Beruflich Dokumente
Kultur Dokumente
THE A1.
THE FUTURE.
INNOVATION
YOUR GUIDE TO EVERYTHING PHOTO
DONE RIGHT
A NON-PLANNER’S
GUIDE TO PLANNING
A PHOTO PROJECT
THE FREEDOM OF LETTING GO
PLUS
WHAT’S A PHOTOGRAPH WORTH?
AN INTERVIEW WITH COLOUR-PHOTOGRAPHY PIONEER FRED HERZOG
5 WAYS TO IMPROVE YOUR COMPOSITION
EXPOSURE
4 CONTRIBUTORS
8 EDITORIAL
12 THIS AND THAT
22 MISADVENTURES
© JODY MACDONALD IN PHOTOGRAPHY
25 THE COMMUNITY
36 28 BEHIND THE IMAGE
66 THE LIVING ROOM
VISION
WELCOMING UNCERTAINTY WISDOM, WIT AND OTHER TIDBITS
36 WELCOMING UNCERTAINTY
A NON-PLANNER’S GUIDE TO
© DAVID DUCHEMIN
48 BY JODY MACDONALD
SHOWTIME
46 DOMINANT COLOUR
5 WAYS TO IMPROVE YOUR COMPOSITION
IDEAS FOR GOING BEYOND TOOLBOX
48 5 WAYS TO IMPROVE
APERTURE AND F-STOPS YOUR COMPOSITION
If I were to make my peace with platitudes, I’d be comfortable with this one: IDEAS FOR GOING BEYOND
composition is everything. The decisions of the photographer about the elements in APERTURE AND F-STOPS
the scene ultimately make a photograph what it is. BY DAVID DUCHEMIN
23 12:14 PM
TOOLBOX (CONTINUED)
54 FEARLESS
PROFOTO. THE A1. THE FUTURE.
BY PATRICK LA ROQUE
For the past five years, simplicity has
clearly been at the core of Profoto’s
vision—both from a user-experience
and a user-interface standpoint. The D2
I reviewed last year brought the B1’s
streamlined interface into the studio. The
A1 now brings this same order to the
world of small flashes.
FAQ
© PATRICK LA ROQUE
62 FOOD PHOTOGRAPHY
54 BY JEAN-FRANÇOIS LANDRY
When it comes to food, everything
is a question of taste. But when we
talk about food photography, taste
FEARLESS usually has nothing to do with it. It’s all
PROFOTO. THE A1. THE FUTURE. about appearance.
64 GADGET GUIDE
BY JEAN-FRANÇOIS LANDRY
© Sal Cincotta
We created the Profoto A1 with a round head that delivers light that’s
both natural and beautiful both on camera and off. It’s also incredibly
easy to use, with superfast recycling and a long-lasting battery, so
you’ll never miss a shot. It might be the smallest light we’ve ever
made, but the creative possibilities are enormous.
19/10/2017 16:01
Photo_life_18-01.indd 7 2017-11-02 12:20 PM
EXPOSURE EDITORIAL
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entirely bad! When everything is going so fast, you’re forced to act instinctively
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can be taken too far, but it doesn’t hurt to remember that there’s some good that can
be found in times of instability.
In spite of that, it’s hard to let go of control. Jody MacDonald reminds us in her
We acknowledge the financial support of the Government of Canada.
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to make plans for everything in an effort to minimize uncertainty.” Yet she adds,
“Researchers say that embracing uncertainty is essential to creativity.” I like that!
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a letter; it’s an homage to creativity. I invite you to check it out when you’re feeling
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THE QUESTION or omission.
Have you ever completely messed up when shooting? What did you do and what
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MEMORIAL TO A SPECIES © BRENT STIRTON, SOUTH AFRICA, GRAND-TITLE WINNER 2017/WILDLIFE PHOTOGRAPHER OF THE YEAR.
THE HAIRY RAINCOAT © JOSIAH LAUNSTEIN, FINALIST 2017, 11–14 YEARS OLD/WILDLIFE PHOTOGRAPHER OF THE YEAR.
Olympus OM-D E-M1 Mark II and M.Zuiko 12-40mm f2.8 PRO lens; 12 mm, f/9, 1/2500 s, ISO 200. © Peter Baumgarten
MEMORIAL TO A SPECIES © BRENT STIRTON, SOUTH AFRICA, GRAND-TITLE WINNER 2017/WILDLIFE PHOTOGRAPHER OF THE YEAR.
