Photo Life (2013.12-2014.01)

CANADAS GUIDE TO EVERYTHING PHOTO
STABILIZE YOUR CAMERA

WHILE SHOOTING VIDEOS
THE ART
OF SHOOTING
LOW-LIGHT
EVENTS
GREAT TIPS TO IMPROVE YOUR
SOCIAL AND TECHNICAL SKILLS
WISDOM FROM TED GRANT
60
YEARS OF LEGENDARY
PHOTOJOURNALISM
WHEN TO SHOOT FOR THE BEST LIGHT

HOW TO PHOTOGRAPH SNOW-COVERED LANDSCAPES
THE ADVANTAGES OF USING A GREEN SCREEN
LIGHTROOM 5 NEW FEATURES, TWEAKS AND REFINEMENTS
The new standard in standard zoom lenses.
...we no longer have to

choose between the flexibility
of a zoom over the imaging
characteristics that were once
only available with a prime.
Kevin Carter, DxOMark.com
Art
18-35mm F1.8 DC HSM

Introducing the 18-35mm F1.8 DC HSM, the worlds first wide-angle to standard
zoom lens to achieve a constant aperture of F1.8.
Sigma has set a new standard with this large-aperture APS-C format zoom lens,
the latest offering in Sigmas new Art product line. Combining advanced optical design
with the highest level of craftsmanship, this high-performance lens delivers image
quality typically found only in fixed focal length lenses.
Other premium lenses from Sigmas Art line:
35mm F1.4 DG HSM | 30mm F1.4 DC HSM

Learn more at www.SigmaCanada.ca
Win a TRIP
TO JAPAN
Enter between December 1, 2013 and May 30, 2014 for a chance to win
a Trip to Japan, plus great monthly prizes. For details and contest
entry, visit www. SigmaCanada.ca/sigma-user-gallery/contest.
BROADWAY CAMERA | CANTREX | DONS PHOTO | FOTO SOURCE | GOSSELIN | HENRYS | KERRISDALE CAMERAS
LONDON DRUGS | LOZEAU | McBAIN CAMERA | SANEAL CAMERAS | SIMONS CAMERAS | THE CAMERA STORE | VISTEK
To find other Sigma retailers near you, visit www.gentec-intl.com/where-to-buy

Sigma lenses are distributed in Canada exclusively by Gentec International, one of Canadas 50 Best Managed Companies www.gentec-intl.com
CONTENTS
December/January 2014, Volume 39, Number 1
4
6
8
66
Contributors
Editorial
Exposure
Close-up
VISION
26 Ted Grant: Embracing Life and Art
Cover photo
by David Giral
by Jenny Montgomery
Just before breakfast on May 25, 1950, newlywed Irene Grant gave her husband,
Ted, his 21st birthday gift: a $30 Argus A2 35-mm camera. That moment was the
most pivotal in his career.
32 Showtime Gatherings
34 Destination Under Montreal
by Andrew Emond
Sometimes theres something unfamiliar hidden in the places you frequent the most.
Andrew found inspiration beneath his feet within the sewers of Montreal.
TECHNIQUE
26
38 The Art of Shooting Low-Light Events

by David Giral
Photographing low-light events is a great way to test and improve your social
and technical skills as a photographer. Here are some tips to help you get ready.
42 The Green Screen

by Dale Wilson
Photography is about creating illusionssometimes they appear realistic; other
times they are perceived as illusions. Chroma-key and green-screen technology
can push this even further.
32
46 FAQ How to Photograph Our Snow-Covered

Landscapes
by Jean-Franois Landry
Why is snows heavenly purity so hard to capture? Heres how to work around
exposure problems and get some great winter landscape photos.
34
42
PHOTO LIFE
38
3
48 Photo 101 Waiting for the Best Light

The term photography literally means writing with light, but not all light is
equally good for writing.
GEAR
51 Stabilize Your Camera While Shooting Videos
by Peter K. Burian
Just as in still photography, serious moviemaking calls for a tripod or a monopod, preferably with a special video pan head. Lets take a look at some specific products that can help you make excellent videos with any type of camera.
56 Digital Workflow Sizing Up Lightroom 5

by David Tanaka
With Lightroom 5, Adobe introduced half a dozen brand new features and
around 50 tweaks and refinements to improve usability. Heres an overview of
these upgrades.
58 Gadget Guide
60 Imaging Products Review

by Peter K. Burian
CONTRIBUTORS AND EDITORIAL STAFF

Peter K. Burian
is a technology writer and freelance stock photographer. He is the

author of several Magic Lantern Guide books on DSLR systems. He is also a digital photography
course instructor with betterphoto.com. peterkburian.com
PHOTO LIFE DECEMBER/JANUARY 2014

Volume 39, Number 1
185 St. Paul Street, Quebec City, QC, Canada G1K 3W2
1-800-905-7468
info@photolife.com
facebook.com/photolifemag
@photolifemag
SUBSCRIPTIONS
1-800-461-7468
photolife.com
EDITORIAL
Editorial Department
editor@photolife.com
Editorial Director
Valrie Racine . . . . . . . . . . . . . . . .vracine@photolife.com
Administrative and Editorial Assistant
Jenny Montgomery . . . . . . . . . . . . . . .info@photolife.com
Contributing Editors
David Tanaka
Peter K. Burian
Art Director
Guy Langevin . . . . . . . . . . . . . . .glangevin@photolife.com
ADMINISTRATION
Publisher & Media Sales Director
Guy J. Poirier . . . . . . . . . . . . . . . .gpoirier@photolife.com
Phone: 1-800-905-7468 Ext. 101 Fax: 1-800-664-2739
National Sales Manager
Michael Skinner . . . . . . . . . . . . .mskinner@photolife.com
Phone: 416-473-4624 Fax: 1-800-664-2739
Accounting
Annie Goulet
PHOTO LIFE (ISSN 0700-3021) is published six times a year
(December/January, February/March, April/May, June/July,
August/September, October/November) by Apex Publications
Inc., a Canadian-owned company. All rights reserved. The
contents of this publication may not, under any circumstances,
including Cancopy, be reproduced or used in whole or in part
without the written permission of the publisher.
PHOTO LIFE is indexed in Canadian Magazine by Micromedia
Limited. Back issues of PHOTO LIFE are available in microform
from Micromedia Limited, 20 Victoria St., Toronto, Ontario
M5C 2N8.
We acknowledge the financial support of the Government of
Canada through the Canada Periodical Fund of the Department
of Canadian Heritage.
Andrew Emond is a Toronto-based photographer who documented the sewers of

Montreal between 2006 and 2012. Additional images and personal accounts involving his
experiences can be found at undermontreal.com.
Originally from France, David Giral has lived in Montreal since 1997. He works mostly in
Montreal and Toronto, specializing in travel, lifestyle, architectural and interior photography.
davidgiralphoto.com
Patrice Halley
has been shooting for magazines worldwide for more than 25 years. After
moving to B.C. seven years ago, he started to pursue adventure photography. He now lives in
Montreal. patricehalley.com
Jean-Franois Landry
has been providing advice to photographic equipment buyers

in Quebec City since 1989. He also shares his passion with amateur photographers through courses
and magazine articles. cylidd.com
Guy Langevin has worked as a graphic designer in the photo industry for many years. You
dont collaborate with and befriend some of the best photographers in the country without learning a
few tricks of the trade, so he became a photographic designer.
Jenny Montgomery is a theatre director and writer who rst learned her way around a
darkroom in 1998. Photography runs in her family, so it was probably inevitable that it would be a
part of her life.
Valrie Racine began working for Apex Publications in 2001. She currently serves as
Editorial Director for both Photo Life and Photo Solution magazines. Her background includes
studies in art, art history and communications, and she is passionate about photography.
Occasionally, we make our subscriber list available to carefully

screened companies whose products and services might be of
interest to our subscribers. If you prefer to have your name
removed from this list and not receive these mailings, let us
know by telephone, fax, regular mail or email.
Member of CCAB, CITA, PMA and TIPA.
REGULAR PRICES
$35.70 (1 year - 6 issues)
$71.40 (2 years - 12 issues)
$107.10 (3 years - 18 issues)
Prices exclude applicable Canadian sales taxes. Make cheque
payable to PHOTO LIFE. US residents pay in US funds and add
US$10.00 per year for postage. Foreign residents pay in US
funds and add US$90.00 per year for postage. Single copy:
CAN/US$5.95
SUBMISSIONS
PHOTO LIFE welcomes portfolio and article submissions for
possible publication. Article submissions must pertain to the
subject of photography and include images supporting the
submitted text. All submissions must respect the publishers
submission guidelines. Complete submission guidelines are
available at www.photolife.com, from the publisher at
write@photolife.com, or by calling 1-800-905-7468.
David Tanaka
COPYRIGHT 2013 APEX PUBLICATIONS INC.

