of “The Artist as Art”, a stunning series of intimate portraits by photographer Ellen Denuto. A successful commercial photographer based in New York and New Jersey, Ms. Denuto is also an accomplished fine art photographer. Her series includes images of artists such as poet Allen Ginsberg and photographer/musician/writer Gordon Parks.

Denuto has been working on the series for a number of years, inspired by the creativity of the artists, photographers, writers, musicians and actors in front of her lens. She asks the question, “Why do artists create?” As an artist herself, she says the answer is always the same: “Because I must.” Her intent is to capture this truth in her portraits.

Charlie began his career in photography with an internship at the Annie Leibovitz Studio after studying Comparative Literature at Columbia University. He also holds a graduate degree in psychology.

  In addition to the work done in the entertainment field he as also shot for Rolling Stone, V, Interview, Spin, Elle, People, Jane, Seventeen, The New York Times Magazine, Wall Street Journal and CMJ; and for commercial clients including Earl Jeans, Grove Press, Shore Fire Media, Scrollmotion, World Science Festival and Songs Publishing.

Tell us about yourself and how you got into this field?

I have always been drawn to both the visual and the academic. I found my identity as a photographer as early as high school but got into the field professionally in the late 1990s. I was interning at Annie Leibovitz’s studio and had on opportunity to take some pictures of Beck.  He liked what I had done and a bit later, I was offered to be a tour photographer for him.  The same week I was offered a spot in an Anthropology PhD program, but I took the Beck job, and it turned out to be a starting point for working in the music industry and in doing personal fine art work that has a psychological and cultural basis to it.

ELLIOT SMITH

What has been your favorite assignment to date?

There have been many great shoots, but my work with Beck over a period of years had a special quality by the nature of the fact that it was a long-term artistic collaboration with a subject who is extremely well-versed in visual and cultural references.  I would most describe my work as environmental portraiture, and working in such a diversity of locations really solidified my style and provided my first publications. I also love the elements of chance and spontaneity that come with shooting on location — it ends up feeling like an interaction not just with the subject but with the environment itself in often unpredictable ways.  The challenge of creating a strong, often formal-feeling portrait in a reportage context is extremely exciting to me.

BECK

Where do you draw your inspiration from?

I am inspired by music, film and psychology.  I love old photos and old magazines and the nostalgia that is embedded in the look of even the most banal of old pictures. In my most recent work shooting album art and press for Meshell Ndegeocello, I was wanting to do something that felt loosely like Christopher Doyle’s work in Wong Kar Wai’s movies.  It’s very tapped territory, but I love how his work and lighting feels incredibly real and surreal at the same time — how characters just appear in their lives as if in a dream. I like to document the irony, humor, beauty and absurdism of subjects captured by their surroundings in ways they may not even be aware of.  And separately, I always admire photographers who shoot so much that it feels like they must have captured the beauty of their every waking moment – like Araki.

How has your work changed in the last few years?

I actually took a break from shooting too much professionally for a bit and went to graduate school for psychology. In the last couple of years though, I have been shooting actively again, and while it may be a unique path, it has led to me having a stronger, more mature vision of where I want to go in terms of professional photography. I have come to see much less of a division between professional and personal work, and I believe this makes both stronger.  Technically, like almost everyone else, I have transitioned to shooting less film and more digital, which I resent for being so good and so fun.  I have become more concerned with manipulating light as opposed to making the most out of available light.

Where is your work heading next? Where do you see yourself in the future?

I see shooting more psychologically and culturally focused portrait and reportage projects and have a few ideas percolating that make sense in terms of my photography and psychology background.  I also see expanding my work as an environmental portraitist in a greater a variety of contexts and applications whether commercial, editorial or fine art.  Music is a first love, but I would love to shoot more writers, beekeepers and manicurists.

JIM CARROL

What equipment are you currently using to produce your work?

Digitally, I shoot with a NIkon D-700 with mostly prime, fast lenses, some old and some new depending on the application. I shoot Leica for film and Fuji 6×9 for medium format and occasionally Mamiya RZ.  I love low light, so Nikon’s high ISO performance and Leica/Fuji rangefinders and fast lenses are a natural.  When not using or diffusing the sun or ambient artificial light, I use both strobe and constant source light — usually Profoto or a K5600 Joker Bug respectively.

What equipment would you most like to own but don’t yet have?

I covet the Leica M9, so I could put my beloved Leica lenses to more frequent use. It’s not the most perfect or versatile camera, but it spits the world back as a beautiful film still.

To see more of Charlie Gross’ work check out his website: http://www.charliegrossphoto.com

PDN PhotoPlus Expo showcases the latest advances in photography. Attendees are able to explore hundreds of exhibits and attend a wide variety of photography and imaging seminars.  In addition to viewing the latest technologies it is a great opportunity to network with your fellow shutterbugs!

Jacob Javits Convention Center

Shoot NYC- Oct. 27th and 28th

SHOOT NYC is an exciting and informative forum featuring live shooting sets incorporating the latest photographic technology on the market today. In addition to a wide range of FREE professional photography seminars, industry leaders Hasselblad and Broncolor, will help you learn how to harness and integrate the market’s most advanced photographic tools and education into your business, improving both your photography and your bottom line.

The Terminal Building- 11th Ave and W 28th St

Leica Meetup- Oct. 27th and 28th

Leica Camera is hosting multiple events at Sun West Studios throughout PhotoPlus, including demos of their medium format digital SLR, the S2.  5-6 PM every night is “open shoot” time if you want to try it out!

Sun West Studios- 450 West 31st Street, 10th Floor

Manfrotto/gitzo trade-in day at Foto Care- Nov. 18-19th

Come trade in your old sticks and head for up to $100 towards a new system!