A
s a landscape and nature photographer, the OM-D E-M1 Mark II, I know it can handle
Baumgarten loves how the OM-D the extreme conditions that I put it through. I
system fits his style of photography. also spend a lot of time outdoors in the winter
“I spend a great deal of time in the great where, time and again, my camera has proven
outdoors. I need gear that doesn’t weigh it can handle extreme temperature changes
me down. It needs to be light but durable. and anything else that Mother Nature throws
Whether I’m scrambling up a rock face or at it.”
walking through dense brush, I know that the
build quality of the OM-D line can take the He adds, “The incredible innovations Olympus
inevitable bumps and jolts that the body and has built into their OM-D lineup help me reach
lenses are going to have to endure. Living and exceed my photographic goals. Whether
on an island in northern Ontario also means it’s the Live Composite feature, the zero-lag Pro
that my camera has to handle getting wet. I Capture Mode or the built-in focus stacking, I
spend a lot of time canoeing and kayaking, am now expanding my creativity well beyond
and with the exceptional weather sealing on what I thought was possible.”
© GABOR SZILASI, OPENING OF THE CLAUDE TOUSIGNANT EXHIBITION AT THE GALERIE SHERBROOKE, MONTREAL, MAY 1969, GELATIN-SILVER PRINT (2017), COLLECTION OF THE ARTIST.
GABOR SZILASI FROM December 7 to April 8, approximately forty of Gabor Szilasi’s images will be on
THE ART WORLD view at the McCord Museum in Montreal. These mostly unpublished documentary photos
of the Montreal art scene will be exhibited chronologically to highlight the sweeping social
IN MONTREAL, change during these years. Video interviews with people who experienced the Montreal
1960–1980 arts scene of the era will also accompany the exhibition. musee-mccord.qc.ca/en
PROFOTO ACADEMY
MANITOBA PROFOTO has launched Profoto Academy to offer online
PHOTO EVENTS video instruction on light. Each course offers several videos,
COMING UP quizzes to test your progress, a final assignment, personal
feedback, and Profoto certification. The catalogue currently
includes Fashion Photography With Lindsay Adler, Professional
ON April 28, Paul Zizka Portraits With Hannah Couzens, Family Portraits With Sandy
will be leading an all-day Puc, and Wedding Photography With Yervant; more courses will
photo presentation in be added in the future. profoto.com/ca/academy
Winnipeg, Manitoba.
Zizka will share on the
following topics: The
Power of the Human
Element in Landscape
Photography, Field
Workflow, Adventure
Photography and
Shooting Stars. Early bird
registration is available
© LINDSAY ADLER
through January 31.
© PAUL ZIZKA
manitobaphotoevents.ca
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KOŽA
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the work of Canadian photographer and the M.ZUIKO Digital ED
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CONSTANZA, V, 2015 © DEANNA PIZZITELLI
Epson Pri
Photo_life_18-01.indd 16 2017-11-02 12:20 PM
NO PHOTOGRAPHER WAS EVER
MONICA STEVENSON
PHOTOGRAPHED BY TIM MANTOANI
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T
HOW do we choose to see the world? Who controls
what we see and don’t see? Louie Palu’s Front
Towards Enemy is a deconstructed photo book that
s
asks us to consider how we receive news and who
controls the message. After much reflection on what
happens to his images after he makes him, Palu
decided to create this unique collection. Including
60 photographs that he took in Afghanistan
from 2006 to 2010, the “kit” is comprised of an
accordion-fold image set, soldier portrait cards, a
P
newsprint publication and a staple-bound zine. Why
such an atypical approach? Palu wants to invite the Th
viewer to actively participate and engage with these de
images of war. By circumventing the traditional ea
news platforms and giving the content directly to ba
© DAVE BROSHA
CA-FR-Pr
Photo_life_18-01.indd 18 2017-11-02 12:20 PM
The world’s
smallest studio light
Profoto A1
The A1 is every inch a Profoto light – just smaller. Its round head
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THIS AND THAT EXPOSURE
and medium-sized artwork for sale, the show includes GORGEOUS and thoughtfully
SEE
P. 30!
photo-based work by Stuart McCall, Dianne Bos, John planned from cover to cover,
Folsom and Joshua Jensen-Nagle. newzones.com Fred Herzog: Modern Color
showcases the legendary
Vancouver photographer’s
© JOSHUA JENSEN-NAGLE, SUMMERS IN TEL AVIV, 2017, ED/7, PHOTOGRAPH FACE-MOUNTED TO PLEXI, 30 X 31.5 IN.
LD
STEPHEN SHORE
SELECTED WORKS 1973-1981
photography by Stephen Shore
texts and image selections by 15 contributors
Aperture, $108, 272 pages, hard cover
STEPHEN SHORE: SELECTED WORKS
1973-1981 is an appealingly designed
large-format book that’s best lifted with
both hands (30.5 x 38.1 cm/12 x 15 in.).