No material from the magazine may be reproduced without the
written consent of the publisher. Despite the care taken in
reviewing editorial content, Apex Publications Inc. cannot
guarantee that all written information is complete and
accurate. Consequently, Apex Publications Inc. assumes no
responsibility concerning any error and/or omission.
Dale Wilson
Publications Mail - Agreement No.: 40010196

185, St. Paul Street, Quebec City, QC, Canada G1K 3W2
is a technology writer based in Lethbridge, Alta. His work as a photographer

includes magazine assignments, ne-art printmaking and stock. He also teaches multimedia
communication at Lethbridge College.
is a self-taught freelance photographer. A Photo Life collaborator since 1991, he is

a new regular contributor to the Photo Life blog. He lives in the Halifax suburb of Eastern Passage
with his wife and two sons. dalewilsonphotography.com
PHOTO LIFE
life is
in the details
When youre in the moment, you feel
like it can last forever. When its over,
it always feels like it went too fast. But
the more of it youre able to capture,
to freeze and make a part of you, the
more you never have to leave behind.
So when you use a camera with a
sensor large enough to grab every
detail, every morsel of chubby cheek
or glistening eye, you know it doesnt
matter how long the moment lasts,
its there with you forever.
Introducing the Sony NEX-5T. Extraordinary
sensor size. Ultra compact body.
Sony make.believe and
are registered trademarks of Sony Corporation.
www.sony.ca/nex
EDITORIAL
December/January 2014, Volume 39, Number 1
This issues contentespecially Patrices reflections on photography and travel as
well as Jennys interview with Ted Grantgot me thinking about the way we
approach our subjects while travelling and the relationships we create through
photography.
I used to wonder if a small part of this courage comes from having a small black
box between themselves and their subjectsa glass and metal (or plastic) buffer.
But every time I hear great photojournalists talk about their work, it is empathy
that emerges as the essential quality to create meaningful relationships with the
subjects they photograph and go beyond the usual images. And I actually think
that it is an immense love for humanity that makes them really look at other
peoplethe young and old, the great and the simplewith the same degree of
respect. And that respect translates into their images.
Daring to photograph other people, whether familiar or foreign, demands a sharing
of ourselves, which can take us out of our comfort zone. When we travel, we often
turn our gaze on what seems obviousbuildings, places, our travelling companions,
and, sometimes, the people that cross our paths. These garden-variety images will
probably join the rest of our travel photos, languishing in a file on the computer.
However, taking the time to invest ourselves and create a bond with the people we
meet can help us make more compelling pictures. When we really pay attention,
we might also discover that the Other is not so far-off after all.
And if, when we are home, we could try developing the same kind of connection
with those who are considered outsiders in our familiar environment, or try simply
connecting with people we had not noticed before, perhaps we might discover
some new vistas in our photography and in our lives.
Valrie Racine
Editorial Director
DECEMBER/JANUARY 2014
SCOTT LINDSTEAD
Ive always been fascinated by the work of photojournalists. Some risk their lives
covering conflicts, wars and other dangerous situations. Others give voice to
people whose stories are not being told, the anonymous or the outcasts. All of
these photographers are heroes to me because I believe it takes great courage to
approach others in this way and to pay attention to what they have to say, without
flinching.
COMING UP
The Nature and Wildlife Issue
Behind the Image:
landscape photography edition
Pre-visualization techniques:
how to elevate your game
Photographing flowers:
tips and inspiration
Gear for the hi-tech
nature photographer
Up close and personal with
macrophotography
Ethics for wildlife photographers
Gadget Guide
Imaging Products Review
And more
PHOTO LIFE
URBAN REPORTER
SERIES
street-smart messenger
Find out more at

lowepro.com/urban-reporter
Distributed by DayMen Canada - daymen.ca
2013 DayMen Canada Acquisition ULC
EXPOSURE
YOUR VIEW . WHATS ON . IN FOCUS . BOOK REVIEWS
[your view]
IN RESPONSE TO JEFF FRIESENS THE CANADIAN
AN OPINION ON PHOTO CONTESTS
Awesome project, Jeff! The images are all beautiful and

romantic captures of this great land. Thank you!
Donna via blog
I dont need to get the constant pat on the back to think that I
can take a good and interesting photo. Compete, compete,
competeso what!
Douglas Ward via blog
ON THE WORK OF PHOTOGRAPHER JO-ANNE

MCARTHUR AND FILMMAKER KAROL ORZECHOWSKI
FROM TEST REVIEW: PANASONIC GX7 ON THE BLOG
Very interesting. I will have to watch out for the film they were
making.
Charlene Sollen Kenna via Facebook
Accurate and thorough review, excellent job! Cant wait to get

mine!
Mitch via blog
OUR RESOLUTIONS: LOOKING BACK AT 2013 AND PLANNING FOR 2014

PETER K. BURIAN
Like most resolutions, mine was only about 50% fulfilled,
primarily with High Dynamic Range imaging. In 2014, Im
planning to move in a new direction, setting up a small portrait
studio in my basement for photos of my triplet grandchildren. It
will be great to record their progress from tiny infants to
toddlers with a studio strobe flash kit.
JEAN-FRANOIS LANDRY
In 2013, I made the resolution to only work in HDR, no matter
what. But I failed. Miserably. So since Id like to continue
pursuing deliberate failures, for 2014, I resolve to push myself
to get the most beautiful bokeh: Ill use only the widest
apertures, my longest telephoto lens and the smallest depth of
field possible for every so-called artistic photo.
manual. Better late than never? For 2014, my goal is to finish

reading the manual and then experiment with what I learn. I
also want to get back into black-and-white film photography. I
have my old SLR and some film and am ready to go.
VALRIE RACINE
I had given myself the goal of making a photo book to give my
parents as a gift for their 50th wedding anniversary. Its one of
the few resolutions that Ive actually followed through on in my
life! It took me a few months to finish it and give it to them, but
now that Ive done it, I have the urge to do more. My next
photo resolution is to do plenty of research before I leave on a
trip so that I will get better photos. (Im not too proud of the
results from my last trip.)
DALE WILSON
GUY LANGEVIN
Last year, I wanted to improve my results with my homemade
lenses. One of my Frankenstein lens actually turned out pretty
good! I made it out of a teleconverter, an old 50-mm lens and
a bike tube. Im guessing the results were similar to what youd
get from a Lensbaby Spark. Its a challenge to get what I want
in focus, but when I do, magic happens. For 2014, I want to
experiment with slow shutter-speed photography.
Be it known that Richard Wiseman, a Professor of Public

Understanding of Psychology at the University of Hertfordshire
in the United Kingdom, and a Fellow of the Committee for
Skeptical Inquiry, suggested in a 2007 study that 88% of all
resolutions end in failure. Therefore, let it be known that I, Dale
Wilson, do resolve to maintain steadfast standing with those
good fellows of the Twelve Percent Fraternity.
AND YOU?
JENNY MONTGOMERY
My goal to read the manual for my camera was thwarted when
I ended up in between primary cameras for most of the
second half of 2013. (Im a bit of a procrastinator) However, I
just got a hand-me-down DSLR and have started reading its
Wed love to hear what photo resolutions you are working

towards in 2014; let us know via email at write@photolife.com
or write us on our Facebook page. And feel free to ask how we
are doing on our goals! As you can see, some of us have a bit
of trouble with follow-through and could use a friendly nudge.
[whats on]
GREG GIRARD EXHIBITION AT MONTE CLARK GALLERY
From December 7 to January 11, Monte Clark Gallery in Vancouver is
featuring work by Greg Girard. This exhibition will include some rarely seen
images from his work and travel over the last 40 years. monteclarkgallery.com
GREG GIRARD/COURTESY OF THE ARTIST AND MONTE CLARK GALLERY
EXPOSURE PHOTO LIFE
TThe
he W
Winter
inter
Wonder
W
ond
onder LLens
ens
105mm f2.8 EX DG OS Macro
Weatherproof Lens
ocal length ffo
or por traits
The Sigma 105mm ff22.8 EX DG is the ideal ffo
with the added benefits of image stabilization, macro shooting
and weatherproof design for
for use in harsh winter conditions.
Canon,Nikon and Sony
WEBCODES: 010GET486/487/488
$59
9.99
$599.99
N
ew LLower
ower Price!
New
Price!
R
Rent
ent ffor
or aass llittle
ittle aass $
$20
20 a d
day
ay
Rent the gear. Ow