Though its format and cover pack a big
punch, what’s inside surpassed all my
expectations. A 15-person international
team of photographers, curators, authors
and cultural figures were each asked
to select 10 images from Shore’s vast
Uncommon Places archive. Featuring
mostly previously unpublished photographs,
the resulting photo book is a fascinating, multifaceted
look at this celebrated artist. I loved studying the large
images and reading each contributor’s reflections on
Stephen Shore’s work—a wonderful discovery!
INTPHOTOGRAPHY
cameras and lenses. I’d carefully
set everything up and then did
what all photographers worth their
salt would do: I tested.
H E R O Y A L S I tested everything, multiple times.
BY DAVE BROSHA The angle of light. My camera
settings. I even had 10 hotel
One of my most memorable assignments was being the workers take 10 minutes out of
their day to come and sit in the
official photographer for the Duke and Duchess of Cambridge seats that would later be filled
during their three-day visit to northern Canada in 2011. It was a by the Royal Highnesses and the
dignitaries. Everything was perfect.
pretty high-profile task—and one that I was excited to shoot. It’s
not every day that you get to document two of the most famous Fast forward to 20 minutes
before they were due to arrive.
people in the world. Again, I tested everything. Again,
everything was perfect.
I
handle stress pretty well and be done in a secure hotel meeting
never really let the pressure room on the evening of their Then I hear Prince William and
of any assignment get to me, arrival from the airport. Their first Kate arrive. A cheer goes up.
but this assignment started out order of business was to meet the I’ve been instructed to go down
E
with one of the most stressful dignitaries and then sit down, with the hallway to take some frames
moments of my entire career in me directing, to pose for a group of them greeting hotel guests as
photography. Unfortunately I don’t portrait. I knew I’d only have they arrive in the lobby. I scurry
have permission to about 90 seconds for my image. down the hall and catch my first
My first task was to take a formal share the formal glimpse of them. I fire off 40 or
portrait of William and Kate with portrait, but I dug up Earlier that day, I had spent a 50 frames and then return to the
a number of dignitaries. It was to a couple candids. couple of hours setting up for meeting room. I
h
They arrive behind me in the r
room and shake hands with t
the small crowd of dignitaries. I t
wait at the end of the line until a
it’s time to direct them to their l
assigned chairs, and then, gulp,
tell them the process. “
g
My voice cracks, but I get it a
out. I tell them all that I plan on w
taking about ten images total. g
I want to keep it way less than a
90 seconds. I figure I can have w
the photograph I need in less t
than 30. c
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ARE YOU?
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NEITHER HERE
Dang, thinking back to when he
decided to use photography to
NOR THERE
get a better sense of self.
R
the need to document it. “Most of
part of two different cultures. what I knew about the country
was negative since it was mostly
“A
Canadian is a hyphen,” healthy sense of pride in my centred around the Vietnam War.
once said the novelist culture. Growing up, part of It’s what Western entertainment
Joy Kogawa, who was me wanted to be white. I was and history books zeroed in on.
born in Vancouver to Japanese tired of some of the customs I And, it was the background of
parents. I first encountered the was made to uphold at home, my mother’s experiences, some
quote in the book Faking Death: of being mocked, of teachers of which she shared with me. She
Canadian Art Photography and not being able to pronounce would tell me about having to run
the Canadian Imagination, my name, of people equating from city to city, trying to escape
which seeks to identify defining all Asians or yelling obnoxious, the bombings, or listening to
features of images made by the insulting slurs, and so on,” says ABBA and the Bee Gees in secret
country’s photographers. Author,
art theorist, curator and professor
Penny Cousineau-Levine briefly
addresses the role cultural
hybridity plays in creating a
distinct national visual identity
and then moves on to focus on
other matters. Yet, this is the part
that has stuck with me the most
and that I come back to, time and
time again, when I look at the
work of my contemporaries. Nam
Phi Dang’s latest exploration of
his Vietnamese roots is but one
striking example.
marsancollege.com
GERALD LIVIN
I passed through this spot without seeing anything of photographic interest
since the harsh light had reduced the concrete to a flat, shapeless mass. Yet a
glance back revealed shadows so imposing they completely transformed the
setting. The shapes, lines and subject matter were now visible. Click.
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THE BIG “O” #8, CANON 5D MARK II, 24 MM, F/11, 1/250 S, ISO 200. © GERALD LIVIN
www.gnigami.ca
FRED HERZOG
My first camera was a Kodak
Retina 1, which I knew about from
my dad who worked at Kodak
during the war. I had to collect the
money for it, and that was not easy.