Own
n the
the m
moment.
oment.
a lens rentals at henrys.com/rentals
Rental s, I
s ea
1.Pick
1.Pick Your
Your P
Product
roduc t (at henr
henrys.com/rentals)
ys.com/rentals)
2.Reserve
2.Reser ve Your
Your Rental
Rental (Call
(Call ttoll
oll fr
free
ee 1.877.736.8555)
3.Grab IItt & G
Go
o (pick up yyour
our rental)
rental)
EXPOSURE
[whats on]
WILDLIFE PHOTOGRAPHER OF THE YEAR 2013 IN CANADA
The Natural History Museum and BBC Worldwides Wildlife Photographer of the
Year 2013 exhibition showcases the best images received from over 48,000 entries
from amateurs, professionals and students from 96 countries. A panel of top nature
photographers and wildlife experts chose the 100 winning photographs for the 18
competition categories. The impressive group of large-scale, backlit images will be
presented here in Canada at the Royal Ontario Museum in Toronto from November
23 through March 23, and at the Royal BC Museum in Victoria from November 29
through April 6. The exhibition highlights the wonder of nature, and each image is
presented along with a caption sharing the story of how the photographer got the
shot. Both museums will offer exciting special events and programming related to
photography and biodiversity along with the exhibition. Please visit their websites
to learn more. rom.on.ca, royalbcmuseum.bc.ca
FLORA
JAMES HOLROYD
Newzones in Calgary is
presenting James Holroyds
Flora from November 28
through January 11. With
these images, Holroyd
explored alternative
photographic processes
using a singlet primitive
lens, a sliding box camera
and cyanotype printing
on wood panels.
newzones.com
JAMES HOLROYD
2013 WILDLIFE PHOTOGRAPHER OF THE YEAR GRAND TITLE WINNER, ESSENCE OF ELEPHANTS, GREG DU TOIT, SOUTH AFRICA
JAMES HOLROYD
ERIC HOSKING PORTFOLIO AWARD WINNER, LUCKY POUNCE AND THE FLIGHT PATH, CONNOR STEFANISON, CANADA
SPECIALLY COMMENDED: WILDSCAPES, THE ENCHANTMENT,

ADAM GIBBS, UNITED KINGDOM/CANADA
10
CREATIVE VISIONS WINNER, SNOW MOMENT,

JASPER DOEST, THE NETHERLANDS
EXPOSURE PHOTO LIFE
The moment a passion

becomes the love of your life.
This is the moment we work for.
// FASCINATION
MADE BY ZEISS
Touit 2.8/12 and Touit 1.8/32

Introducing the new ZEISS Touit lensesfor photographers who are passionate about their image
making. Designed for the Sony NEX and Fujifilm X Series cameras, these luxurious autofocus lenses
deliver the legendary precision and performance of ZEISS optics, for stunning images that go straight
to the heart.
www.zeiss.com/touitfascination
PHOTO LIFE VISION
11
EXPOSURE
[whats on]
e
Mosree!
to
EXHIBITIONS & EVENTS
THROUGH DECEMBER 14
MIRARI
LNA MILL-REUILLARD
Galerie de lUQAM, Montreal
galerie.uqam.ca
THOUGH DECEMBER 15
GHOST DANCE: ACTIVISM AND
RESISTANCE IN INDIGENOUS ART
VARIOUS
CAMERA OBSCURA
ELENA MALKOVA
Ryerson Image Centre, Toronto
ryerson.ca/ric
THROUGH JANUARY 4
GROUP OF SEVEN AWKWARD
MOMENTS
DIANA THORNEYCROFT
Art Gallery of Algoma, Sault Ste.
Marie, Ont.
artgalleryofalgoma.com
THROUGH JANUARY 5
AIMIA | AGO PHOTO PRIZE
EXHIBITION
VARIOUS
Art Gallery of Ontario, Toronto
ago.net
THROUGH JANUARY 5
THE DISAPPEARANCE OF
DARKNESS
ROBERT BURLEY
ICONS OF OBSOLESCENCE
MICHEL CAMPEAU
National Gallery of Canada, Ottawa
gallery.ca
THROUGH JANUARY 12
BETWEEN PRINCELY INDIA AND
THE BRITISH RAJ
RAJA DEEN DAYAL
Royal Ontario Museum, Toronto
rom.on.ca
THROUGH FEBRUARY 10
ENTRE/BETWEEN
ANTONI MUNTADAS
Vancouver Art Gallery, Vancouver
vanartgallery.bc.ca
NOVEMBER 28-JANUARY 11
FLORA
JAMES HOLROYD
DECK THE WALLS!
VARIOUS
Newzones, Calgary
newzones.com
NOVEMBER 30-JANUARY 18
SUMMER LOVIN
VARIOUS
Stephen Bulger Gallery, Toronto
bulgergallery.com
DECEMBER 4-22
ANNUAL CALENDAR SHOW
VARIOUS
ViewPoint Gallery, Halifax
viewpointgallery.ca
DECEMBER 7
HELP-PORTRAIT DAY
Various locations across Canada and
worldwide
help-portrait.com
DECEMBER 7-JANUARY 11
GREG GIRARD
Monte Clark Gallery, Vancouver
monteclarkgallery.com
JANUARY 22-APRIL 13
THE DISAPPEARANCE OF
DARKNESS
ROBERT BURLEY
Ryerson Image Centre, Toronto
ryerson.ca/ric
[photo essay]
INTIMATE EXPERIENCE
WITH NATURE
by joSon
We look at many different things every day, but often
we really dont see them. By taking the flower outside
of its natural setting, I wanted viewers to have an
intimate experience with natureits symmetry, its
colours and its textures. I wanted to prompt them to
take more time to reflect on why flowers play such a
crucial role in human culture and emotion. Which came
firstthe human need for flowers or the power of
flowers to evoke, enhance and call forth emotions from
us through light, colour and scent?
Visit photolife.com to see this issues Photo Essay.
JOSON
12
EXPOSURE PHOTO LIFE
Introducing the Nikon D610 camera.
Order yours today!

Get the picture
Experience the passion of Nikon full-frame photography.

The power of a pro-level Nikon FX-format cameradazzling full-frame images, broadcast-quality 1080p video at
your fingertips, superior low-light performance, faster frame rate up to 6 frames-per-second (fps), tack sharp autofocus with 39 focus points, built-in flash with Commander Mode, wireless photo sharing and much more is attainable in a compact, lightweight full-frame HD-SLR body. A new continuous quiet mode lets you capture a sequence
of shots without the noise associated with the raising and lowering of the D-SLRs mirror. Optimized for full-frame
shooting, streamlined for compactness and value, the D610 will fuel your photographic passion like never before.
The Camera Store is the proud recipient of the Consumer Choice Award for Photographic Retailer 8 years in a row.
Big Box Prices, Expert Knowledge.

Call or check our website for guaranteed low prices.
802 - 11th Avenue S.W. Calgary
Ph: (403) 234-9935 Toll free: 1-888-539-9397
www.thecamerastore.com
DISCOVER TURKEYS
SPECTACULAR SCENERY,
PEOPLE, FAMOUS MOSQUES,
GRAND BAZAARS, ANCIENT
ARCHITECTURE AND
ISTANBULS INTERNATIONAL
TULIP FESTIVAL WITH
CANADIAN PHOTOGRAPHER
LOUISE TANGUAY, IN
COLLABORATION WITH
PHOTO LIFE MAGAZINE,
TURKISH AIRLINES AND
EXPLORATEUR VOYAGES.
APRIL 6 TO 19, 2014
TURKEY PHOTO TOUR

AND ISTANBUL TULIP FESTIVAL
MORE DETAILS AT PHOTOLIFE.COM/WORKSHOPS
TRIP HIGHLIGHTS
Istanbuls International Tulip Festival and Byzantine splendour
Geological formations of Cappadocia
Stunning architecture and ancient Roman ruins
Accommodations include historic Ottoman houses and a
unique cave hotel carved from volcanic rock
ACCOMPANYING PHOTOGRAPHERS
LOUISE TANGUAY
AND MANON FRANCOEUR
ACCOMPANYING TOUR GUIDES
AN ENGLISH-SPEAKING GUIDE FROM
EXPLORATEUR VOYAGES AND A LOCAL
LICENSED TOUR GUIDE.
EXPOSURE
POLL RESULTS FROM
THE PHOTO LIFE BLOG

HOW MANY PHOTOS DO YOU TAKE IN A MONTH?
Introducing
XL Pro Lighting Kit
26 %
15 %
That reminds me
I need to find my camera.
About a bakers dozen.
19 %
Less than a hundred.
18 %
A couple hundred.
Upwards of 500?
9%
Probably around 1000 or so.
5%
Over 2000, Id guess.
I dont have time to count;

Im too busy snapping away!

*$"
(
$
4%
4%
[book
reviews]
by Jenny Montgomery
TED GRANT: SIXTY YEARS OF LEGENDARY PHOTOJOURNALISM
by Thelma Fayle
Heritage House Publishing, $29.95, 224 pages, soft cover
Thelma Fayles Ted Grant: Sixty Years of Legendary Photojournalism is a fascinating retrospective
on Ted Grant, who is known as the father of Canadian photojournalism. In addition to completing
more than 100 hours of interviews with Grant, Fayle did extensive research in the Ted Grant
Special Collections at Library and Archives Canada and the National Gallery. Fayles engaging
writing pulls you in and then makes you want to turn the page to find out what happened next.
She begins by recounting the story of Ted and Irene Grants sixtieth anniversary. They were
staying at a hotel because he was to speak at a conference. When Grant awoke at 5 a.m., he
realized that it was their anniversary and that he had forgotten to get Irene a card. So, armed
with a tube of toothpaste, Ted Grant improvised a note on the bathroom mirror for his wife to
discover when she woke up. Fayles inclusion of these charming and often humorous anecdotes
affectionately reveal the humanity of this legendary photographer. And dont miss the appendix
Carry Raisins and Other Ted Commandmentswhere the author has gathered a collection of
Grants photographic tips, culled from the transcripts of the 50 interviews. Thelma Fayles Ted
Grant: Sixty Years of Legendary Photojournalism is an excellent book about one of Canadas
most esteemed photojournalists. (And its another one Id put on the required reading list if I were
to teach a photography seminar!)

&"
*$
"
$$

$
(
$"!

Portable
+ !$
+ !$

+ $$
+ $$
#

%

)

+ %"
+%"

+
+
#

$
Strip Box

$

,

&
#

''' '&
#

from B+W Filter.
fr

%"

#
"

#

$
$

)%"
#

#$
There is no better Filter
[continued on p. 16]
PHOTO LIFE EXPOSURE

15
EXPOSURE
[book
reviews]
continued from p. 15
Gift Idea
FREEMAN PATTERSON:
EMBRACING CREATION
photos and text by Freeman
Patterson
introduction by Tom Smart
Goose Lane Editions, $55, 240
pages, hard cover
Embracing Creation begins with Tom Smarts
essay on Freeman Pattersons life and artistic
journey. Twelve sections follow, each highlighting a theme that Patterson explores through
his images and writing. In Paradox and
Perspective, Patterson shares about the
impact of his illness and two liver transplants
in 2000. He explains, The two years leading
up to my transplants and the year afterward
were the most physically and emotionally difficult of my life. The experience forced me to go
places I would never have chosen to go and
to explore myself in ways I would never have
attempted otherwise. As a result, the years
since my transplants have been the best years
of my life. This is paradox. Or maybe it isnt.
He goes on to talk about how experiences of
crisis and loss can lead to a shift in perspective. An old identity is surrendered almost like
16
a snake sheds its skin and is replaced by a

new identity big enough to encompass whats
been learned through the transformative experience. I enjoyed reading Embracing Creation
and came away from it with a deeper understanding of Pattersons thoughts, work and
motivation. I suspect this book will please
many photography buffs!
THE MASTERS OF NATURE

PHOTOGRAPHY
edited by Rosamund Kidman Cox
Firefly Books, $45, 224 pages,
hard cover
This book highlights the work of 10 nature
photographers who have been honoured in
the Wildlife Photographer of the Year competition. (To learn more about the Wildlife
Photographer of the Year exhibition, please
see page 10.) The Masters of Nature
Photography includes a profile of each of the
10 photographers, 10 images selected by
each artist as representative of his work, and
informative text providing technical details and
explanations of how every image was captured. The featured photographers are Jim
Brandenburg, David Doubilet, Pl Hermansen,

Frans Lanting, Thomas E. Mangelsen, Vincent
Munier, Michael Nick Nichols, Paul Nicklen,
Anup Shah and Christian Ziegler. Perhaps The
Masters of Nature Photography would make a
great gift for a nature lover you know?
BRASSA: PARIS NOCTURNE

photos by Brassa
text by Sylvie Aubenas and
Quentin Bajac
Thames & Hudson, $90, 312
pages, hard cover
The first to exclusively focus on Brassas
nocturnal photographs, Paris Nocturne
includes most of the images from the photographers three main books, Paris After Dark,
Volupts de Paris (Pleasures of Paris) and
The Secret Paris of the 30s. The ones of
opium dens, however, are not included in this
book since he had requested that they not be
published again after his death. Brassas
black-and-white photos capture Paris at
nightwith its beauty and its debaucheries
and Aubenas and Bajacs texts provide an indepth look at the artists life and work.
EXPOSURE PHOTO LIFE
MANFROTTO
MANFRO
TTO 290 CARBON
CARBON FIBRE SERIES
Step into your passion for photography!
Transportable,
Transportable, without an
anyy
stability..
sacrifice in camera stability
Durable and built for hea

heavy-duty
vy-duty use,
without an
anyy reduction in strength
or performance over time.
Provides optimizable support for your

camera and helps you get grea
greatt results across
all photogra
photographic
phic styles and situa
situations.
tions.
DESIGNED AND MANUFACTURED

MANUFFACTURED
ACTURED
IN IT
ITALY,
TAL
ALLY, THE 2900 IS BUIL
BUILT
LTT TO LAST
LAST..
Learn
Learn mor
moree at www
www.manfrotto.ca
.manfrotto.ca
Available aat:t:t BROADW
BROADWAY
AY CAMERA | CANTREX | DONS PHOTO | DOWNTOWN CAMERA | FOREST CITY IMAGE CENTRE | FOTO SOURCE
GOSSELIN | HENR
HENRYS
RYS | KERRISDALE CAMERAS | LOZEAU | McBAIN
McBAIN CAMERA | SANEAL CAMERAS | THE CAMERA STORE
To
T
o find other Manfr
Manfrotto
otto retailers
retailers near you, visit www
www.gentec-intl.com/where-to-buy
.gentec-intl.com/where-to-buy
Manfrotto
Manfrotto products
products are
are distributed in Canada exclusively by Gentec Inter
International,
national, one of Canada
Canadas
s 50 Best Managed Companies www
www.gentec-intl.com
.gentec-intl.com
The revolutionary Olympus OM-D E-M1 does more than just capture amazing
photos, it lets you tell powerful stories from anywhere. With its new 16MP Image
05;96+<*05.(*(4,9(
Sensor with Dual FAST Autofocus System, a 1/8000s mechanical shutter, and
( : 9 , = 6 3 < ; 0 6 5 ( 9 @
(:@6<(9,
10fps sequential shooting, the E-M1 delivers blazingly fast speeds. With 5-Axis
In-Body Image Stabilization providing blur-free images with every lens, youll be
inspired to shoot like a pro. And its all packaged in a light and durable magnesium
alloy body, so you can take incredible images anywhere you go. Move into a new
world. www.getolympus.ca/em1
Move into a New World
Photo by Diego Garin Martin. Shot with an OM-D, M.Zuiko ED 9-18mm f4.0-5.6.
One of the smallest and lightest

bodies in its class at 17.5 ounces*
Built-in Wi-Fi
Full system of premium,
interchangeable lenses
*E-M1 body only
EXPOSURE
[in focus]
IN CONVERSATION WITH KAZUTO YAMAKI,
CEO OF SIGMA CORPORATION
by David Tanaka
Kazuto Yamaki became CEO of
Sigma Corporation in 2012. His
father, Michihiro Yamaki founded
Sigma in 1961 and headed the
company for 50 years. Kazuto
Yamaki visited Canada earlier this
year, and Photo Life had an
opportunity to chat with him on
the telephone.
What are some engineering
challenges in designing a lens?
DSLRs now have lots of pixelshigher
resolutionso the lens has to support
the high resolution of the cameras. Its a
constant challenge to balance the
specifications, optical performance and
size. Even if we make very good optics,
if it is too bulky, its not good for the
photographer. Also, the standard zoom
lens is one of the most challenging
products to develop. We have to pick
the right balance for a single lens that
covers wide to medium telephoto range.
Youve started using less technical
names for your lenses, like your Art
or Contemporary lines. Why?
We once made an extremely compact
zoom lens, but the distortion was a little
bit greater than others. Lens design is
based on traditional physics. There is no
magic, so if we make it very compact,
its a trade-offdistortion. But users
complained about it, despite good performance in other respects. So I thought
it was important to clarify the concept
behind the product to our customers.
and actually started my career as a

mechanical engineer. I understand that if
I give a very clear concept to the
engineers, they are not confused and
they do an excellent job. So this concept
is not just for marketing. It also works
for development.
You recently announced the Lens
Mount Conversion Service. Are more
people switching platforms?
It is quite different from the film camera
times [when] photographers stuck to one
specific system. Now they switch or have
multiple systems.
Sigma introduced a new plastic
material called Thermally Stable
Composite (TSC) for its lenses. What
are its advantages?
We use metal and composites in the
lens. Each material has its own benefits.
For the most important parts, we like to
use plastics because [a good injection
mould] is really, really precise. The
problem with plastic is that it is
thermally unstable. So we asked our
20
Youve been using TSC for around

two years. Have you noticed differences in your lens performance?
Normally we need to keep some play
between the plastic and metal parts
because the lenses might be used under
extremely cold or extremely hot
temperatures. Since TSC has similar
temperature characteristics as the metal,
we can minimize the play between those
parts. That means we can implement
higher optical performance because we
can better control the optical axis.
We dont see too much of your
Merrill cameras in Canada. What are
your marketing plans for them?
Sigma was founded by my father. The
camera was my fathers dreamhis
dream to make Sigma a camera-system
company. Since I took over his business,
I also take over his dream, so we will
continue to pursue this and release new
cameras. Its also a pleasure for us to
provide a whole camera system because
through it we can convey our philosophy or message about camera systems.
SIGMA WAS FOUNDED BY