If I’d had more money, I would
Fred Herzog has spent over 50 years documenting the have bought a Retina 2 because it
people and places of his adopted home city of Vancouver. had a rangefinder, but the Retina 1
did not. I used it to take pictures
Originally from Germany, Herzog immigrated to Canada in like CPR Pier and Marine Building,
1952 and settled in Vancouver the following year. He spent which was taken from a moving
E
ship on which I worked.
most of his career working as a medical photographer, but
in his free time he has faithfully and consistently documented WHAT DID YOU WANT
TO BE WHEN YOU
the downtown neighbourhoods of Vancouver. Herzog was GREW UP?
one of the first pioneers of colour photography: he started I had no plans. My dad would
have wanted me to be an
using Kodachrome colour slide film in 1953,1 at a time when engineer, but my parents both
colour photography was not taken seriously in the art world. died before I was old enough to
make decisions. My mother died
Despite the vast archive of slides he created over the years, when I was 10, and my father
Herzog’s work was relatively unknown until digital technology died when I was 13. So it all
turned out completely different.
made it possible to affordably scan and print slides. Over the
last decade or so, the artist has been receiving widespread WHY PHOTOGRAPHY
AS A CAREER?
recognition for his work, including being named as a finalist I bought my first camera in
for the 2012 Scotiabank Photography Award. Germany when I was 21 years
old because all my friends had
1
HERZOG, FRED. MODERN COLOR. (BERLIN: HATJE CANTZ, 2017), P. 19.
BLACK MAN PENDER, 1958, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
Photo_life_18-01.indd 31
DECEMBER/JANUARY 2018 PHOTOLIFE.COM
HASTINGS AT COLUMBIA 2, 1958, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
31
2017-11-02 12:20 PM
32
Photo_life_18-01.indd 32
CROSSING POWELL 2, 1984, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
2017-11-02 12:20 PM
c ameras, and I wanted one too. The FAVOURITE CAMERA-AND-
following year I moved to Canada LENS COMBINATION?
and made a friend in Toronto who For street photography I use
taught me medical photography, cameras that are small and
so I learned those skills and that pocketable, like a small Leica C,
began my career as a medical for instance.
photographer in Vancouver.
PHOTO TOOLS YOU COULD
MOST ADMIRED NOT DO WITHOUT?
PHOTOGRAPHER? I have 10 digital cameras, half
There are two—one is Walker of them are for photographing
Evans, the other is Robert Frank. nature and animals, and the
They are somewhat differentiated, others are for doing street
but those two are the ones I photography. The Leica C is very
considered important because of good for street photography. I
their style. Robert Frank did black have a through-the-lens Olympus
and white, and so did Walker camera and it’s high quality, but
Evans. I chose colour, for which it’s a bit of a dog to carry around.
there was no example at the time.
CURRENT FAVOURITE
The evolution
THE “PHOTO
THAT GOT AWAY”?
PHOTO (OF YOUR OWN)?
I think there are two favourites—
of the perfect
Oh, there were too many to recall! both are group pictures of
people. One is of a group of everyday bag.
FAVOURITE CITY young people in car in North
TO PHOTOGRAPH? Vancouver (North Vancouver
Oh, Vancouver. It is the place Youths, 1958). That was taken Tenba’s Messenger DNA was
where I live and where I first many years before I was known. meticulously designed to provide
started seeing odd things. The other one was taken at the year-round, all-weather, rugged
PNE [Pacific National Exhibition]
FAVOURITE MEAL? of gamblers. When you have a performance. At the same time,
My favourite meal is pizza from group of, say, six people or so thanks to its removable insert, the
that place on Commercial Drive— and they don’t notice you, that, Messenger bag converts from a
Marcello. for me, is an achievement.
stylish camera bag to a vacation,
gym or office bag. It’s a multi-
CARNIVAL, 1960, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
WHAT’S A PHOTOGRAPH
WORTH?