MY FATHER. THE CAMERA
WAS MY FATHERS
DREAMHIS DREAM TO
MAKE SIGMA A CAMERASYSTEM COMPANY.
Our Art line is focused on optical

performance, so maybe its a bit bulkier
and heavier than other products on the
market because we prioritize optical
performance. In the Contemporary line,
we aim at daily use, so we prioritize size
and weight.
But theres another reason. I worked as
manager of several engineering divisions
material supplier to develop a new

plastic that has almost the same thermal
characteristics as aluminum.
Kazuto Yamaki, CEO of Sigma Corporation
I noticed that you are on Twitter. How

important are social media to you?
Sigma is a small company, one with very
special characteristics. I want to make it a
brand with character, a brand with
personality. So I think it is important for
me to communicate [directly through
social media] with customers to tell [them
about] our philosophy and ideas, our
mission for the business, things like that.
EXPOSURE PHOTO LIFE
Capture the fascinating Canadian wilderness

Nestled between Vancouver Island and the coastline of pristine mountains and glacial inlets,
Sonora Resort is a secluded paradise for nature photographers.
Cathedral-high trees and swirling ocean rapids draw the iconic wildlife of the Pacific coast
grizzly bears, orca, eagles, and dolphins. The surrounding sweeping vistas, mossy forests, and
delightful seascapes have made Sonora Island world-renowned. Photographic opportunities are
matched with five star, Relais & Chteaux services and amenities, like the ocean view dining
room, spa and wellness centre and nature-inspired accommodations.
Experience the best of the Canadian Wilderness and capture memories that will last a lifetime
through your lens.
It was one of the best days of photography
Ive ever had
Ethan Meleg
Professional Wildlife Photographer
sonoraresort.com
1-888-576-6672
EXPOSURE
THE
PHOTOGRAPHER
ABROAD
BY PATRICE HALLEY
TALES FROM THE FIELD
Unfortunately, unaware travellers and

photographers are legion. And they think
they do not need to learn local protocol
because they arent staying long. However,
the truth is, to document a journey and
create a unique body of images that tell a
story, photographers cant rely on hastily
snapping their way across a country,
leaving shocked locals in their wake. If
PATRICE HALLEY
A century ago, travel and photography were mainly

privileges of the wealthy. Nowadays, millions of people
are criss-crossing the world, often snapping images of
other humans without respect for local traditions,
culture and etiquette. Ive seen it all: photo-snapping
tourists jumping off buses to steal the souls of proud
mountain people in Guatemala, patting kids heads to
thank them for a picture in Thailand, and even entering
sacred grounds without removing their shoes in India.
People in India love afternoon naps, so I was only half surprised when I came across these two ladies getting some shut-eye in the square by
Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly known as the Prince of Wales Museum of Western India). Knowing the culture and peoples
habits can help you a great deal if you are trying to document local life but have very little time. With some luck, knowledge and timing, you should be
able to capture some unique moments. 28 mm (focal equivalent), 1/60 s, f/3.5, ISO 100.
22
EXPOSURE PHOTO LIFE
you hope to epitomize your trip with

something other than postcard sunset
images, you need a quartet of ingredients
that, when blended together, will help you
form the substance of your vision, while
capturing photos in a respectful way.
1. KNOWLEDGE
The first thing you need is knowledge. If
it is true that great travel images are partly
serendipitous, what makes capturing a
special moment possible is largely based
on the skills of the photographer and his
or her knowledge of human nature in
general. Its understanding the world
around us, understanding the actions
people take, and being one step ahead of
it, said Monir Ali, a London-based
photographer and creative director.
I like thinking of a new journey as an
apprenticeship dedicated to the destination; unfortunately, many photographers
often ignore this step. I begin by
researching and learning the set of skills
necessary to understand and navigate the
country, thus I am less worried about
making a blunder and can focus on capturing precious moments while travelling.
2. TIME
Once you are wandering the streets of
your new destination, what you need is
time. As Spanish-French singer Manu
Chao said, All globetrotters of the world
know that it is in the streets that you rub
shoulders with the identity of a country.
This is where you meet the esthetical, the
political, the economical and the
mystical. When you are a photographer,
time is the real luxury. And it is an
expensive commodity, but its worth it to
me. To allow the chance for discoveries,
encounters and unexpected events to
happen in front of your camera, you need
time, the element that greatly increases
the possibility of magic happening.
you should be able to guesstimate when

or where light will shine.
4. LUCK
The final elementthe most uncertain of
allis luck. We can acquire knowledge, we
can make time, we can even predict where
light should be, but luck is in the realm of
the sacred. So how do we get lucky when
we travel? According to Buddhism,
whatever happens is a result of karma and
not chance. But for my part, I believe that
we get lucky by respecting others and
avoiding breaking local taboos.
QUICK TIPS
Be polite and respect others.
3. LIGHT
Avoid delicate situations. (Advance research
If the key to good images is to be in the

right place at the right time, the ultimate
reward is great light. This is an occurrence that can only be (almost) foreseen
thanks to knowledge, and it is graced to
the believer with the unpredictability of
luck. Light makes or breaks a picture. The
good news is that with some tools (like
the Golden Hour app or an online
Golden Hour or Blue Hour calculator),
can be invaluable!)
Refine your approach to meeting new people.
What do you say or do before you ask to take
a photo?
Express gratitude and, in the case of a
mistake, apologize.
Get the names and email addresses of your
subjects, and always follow through by
sending photographs (if they desire this).
Tripods with personality.

-E&OTO 4RAVEL TRIPOD KITS FROM "ENRO ARE STUNNING
carrying case and are available in different models
to look at. Available in a choice of 5 metallic colours
TOACCOMMODATEDIFFERENTSIZEOFCAMERAS-E&OTO
THEY STAND OUT IN A WAY OTHER TRIPODS DONT 4HEY
Travel tripod kits stand up and stand out.
are also standout performers. Each kit comes

COMPLETE WITH MATCHING BALLHEAD AN ATTRACTIVE
MeFoto available at:

s6ISTEK4ORONTO
s6ISTEK-ISSISSAUGA
s6ISTEK/TTAWA
s6ISTEK#ALGARY
s6ISTEK%DMONTON
s0HOTO#ENTRAL7INNIPEG
s0HOTO3ERVICE-ONTREAL
s#AMERA#RAFT3AULT3TE-ARIE
Gnigami Ltd. 2013 Pronounced ni-gah-mee
www.gnigami.ca
PHOTO LIFE EXPOSURE
23
ADVERTORIAL
FOR A GREAT
NATURE-PHOTOGRAPHY
EXPERIENCE YOU
NEED GREAT NATURE
trip he also brought along an APS-sensor
SLR to try out a couple of the companys
recent DC lenses. The 17-70 mm
f/2.8-4.5 DC macro is one of Sigmas
Contemporary lenses, meaning it is
compact and light. Meleg used it
extensively during the trek along a
rainforest trail that was often steep and
slippery from a recent rain. It came in
handy, he says, adding that the optical
image stabilization was useful because
the rainforest canopy blocked out so
much light.
Mother Nature was at her photographic best when nature and wildlife
shooter, Ethan Meleg found himself on an eco-tour along the B.C.
coast. It was one of the best days of photography Ive ever had,
Meleg says. Every hour there was another incredible photo
opportunity. The Ontario photographer says he shot several
thousands of photos over several hours.
Meleg has been using Sigma lenses for a

few years and the coastal eco-tour was
an assignment from the lens
manufacturer, which is one of Melegs
corporate sponsors. This trip was
interesting because there were so many
subjects to photograph, from grizzly
bears to marine mammals to landscapes
to the rainforest, he says. I had to be
prepared with a real mixed bag of gear to
be able to capture everything.
In his glass arsenal were the Sigma
24-70 mm f/2.8 IF EX DG HSMone of
his bread-and-butter lensesand the
12-24 mm f/4.5-5.6 EX DG HSM. Meleg
says he really appreciates the ultrawide
zoom for landscape photography. You
can capture such a wide scene and a lot
of depth too by getting down low and
exaggerating the foreground.
DAVID TANAKA
Grizzly bears fishing for salmon along the

Orford River were the tours marquee
event. Getting there from Sonora Resort,
an oasis of luxury and grace where
Meleg stayed, meant a boat ride up
picturesque Bute Inlet. Steller sea lions,
harbour seals and scores of dolphins
were out in force putting on a show of
their own. That, in itself, would be
awesome, says Meleg, but then were
surrounded by this incredible landscape.
SONORA RESORT WAS

AN OASIS OF LUXURY
AND GRACE. THAT, IN
ITSELF, WOULD BE
AWESOME, SAYS MELEG,
BUT THEN WERE
SURROUNDED BY THIS
INCREDIBLE LANDSCAPE.
For much of the wildlife work, though,
the job fell to Sigmas recently
redesigned 120-300 mm f/2.8 DG OS
HSM Sport lens, which Meleg used for
the first time. His assessment was, I
love it because its perfect for wildlife
photography. Its fast, its sharp and that
focal length is very versatile.
Meleg normally shoots with a full-frame
camera and thus uses Sigmas
DG-designated lenses. However for this
Another DC lens Meleg was looking

forward to using was the new 18-35 mm
f/1.8 DC HSMa wide-to-normal zoom
with an impressively large f/1.8 constant
aperture. I was very excited to try this
lens, he says. Im really starting to fall
in love with those shallow depth of field
artistic lenses. You can shoot in really
low light and create some awesome
artistic effects.
Being able to photograph the grizzly
bears under near-perfect conditions
would have been enough of a treat, and
as Meleg notes, If I hadnt taken another
photo other than the grizzlies, I would
have been happy. But the day only got
better, ending on a magical high note.
In the afternoon when we were coming
back from the rainforest trek, there was an
incredible rainbow over the landscape and
the mountains, and the dolphins were
swimming along and jumping and we
could see them in front of the rainbow,
says Meleg. It was an epic day.
LEARN MORE AT WWW.SIGMACANADA.CA

FOR MUCH OF THE WILDLIFE WORK, THOUGH, THE JOB FELL TO SIGMAS RECENTLY
REDESIGNED 120-300 MM F/2.8 DG OS HSM SPORT LENS, WHICH MELEG USED FOR
THE FIRST TIME. HIS ASSESSMENT WAS, I LOVE IT BECAUSE ITS PERFECT FOR WILDLIFE
PHOTOGRAPHY. ITS FAST, ITS SHARP AND THAT FOCAL LENGTH IS VERY VERSATILE.
ETHAN MELEG
ETHAN MELEG
ETHAN MELEG
ETHAN MELEG
PROFILE
TED GRANT
EMBRACING
LIFE AND ART
BY JENNY MONTGOMERY
Its possible that the course of ones life

can be changed in a moment.
A LIFE-CHANGING GIFT
TED GRANT
Just before breakfast on May 25, 1950, newlywed Irene Grant gave
her husband, Ted, his 21st birthday gift: a $30 Argus A2 35-mm
camera. That moment, Ted Grant explained, was the most pivotal
in his career: That gift started my journey as a photojournalist.
At the time, he was working in a service position at Hobart

Manufacturing Company. After receiving his new camera, Grant
started taking pictures at stock car racesthat is, when he
wasnt busy racing in them. On September 17, 1951, one of
those images was published in the Ottawa Citizen. Grant said
the memory of that first published photograph stands out to him
even now: Photo by Ted Grant! And I hoped it never ended!
Soon he was taking pictures everywhere he went. By age 23,
This shot, taken in High River, Alberta, shows a pack of workhorses turned loose. These horses were used by cowboys to carry backpacks containing
lick salt and other supplies for grazing cattle. Once the job was complete, the horses were allowed to run free until winter, when they were rounded up
and housed for the season at the home ranch.
26
VISION PHOTO LIFE
Thelma Fayles Ted Grant:

Sixty Years of Legendary
Photojournalism is an
excellent chronicle of Grants
life and career. Grant said, It
Grant had joined an established photography agency in Ottawa

and was working full-time as a photographer.
was an adventure into my past

each week when she asked
questions that took me back
Today the Ted Grant Special Collections at Library and Archives

Canada and the National Gallery contain more than 300,000
archived images taken by Grant over the years. Hes known in
the industry as the father of Canadian photojournalism. Youve
probably seen many of his images; his photo of Pierre Trudeau
sliding down the banister and the one of Ben Johnson in the
1988 Olympics are two of his most recognized. Hes had eight
books of his work published, and Bravo made a documentary
about him called Ted Grant: The Art of Observation.
AN INQUISITIVE APPROACH
Grant recently took the time to answer some questions about his
career, his approach to photography and Thelma Fayles new
book, Ted Grant: Sixty Years of Legendary Photojournalism.
From our interview exchanges and from reading Fayles engaging

book, one thing was abundantly clear. Whether Ted Grant is
photographing world political leaders, Olympic athletes, medical
professionals, fishermen or cowboys, he takes the same
30 or 40 years or more. Some

weeks the interviews were
very emotional as I lived
through some of the darker
moments of what I hadphotographedwars, Chernobyl and other
types along those lines. For the review of Ted Grant: Sixty Years of
TED GRANT
TED GRANT
Legendary Photojournalism, see page 15.
Derrick Man, Oil and Gas Exploration, 1967 To get this shot, Ted stands
Nun in Training, 1965 Ted had the opportunity to visit a convent in Hull in
behind a derrick man working on an oil-and-gas exploration platform in
1965 with NFB filmmakers who were producing a film there. Ted,
the prairies. I have photographed the downtrodden and the princes and
assigned to take the accompanying photographs, was mesmerized by
the shahs and everyone in between.
the beauty and tranquility of this young nun in training.
PHOTO LIFE VISION
27
BUILDING RAPPORT IS ALWAYS IMPORTANT. YOU GET WHAT YOU GIVE IN LIFE.
TED GRANT IN TED GRANT: SIXTY YEARS OF LEGENDARY PHOTOJOURNALISM
approach: he looks for the story. He watches attentively and

waits for it to appear. Grant knows that the most honest moment
often comes after the official photo opportunity.
He explained that this intuitive approach comes from knowing
your subject, instinct and your immediate reaction to what you
observe! Stay fully involved with what youre shooting and be
prepared. You cant be distracted by others trying to talk to you,
or thinking about what lens you should use, or what was the
ISO, or any simple-minded techie things! You see! You shoot!
Thats all there is to it!
When considering Grants sixty-year career, the role of his curiosity about life and other people cannot be minimized. His genuine
interest in others and his respect for them guide him as he tells his
TED GRANT
Though he makes it sound simple, Grants skill is masterful. His

exceptional ability to see and use light sets him apart. Hes
particularly known for shooting from the shadow side. Grant told
us, In the portrait studio, the type of lighting is referred to as
Rembrandt Lighting, as in the famous painter whose art pieces
illustrate shooting from the shadow side. It isnt a case of taking
five steps to the right or left, it is recognizing the effect of the
lighting and how it is shining on the subject...My suggestion for
those wishing to learn about shooting from the shadow side [is
that] they should go to the library and find a book about
Rembrandt and his paintings. Once this style of lighting is recognized, it can become extremely effective in many, many situations!
Madame Vanier and the Dropped Purse, 1961 Governor General Georges Vanier, Prime Minister Diefenbaker and Prime Minister Ben-Gurion bend down
to retrieve Madame Vaniers dropped purse. You often get about three minutes to take pictures at these official events and then everyone is instructed
to leave. I always stay for a moment without turning my back on the scene.
28
VISION PHOTO LIFE
I WANT TO MAKE GOOD USE OF EVERY MOMENT THAT I HAVE LEFT.

subjects stories with his lens. One project has had a way of leading to the next. Grant said, One example, certainly the most
important during the past 40 years, [was] when my curiosity was
aroused while laying on a hospital gurney awaiting a serious operation for trigeminal neuralgia. While experiencing excruciating
pain, [I was] thinking, Wow! What a great place to shoot. Upon
recovery four months later after the brain surgery? The result was
three medical books and a whole new look at life around me.
A TIME TO HEAL
At the moment, though, Grant is recovering from major surgery
and forced to wait until his doctor gives him the okay to get
back out there with his two Leica M8s, a couple of extra lenses,
spare batteries and an extra card. He explained, Earlier this
year, I had my right shoulder replaced due to a major fall while
on assignment in the [former] USSR in 1992. I just sloughed off
the physical annoyance and kept shooting. In 1994 I did my first
solo parachute jump at the age of 65, unfortunately once again
damaging the right shoulder on top of the previous
TED GRANT
His interest in photographing the medical field has only

deepened over the years. Grant revealed, At the moment I have
a standing book project on medical students [in] training. In
Hong Kong, Canada, several universities in Europe and Africa.
Then Cuba and the USA at Johns Hopkins. I trust shooting will
begin early 2014 With any kind of luck this medical project
should be ready for publication by spring 2015. I am eagerly
awaiting [getting] started.
Leopard-hatted Surgeon, 1985 This surgeons exotic animal-print surgical cap is an interesting visual contrast to his intense concentration while
performing heart surgery. All of my medical work was shot in existing light. No flash. Imagine being in an operating room and trying to use flash. You
wouldnt be in that room very long!
PHOTO LIFE VISION
29
MY WAY HAS ALWAYS BEEN TO CAPTURE LIFEREGARDLESS OF SUBJECT OR