There was a time when a photograph was worth not merely
BY DAVID duCHEMIN
S
lowly artistic considerations easier to overcome, there is a creating something every bit as
crept in. And slowly the
It’s not a vast freedom in pursuing the good as what the photographer
mechanics and techniques of perfect artistic and creative aspects of the up the street makes because it
this craft became more and more craft—aspects that have always pays the bills. It’s hard not to
accessible: large-format cameras
comparison, been there but required much be discouraged on their behalf
gave way to medium-format, but let’s more time to achieve. Some will because it seems like a line
which, in turn, led to smaller see this as the dumbing down of got drawn in the sand at some
35-mm cameras and—fast forward
remember a craft; I see it as an opportunity point, a line that very clearly
only a couple of generations— that Olympic to finally transcend the craft and implied that money legitimizes
now everyone has a camera get more directly to making art. art, and nothing could be further
phone and is making thousands
athletes have That doesn’t mean craft isn’t from the truth. It’s not a perfect
of photographs a year. The value never been, important—of course it is. It comparison, but let’s remember
in what a photographer makes is means that craft is subservient that Olympic athletes have never
now rarely found only in the fact
by definition, to vision, interpretation, been, by definition, professional
that it’s hard to make. In fact, with professional storytelling, and, ultimately, the athletes. History is full of artists
billions of photographs being viewer experience. And that is of every stripe who would never,
made every year, most of them
athletes. exactly where the value will except perhaps in their own
capably exposed and reasonably be found—and is being found. minds, be called professionals—
in focus, it’s safe to say we’re well When photographers no longer not, that is, if the prerequisite is
past the point where the scarce sell (merely) their expertise but making money from their work
commodity, and therefore the also an experience, it will not within their lifetime.
valuable one, is either having be the most technically capable
access to complicated gear or in demand. It will be the one I believe these developments
being able to use it. Though most able to tell a compelling are beautiful because they bring
there will always be specialized story or create a unique visual great freedom. For photographers
areas where this is not the case, While there are still experience. And the amateur for keen to combine their craft
in the broadest of terms, we’re cases where specialty whom money is not the primary with commerce, it means the
at a place where the value of knowledge brings concern, if a concern at all, will opportunity to base their work
the photograph must be found value to what we find new ways of sharing that on a business model that values
elsewhere. do, like underwater experience with wider audiences vision, the willingness to express
photography, the that were once only accessible to an opinion, and the authenticity
There are two far-reaching and, value in our images professionals through traditional and courage to do things
I think, beautiful implications is increasingly found channels. consistent with their identity.
of this development, hard as it in their power to tell It allows them to be a brand,
will be—and is—for those who a story or create a This brings me to the second not a commodity—and that’s
cling to old-school thinking and visual experience, implication of these ideas, and powerful. For the amateur, these
business models that are taking blurring the lines that is the long-overdue blurring blurred lines mean opportunities
on water faster than they can be between amateur of lines between amateur and to share work in new ways and
bailed out. The first lies in the and professional professional. There’s an awkward to be valued and respected for
fact that with so many of the and creating great and deeply held belief that being the work created without being
technical obstacles to making opportunities (and a professional photographer is labelled based on how we earn
compelling images now much challenges) for both. a badge of honour. I know this our money.
WELCOMING
UNCERTAINTY
A NON-PLANNER’S GUIDE TO PLANNING A PHOTO PROJECT
BY JODY MACDONALD
Y
et here he was, Rajan, her about the story. Next thing in control of our future and
plunging deeper into I knew, I was photographing outcomes. But does it really?
the sea until he was it for the BBC, and, to this day,
weightless—all 10 tons of him, it has been my most popular My experiences have taught me
floating. The last surviving story. While I did not plan this that plans rarely work because
salt-water-swimming elephant on project, I was ready to expect they greatly underestimate the
earth, and I was capturing him the unexpected. Living aboard a complexities of life and the role
in all his majesty…swimming. sailboat for a decade taught me that uncertainty and randomness
Head and trunk under water, that the best laid plans….often play. I believe that if we can
tremendous legs stroking. In the get shot to hell. Rajan taught me make time and mental space
image, which ended up launching that often when plans get shot for exploration and play while
my photography career, Rajan to hell, something incredible can allowing the future to unfold
truly appears to be smiling. I come out of it. As long as you are without attempting to control
did not plan for this. In fact I prepared to be unprepared. it, our approach to planning
didn’t plan any of it. I was sailing can be far more successful. Too
through the islands and had Not having a plan is hard. often, we waste energy and
known from doing some research Plans are everywhere. We are time harnessing and managing
that the swimming elephant I had Living aboard encouraged to make plans that unpredictability. Maybe
seen in a Hollywood movie was
supposed to be living on one
a sailboat for everything in an effort
to minimize uncertainty. Yet,
the solution is not to become
stricter with our plans, but rather
of the islands. I got the captain for a decade researchers say that embracing to let go of them as much as
to drop me off for a couple of
weeks to see what information I
taught me that uncertainty is essential to
creativity. So why do we
possible. While I’ve applied
this non-planning approach
could find. Less than a week later, the best laid vigorously cling to our comfort to all aspects of my life, I find
I had not only found Rajan but
had also met a producer for the
plans….often zones, our knowns, and our set
plans? Maybe because it makes
it particularly valuable when
I’m travelling and working on
BBC on the island and had told get shot to hell. us believe a good plan results photography projects. Here is
my non-planning approach to you will probably not take the track down local newspaper stories
planning a photography project. time to really get out there and for your destination areas will be
photograph as frequently as a huge help in getting a grasp of
CHOOSING YOUR PROJECT you need to. I often find my what is happening. You’re looking
I think many photographers projects by travelling and seeing to get different sides of the story
choose and plan projects because what is happening in the world and to create a mental image of
of a preconceived outcome of or by following stories that I’m what it will be like on the ground.