LOCATIONIN AS STRAIGHTFORWARD AND TRUTHFUL A MANNER AS POSSIBLE.
92 incident.Both of these began such a battle with pain I had

to finally have the replacement [in] May 2013.
I must admit that Ive been taking notes of Dr. Teds wise advice,
and I am greatly looking forward to seeing more astonishing
beauty in his upcoming work.
TED GRANT
Its been a long season of healing for Grant. In addition to his

recovery from surgery, Grant has also been coping with the grief
of losing his beloved wife, Irene, who passed away during the
time the interviews were being done for the book. The courage
he has shown while navigating the grieving process is inspiring.
His determination to look for the beauty in each day and his
decision that grief was going to have to learn to live with him
set a powerful example of how to deal with heartbreaking loss
and yet choose to continue to embrace life and art.
Jean Cocteau wrote in his book A Letter to Americans, I would

rather that things happened otherwise, and there are times I
weep on the ruins. Afterward it comes to me that ruins have
their own astonishing beauty that can inspire an entirely
unexpected direction in art. When I asked Grant what he
thought about this quote, he said, I can say quite openly and
unashamedly I know exactly what he means and felt! And have
shed a great number of tears also! But life must go on!
Ted Grant, Self-Portrait at Seventy-Six Years Old, 2003 When somebody asks me to talk about my career and the places I have been and the
wonderful people I have met, I can be the gabbiest person in the world. I have enjoyed my work, and if I am lucky I will still do more. I want to make
good use of every moment that I have left.
30
VISION PHOTO LIFE
The New
Standard of
Performance
The PENTAX
Unsurpassed user flexibility
and the most advanced
DSLR in our line.
&*&*"%-!*
&* &* " %- ! *
/##%!(%
/ ## % !( %
PProfessional
rofessional ccapabilities
apabilities ffor
or eevery
ver y sserious
e r i o us p
hotographer, tthe
he PPENTAX
EN TA X
photographer,
K
-3 ssets
et s tthe
he n
ew sstandard
tandard o
maging p
er formance, iin
n tthe
he fi
eld aand
nd
K-3
new
off iimaging
performance,
field
tthe
he sstudio.
tudio.
1 *!!,$'!.#)!%% )!0 )%)&(
1*!,$'!.#)!%% )!0 )%)&(
1
&&*!%*

1)*&%*!%+&+))
)*&%*!%+&+)) &&*!%*

1# *#%*!#!)!%!#*(%
1#*#%*!#!)!%!#*(%
1(&))!&%# ,!&
1(&))!&%# ,!&
Lear
Learn
n mor
more
e at
Learn
more
atricoh-imaging.ca
us.ricoh-imaging.com
The
T
he PPENTAX
he
EN TA X K
K-3
K3 iiss ccompatible
ompatibllee
w
with
ith aallll PPENTAX
EN TA X K-Mount
K- M ount Lenses.
L e ns e s .
RICOHIMAGING
IMAGING
CANADA
INC.
2013
2013 RICOH
AMERICAS
CORPORATION
| PENTAX is a trademark of
Ricoh
Imaging
Americas Corporation.
All rights reserved.
PENTAX
PENT
TAX
is a trademark
trad
of RICOH IMAGING
CANADA INC. All rights rreserved.
eserved.
Winner: Drawn to the Fire, Kevin Konnyu, Toronto, Ont.
After the Gathering,

Susan Rogers, Toronto, Ont.
32
A Gathering of Arms, Suzanne Schneider, Nakusp, B.C.
VISION PHOTO LIFE
GATHERINGS
Grand Central, Suzanne Tetrault, Calgary, Alta.
Butterflies on Elephant Dung, Alex Riedel, Edmonton, Alta.
Canada Day Fireworks Over Quidi Vidi, Daniel Smith, St. Johns, N.L.
Playing Tre Sette in Sorrento, Robin Michetti, Pointe-Claire, Que.
WE INVITE OUR READERS TO PARTICIPATE IN THE SHOWTIME

PHOTO CONTEST SPONSORED BY EPSON CANADA LTD.
NEXT ISSUE
YOU COULD
WIN AN
EPSON
EXPRESSION
PHOTO XP-950
SMALL-IN-ONE
PRINTER
REQUIREMENTS
Please send your entries (max. five images per participant per theme)
to showtime@photolife.com following these guidelines:
Image format accepted: JPEG only

Image width: from 1800 to 4000 pixels (files must not exceed 3 MB)
Send only one image per email
Indicate the contest theme in the subject line
In the message, provide your name, address, phone number
and title of the image
This issues first place

winner receives an Epson
Stylus Photo R2000 Inkjet
Printer (retail value: $599.99).
The Showtime contest is open to Canadian residents only.

FOR INFORMATION ABOUT EPSON PRODUCTS, VISIT WWW.EPSON.CA.
THEMES
Gardens
Travel Memories
The Colour Pink
Natural Parks
Fashion
PHOTO LIFE VISION
DEADLINE
PUBLICATION DATE
January 19, 2014

March 24, 2014
May 25, 2014
July 27, 2014
September 28, 2014
April/May 2014
June/July 2014
August/September 2014
October/November 2014
December/January 2015
33
ANDREW EMOND
A combination of rusty boilerplate steel and century-old concrete makes for an

interesting juxtaposition. 12 mm, 30 s, f/8, ISO 400.
34
VISION PHOTO LIFE
When faced with a creative slump, Ive

often found that the best way to get
out of it is to look for things around you
that youve never paid close attention to
before. Sometimes theres something
unfamiliar hidden in the places you
frequent the most. In my case, I found
inspiration beneath my feet within the
sewers of Montreal.
A BIT OF BACKSTORY
In 2006, I relocated from Toronto to Montreal, a city that I had
only visited a handful of times in the past. I looked forward to
having the opportunity to photograph a new, large
cosmopolitan centre. For me, simply walking around with a
camera is often the best way to explore a place. It tends to make
me look at it slightly differently and, as a result, become more
aware of the details that get ignored during a daily commute or
walk to the corner grocery store.
It was curiosity mixed with a healthy dose of perseverance that led

me to Montreals underground. Not the metro, but the sewer system. Here I saw a layer of the city waiting to be discovered. It was
an area that I assumed had not been thoroughly explored, especially not through the lens of the camera. What I found was a place
where I could explore my new city in an unconventional way. And
I soon discovered that the underground was full of beauty.
Sewers arent the first things that spring to mind when we think
of beauty. On the surface (or under the surface, as the case may
be), there is little more to a sewer system than a series of pipes
designed to keep sewage and rain water away from our homes,
businesses and city streets. However, once you go a bit deeper,
it becomes evident that sewers offer murky reflections of a citys
history and growth, its changing concept of sanitation, and its
present-day solutions for managing a growing populations
dependency on water.
Montreals first large-scale sewer was constructed in 1832. This
feat ensured that the increasingly polluted waters of a creek that
flowed through the heart of the old city and into its harbour
ANDREW EMOND
After several months of wandering around my new

surroundings, I wasnt finding any particular aspect of Montreal
that was speaking to me on a creative level. I wasnt especially
interested in street photography or the citys architecture. I was
in search of something unique to Montreal, and I wanted a
subject that I could return to frequently and make my own

something that might help me get a better sense of the citys
landscape and shed light on its inner workings.
The flow of water mixed with sewage captured with long exposures often produces striking and magical effects. 15 mm, 90 s, f/11, ISO 160.
PHOTO LIFE VISION
35
would be removed from the landscape, along with the offensive

odours emanating from it.
As the city grew, so did the size of the sewer system. Each era
brought a new method of construction, from hand-hewn stone
blocks to brick and mortar to steel-reinforced concrete to factory-made PVC piping. Today Montreals sewers are a mishmash
of different technologies, both old and new, that keep that
sewage contained within the subterranean darkness (most of the
time, anyway).
WORKING DOWN UNDER

It goes without saying that the sewers are devoid of natural light.
One has no other option but to enliven these dark spaces using
the tools at hand. In my case, I used a small arsenal of batteryoperated devices like fluorescent lights, LED panels and halogen
spotlights. Each allowed me to paint the blank canvas using
a different style of brush.
When taking my photographs, I use single long exposures that

are anywhere from 30 seconds to five minutes in duration. The
more complicated the scene, the more time is required to light
its various areas. Ill often stand in the scene, which not only
offers a sense of scale, but also introduces a human presence
into a normally inaccessible part of the city. While we are all
plugged into these types of systems in terms of engineering,
frequently there is a physical and mental block between the
things we discard and the places they end up going.
My images provide reminders of such places and their physical
characteristics, offering a counterpoint to the frequently abstract
and technical ways in which this infrastructure is often
presented. More specifically, my hope is that my underground
activities can inspire others to look a bit deeper when exploring
their surrounding landscape. Sometimes what youre looking for
is where you least expect it.
ANDREW EMOND
Aside from the lack of sunlight, there is also the challenge of working in sewage. The sewage consists mostly of water discharged
from our showers, our sinks and washing machines, but also our
toilets. Fortunately this last source makes up only a small portion
of what flows through a sewer; however, its not uncommon to

have reams of toilet paper attach themselves to the legs of your tripod. Such occurrences are one reason why rubber chest waders
are essential underground garb. They keep you dry and ensure
that your clothes remain (relatively) free of unmentionables.
A shaft built during the 19th century was formerly used to dispense of snow from street level. Today, the city of Montreal still dumps snow into its sewer
system, albeit through more modern facilities. 12 mm, 103 s, f/11, ISO 400.
36
VISION PHOTO LIFE
before
after
Auto IT8 Calibration Automatically color calibrate your