success, money or fame. The interested in and paying attention Try to find images that have been
problem with having plans and to how they make me feel when I taken where you are going. What
expectations is that they lure us think about them. Following your does the geography look like? Are
into living for a fairy-tale ending curiosity instead of choosing a some areas more visually appealing
rather than trying to enjoy the project for money, in my opinion, than others? If so, this can be a
present. Photography is about usually leads to better, more great starting point for your project.
capturing the NOW. Plans take us fulfilling work.
out of the moment and thrust us Not having a Use social media to your advantage.
DO THE RESEARCH
head first down the slippery slope
of seeing the world as we hope
plan is hard. The research is where “planning”
I will often contact someone who
has worked in the area on another
it will be, rather than the way it Plans are is actually necessary. You need project and ask if they used a fixer
is. Plans can hinder our ability
to cover a photography project
everywhere. to do some research and have a
thorough understanding of the
or if they know of someone I could
hire. Local contacts are key and
thoroughly and objectively. We are subject and areas you want to will get you into the thick of things
CANON EOS 5D MARK II, 20 MM, F/4.5, 1/250 S, ISO 400. © JODY MACDONALD
CANON EOS 5D MARK II, 35 MM, F/5.6, 1/500 S, ISO 125. © JODY MACDONALD
TRUSTING YOUR GUT when to pursue opportunities to leave without hesitation and know
When you are wandering into get the photos or cover the story as that it’s okay to change paths and
unplanned locations, you need to best you can. While being aware explore alternative avenues. The
trust your gut. My experience has of what my gut is telling me, I’m same applies to situations where
taught me to listen to this voice very open to the opportunities that people simply do not want their
seriously. Your instincts can help present themselves to me. If I ever photograph taken or you are not
keep you safe and let you know feel like something isn’t right, I will welcome. Respect that and move
I
f you’re a planner you might strongly disagree with this article, but I
recommend you try some of these non-planning tactics to see what
happens. I suspect whether it’s good or bad, it will end up being
one of the most memorable learning experiences of your life.
SHOWTIME
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IN THE SHOWTIME PHOTO CONTEST
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WAYS TO
IMPROVE YOUR
COMPOSITION
IDEAS FOR GOING BEYOND APERTURE AND F-STOPS
BY DAVID duCHEMIN
T
he human experience of the photograph is so much things in the frame—and that’s a big part of it—we miss
more than the pursuit of perfection: Is it sharp? Is the bigger picture, which is this: every choice we make
it well exposed? Even these things, depending on is compositional. The choice of a wider aperture is
the intent of the photographers themselves, can get in compositional because it changes what shapes are in the
the way—what to one person is perfectly well exposed scene. Tighten the aperture, and background elements
is, to another, three stops underexposed. And for those become stronger shapes requiring different choices about
chasing the poetry of the photograph, it’s easy to lean in how to arrange them. Slow the shutter and elements
the direction of other crutches and say pithy things like blur, creating new choices about balance or tension.
“the light is everything” or “it’s all about the moment.” I’ve Underexpose relative to what the camera expects of you
probably said both. But the thing is, as important as light and shadows become graphic elements with greater visual
and moment are, it’s what we do with them and how we mass, which forces us to make decisions about where
put them into the photograph that gives them their best we put them. It’s all composition, and every decision to
expression and offers us something to respond to in the do one thing changes the visual design of the image.
final photograph. Accepting this is the first step. Too often we see our
decisions as merely technical—they are also aesthetic.
If I were to make my peace with platitudes, I’d be comfortable
with this one: composition is everything. The decisions of the
photographer about the elements in the scene ultimately make
a photograph what it is. Of course, this too is an oversimplifi-
cation, but it’s a good one, if only to make my point. For years
I’ve been saying the vision of the photographer is primary,
and it is. Sort of. But still, it’s also true that you can have all the
vision in the world and not have a way to express it, just as The choice to underexpose and use what seems like an
you can have the best light, the most extraordinary moment unnecessarily tight aperture came from my desire to make
and still make decisions that don’t give those things their best an image about shape and colour—not the details of the
expression in the image. So if composition is everything, how leopard, which would have forced me to wash out the
can we hone those skills? Here are five ways I think we can sky and make an image that was way too busy. The tight
learn and sharpen our compositional skills to make images aperture was needed to make the sun a tight, well-defined
that better express our vision or intent. ball. At f/8, it would have been fuzzy around the edges.
n
e
e
e
t
d
.
FUJI X-T2, 800 MM, F/18, 1/2000 S, ISO 800. © DAVID DUCHEMIN
FUJI XT-2, 400 MM, F/5.6, 1/125 S, ISO 4000. © DAVID DUCHEMIN
1.800.363.7566
adventurecanada.com
ICELAND
© Andrew Stewart, Michelle Valberg, and Mike Beedell
Reykjavík
Heimaey
FAROE
Surtsey
Island
ISLANDS
Mykines Tórshavn
Sumba
SHETLAND
ISLANDS
Jarlshof
Stromness Fair
Isle
Adventure Canada
14 Front Street South
Mississauga, ON L5H 2C4 SCOTLAND
Canada, TICO Reg# 4001400 Aberdeen
S
FRAME #1 “We have a surprise for you...” It’s early morning speedlights—and photographers
in Stockholm and we’ve assembled in the hotel lobby, over flocked. The A1 promises a
similar sea change at a more
a hundred photographers and journalists from all corners of intimate level: on-camera flash.
the globe. The hotel itself is a statement: brand-spanking new, But after using it for a couple of
weeks, the story I see is much
gorgeous...bikes and kayaks hanging from wooden ceilings, a broader. For one, the Profoto
William Blake book sitting on a shelf. Every detail designed, A1 is a full-fledged citizen in
the company’s ecosystem, able
chosen and deliberate. Guy Langevin and I have been here since to act as both commander or
yesterday and we’re still jet lagged, reeling from a 36-hour day. slave when paired with other
Air-powered strobes (Profoto’s
Little sleep but much excitement for what lies ahead. wireless protocol). But more
importantly, its entire design
PHOTO QUEST 2017 IS The crowd finally gets its first from top to bottom pushes the
ABOUT TO BEGIN. official look at the Profoto A1. envelope yet again.
We get on a boat, and the mystery
remains. No one knows where NEW HORIZONS For the past five years, simplicity
we’re headed or what’s about to be In 2014, the B1 profoundly has clearly been at the core
revealed. Eventually we dock at a changed the landscape for of Profoto’s vision—both
studio overlooking the harbour and Profoto (and the entire industry): from a user-experience and a
step into a makeshift presentation a powerful self-contained strobe, T-Minus. Founder user-interface standpoint. The D2
hall. There’s a countdown, a live it brought TTL and HSS into Conny Dufgran I reviewed last year brought the
stream...the lights dim and the big territories that had previously minutes before the B1’s streamlined interface into
screen explodes with images. been the sole domain of official launch. the studio. The A1 now brings
FUJIFILM X-PRO2, 56 MM, F/1.2, 1/450 S, ISO 200. © PATRICK LA ROQUE
FUJIFILM X-PRO2, 60 MM, F/11, 1/250 S, ISO 200. © PATRICK LA ROQUE
WEDDING PLANNER. FUJIFILM X100F, 23 MM, F/8, 1/1600 S, ISO 400. © PATRICK LA ROQUE
THE CEO ADDRESSING GUESTS. FUJIFILM X-PRO2, 35 MM, F/3.2, 1/125 S, ISO 640. © PATRICK LA ROQUE
TECHNICAL INFORMATION
A1 FEATURES
• Round head with soft, smooth and natural light falloff.
• AirTTL and HSS for a beautiful professional image, fast.
• Smart magnetic click-on mount for A1 Light Shaping Tools.
• 5 dedicated A1 Light Shaping Tools available.
• LED modeling light integrated to the head.
• Air Remote built in.
• Rechargeable and exchangeable Li-Ion battery.
• 1.2 s recycling time.
• TTL/MAN switch.
• Built-in motor-zoom with hand control.
• Autofocus (AF) assist.
• Large Hi-Res display.
• Support for Canon, Nikon and later for Sony.
SPECIFICATION SUMMARY
Max energy: 76Ws
Energy range: 9 f-stops (2.0-10)
Energy range HSS: 9 f-stops (2.0-10)
Modeling light type: LED
Battery capacity: Up to 350 full power flashes/
Battery charging time: Up to 80 minutes
Weight: 560 g (1.2 lb.)
FUJIFILM X-PRO2, 60 MM, F/3.6, 1/250 S, ISO 200. © PATRICK LA ROQUE
Bond Street
Leather
Antique Cognac
Messenger Bag
Distributed in Canada by JCL Sales Group LTD.
jclsalesgroup.com
FOOD
perfectly on the surface. A nice
dark coffee often has a layer of oil
on its surface, which doesn’t look
that appealing in photos. Replace
the coffee with a carbonated cola
PHOTOGRAPHY
(Coke, Pepsi, RC, etc.) that’s gone
flat or with slightly diluted soy
sauce. To recreate the bubbles
from being freshly brewed, you
BY JEAN-FRANÇOIS LANDRY can add a few soap bubbles
around the circumference with
When it comes to food, everything is a question of taste. But an eyedropper. The frothed milk
of cappuccinos can be recreated
when we talk about food photography, taste usually has nothing with foam soap dispensers.
to do with it. It’s all about appearance. Always? No. In recent years, And to keep soda fizzy, add
effervescent tablets (e.g.,
there’s been a growing trend toward realism—a sort of “organic” Alka-Seltzer). If you want a bottle
photography that presents the truth, the whole truth, and nothing of beer to look icy-cold, start by
spraying a thin layer of aerosol
but the truth. And that’s admirable. In publicity, though, the truth is deodorant, and then use a mix of
often pushed aside in favour of artifice. Photogenic subjects are Scotchgard and glycerin for the
beads of condensation.
preferred over delicious ones because, after all, no one has to
eat the food at the end of a photo shoot. This might traumatize the FRESHNESS
The freshly cut slice of cake from
purists, but, whatever, the truth had to come out someday… an hour ago is starting to get
dry under the lights? A shot of
hairspray should bring back the
LIQUIDS pancakes, you can spray them “freshly cut” look.
Did you know that most of time, with Scotchgard Fabric Protector
the maple syrup being poured before you drizzle the faux THE FRUIT OF
over waffles, pancakes, crepes syrup. Milk makes cereal soggy, YOUR LABOUR
and French toast is actually motor and even the 3.25-percent kind Fruit is difficult to work with—you
oil? Yep, Pennzoil 10W-30. The somehow seems too transparent have to keep it looking fresh.
colour is about the same, and, in photos, but don’t fret! You can Aerosol deodorant is great for
since it’s a little thicker, the oil replace the milk with white glue helping grapes or other fruit stay
stays in place better. To keep (Elmer’s seems to be the most shiny and attractive. Is the colour
the oil from soaking into the popular), and the flakes will stay of your strawberry a little uneven?
FUJIFILM X-T2, 32 MM, F/2.8, 1/20 S, ISO 200. © JEAN-FRANÇOIS LANDRY
especially beautiful.
Do you see the
difference in these WATER EFFECTS
two images? For the Glycerin applied with a brush (flat,
one at the top of the Filbert, hake, contour, etc.) makes
page, I sprayed the seafood look like it was just fished
grapes with hairspray out of the ocean. When glycerin is
(L’Oréal Paris, Studio sprayed on fruit and vegetables, the
Line Design 24H droplets make them look freshly
Finishing Spray) to washed. And since glycerin doesn’t
bring out the shine evaporate quickly, the droplets
and saturation of will stay in place for a whole
the colours. photo shoot.
it’s more stable and easy to shape. with dark brown shoe polish. an artichoke, you’ll know that it’s
Ice cubes are rarely real; they’re (This works for vegetables too.) WD-40. probably a photographer!
ROOM
hour, doesn’t seem enough time,
but I’ve spent a lifetime knowing
and loving these two human
beings and an hour to photograph
them would be tremendously
The Socotra archipelago: a set meaningful. Having said this,
of isolated islands off the coast and not seeing teleportation
of Yemen with an incredible technology in the next couple
Take a seat and join the chit-chat! assortment of plant and animal years, it’s clear I need to book
life found nowhere else on some flights again.
Earth. An hour of shooting can DAVID DUCHEMIN
Lhasa, as I have always wanted to go a long way in such an alien
go there. environment...and teleportation
CHARLES BECKER makes it really easy to bring a lot
of gear!
MARIUS MASALAR
Antarctica!
KAREN CHAPPELL
shooter? Believe it. The faster, stronger, more powerful Canon EOS 5D
Mark IV is the one you’ve been waiting for. Even better, there’s one
PHOTO | VIDEO | DIGITAL | SALES | RENTALS | SERVICE The Visual Technology People
Vistek_PhotoLife_DecJan_2018_Full-Canon.indd
Photo_life_18-01.indd 67 1 2017-11-02
2017-10-23 12:20
3:17 PM
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