Scanner in 2 Minutes
before
after
Image by courtesy of Stefan Greitzke / pixelio.de
iSRD - infrared-based
Dust and Scratch Removal
before
after
Multi-Exposure Increasing Dynamic Range for more

Image Details and less Image Noise
SilverFast Ai Studio 8
Pioneer & Expert in Digital Imaging
The SilverFast 8 from LaserSoft Imaging
comes up with new practical and valuable
features. There is really nothing to complain
about, except that sometimes there are simply too many possibilities. In such cases you
can easily rely on the new WorkflowPilot.
With this software, LaserSoft Imaging will
surely strengthen its market leader position,
if not expand it even further.
PHOTO PRESSE
'PS$PMPSNBOBHFE4DBOOJOHPG1IPUPT 4MJEFTBOE/FHBUJWFT

-BTFS4PGU*NBHJOH *ODr 'SFFMJOH%SJWFr4BSBTPUB '- 64" 1IPOFr'BY

-BTFS4PGU*NBHJOH"(r-VJTFOXFHr,JFMr(FSNBOZr5FMr&NBJMJOGP!TJMWFSGBTUEF

&.BJMTBMFT!4JMWFS'BTUOFUrXXX4JMWFS'BTUDPN

TECHNIQUE
THE ART
OF SHOOTING
LOW-LIGHT
EVENTS
BY DAVID GIRAL
PHOTOGRAPHING LOW-LIGHT EVENTS IS A GREAT

WAY TO TEST AND IMPROVE YOUR SOCIAL AND
TECHNICAL SKILLS AS A PHOTOGRAPHER. HERE
ARE SOME TIPS TO HELP YOU GET READY.
DAVID GIRAL
DJ Armin Van Buuren at

Bal en Blanc, Montreal;
70 mm, 1/800 s, f/2.8, ISO 1600.
38
OCTOBER/NOVEMBER 2013
TECHNIQUE PHOTO LIFE
Since beginning my career, Ive covered

a wide range of events: private parties,
big concerts, races, corporate events,
food festivals and many more. Each is
different, but the interaction with
people is always exciting. As a big fan
of electronic music, I found my true
passion when I started capturing DJ
events. They are fast-paced and
challenging, plus the ever-changing light
always makes them exciting to
photograph.
THE RIGHT GEAR

So whats the best way to prepare for shooting low-light events?
You need to start with a camera that performs well at high ISOs
and a lens with the widest aperture possible to capture light (so
that you can avoid using a flash). A fast lens lets more light in
to your sensor, therefore allowing a faster shutter speed. The
faster your lens is, the more action you will be able to capture.
For example, lets imagine youre using an f/2.8 lens. At ISO 3200
and f/2.8, setting your camera at 1/30 s will get you proper
exposure but will not freeze the action or get you a sharp picture.
If you are using an f/1.4 lens, youll be able to choose a shutter
speed of 1/125 s, which is very comfortable for action shots.
A 24-70 mm f/2.8 zoom is a good starting point as an all-around
lens. And a 70-200 mm f/2.8 zoom is great for capturing details
its also very useful when you are located a bit further from the
action, like in concerts or speeches. A fish-eye lens is a cool addition for getting close to the action; it creates vibrant and dynamic
images. If you really want to invest, buy a couple of extra fast lenses
(f/1.8 and lower) that will allow you to capture even more action.
Prime lenses are also great because they force you to get creative
and move in relationship to your subject, which can make your
story more compelling. The most popular prime lenses for event
photography are a 35 mm f/1.4, a 50 mm f/1.4 and an 85 mm
f/1.4. A 35-mm lens is essential to capture the general action and
be creative, a 50-mm lens is great to capture people and details,
and an 85-mm lens is definitely the best tool for close-up portraits.
DAVID GIRAL
DJ Dash Berlin at Resolution Montreal; 135 mm, 1/1250 s, f/2.8, ISO 2000.
PHOTO LIFE TECHNIQUE
MANAGING THE LIGHT

As a general rule, working with ambient light as much as
possible will allow you to better capture the mood and action.
Flash is often unflattering and can contribute to mediocre
pictures if not used well. When working events, I always arrive
early to get a feel of the space and to measure the light as much
as I can. Then I set my ISO accordingly; most of the time, it stays
between 800 and 3200. In rare situations, I go up to ISO 6400.
On the occasions when I need to use a flash, I almost always
shoot in TTL mode and use a diffuser, either directed toward the
ceiling for bounced light or directly toward the subject. If you
want to create cool ghosting effects, use a slow shutter speed
(lower than 1/20 s), then select the rear-curtain sync on your
flash. (Rear-curtain sync means that the flash is fired near the end
of the exposure.) The end result will be a perfectly exposed
subject with trails of movement. Also, when my subject is backlit,
I will sometimes direct the flash toward my subject and lower the
flash exposure to -2 or -3 EV. This helps fill out the shadows a
bit, while keeping the overall atmosphere intact.
The AF Assist Lamp mode of your flash can help your camera
focus in low-light situations, especially with backlit subjects,
when contrast-detection is nearly impossible.
MASTERING COMPOSITION
Mastering the technical aspect is certainly an essential step, yet
another challenge lies in mastering the art of telling the story of
the event. Creative storytelling might mean that you need to find
unusual angles or shoot from locations that might be challenging
to access. Keep an open eye for unique compositions. Follow the
energy of the crowd and look for moments of high intensity.
When I shoot from the DJ booth, I like to close in on the artists
to get isolated shots or capture them from behind to include the
spectators in the background. However, some of my best shots
were taken from within the crowd. It can be a bit tricky to
squeeze in between people and extend your arm to get some
unobstructed pictures. Yet, it is well worth it and the best way to
capture the shows atmosphere. Finding elevated points of view
is also a good idea since it will allow you to capture broad
perspectives of the event and details of people in the crowd.
DAVID GIRAL
DJ Avicii crowd at Resolution Montreal; 24 mm, 1/2000 s, f/2.8, ISO 1600.
AUGUST/SEPTEMBER 2013
39
A FEW MORE TIPS

Of all the events Ive covered, nightlife events are the most
challenging. The ambient light at those events can go from dim to
very bright depending on the moment. This makes metering for the
right exposure especially difficult.
Bracket your shots in a quick burst (-1EV, 0EV, +1EV) in order to
increase your chances of capturing the lights at the right exposure.
Time your shots based on the lighting changes and follow the
same rhythm as the music.
If youre photographing lasers, then its worth increasing your
aperture or lowering your ISO. Otherwise, you will just capture
partial laser beams. An exposure between 1/50 s and 1/100 s is
usually a good range to start with.
Use your flash in the AF Assist Lamp mode to help you with
focusing when there isnt much contrast.
In order to stop movement, your shutter speed should be no
slower than 1/100 s.
And dont forget to check photography policies before photographing performance events. Professional theatre performances,
for example, typically do not allow photography of any kind.
APPROACHING THE ARTISTS

Accessing restricted areas, such as a stage or a DJ booth, even
with a media pass, requires patience and preparation. Major DJs
and their managers will not allow you to stay on stage if you
dont look like you know what you are doing or if you are taking
too long to take your shots. Remember to be patient and

courteous with security and to keep a low profile.
Before getting on stage, I usually take a moment to focus myself
and visualize the shots I want. I try to pick a song where the DJ
and the crowd are fully engaged, otherwise the pictures will tend
to be dull. Then when I move in, I usually crouch behind the DJ
booth while getting ready for the right moment.
In the stage area I use a 24-70 mm lens, or a fisheye when Im
really close, and I dont stay there more than five minutes.
Another important factor to take into consideration is how you
expect the artist to react to having a camera nearby. Some DJs
love it; some dont and might ask you to move away. There is
no definite recipe here, so use your intuition and watch to
determine if the performer likes to play to the camera or is
about to give you a dirty look. (And, of course, these same
basic principles apply when photographing people at an event
of any scale.)
ALL SET
Now that you are all set to photograph low-light events, start
small with parties. Once you get comfortable and confident with
your craft, find an event to shoot and ask for a media pass. And
when you are about to walk into the venue, remind yourself that
nothing is as important as passion.
PHOTOS DAVID GIRAL
DJ Tiesto at Bal En Blanc, Montreal; 155 mm, 1/200 s, f/2.8. ISO 1600.
DJ Dirty South; Montreal; 200 mm, 1/100 s, f/2.8, ISO 3200.
DJ Skrillex at Resolution Quebec; 70 mm, 1/50 s, f/2.8, ISO 2000.
DJ Gareth Emery at Resolution Montreal; 24 mm, 1/320 s, f/2.8, ISO 1600.
40
Amherst, New York

Mike Moats
Macro Track
Three experience levels

You decide how
advanced a shooter
you are
An incredible value-only $179 for three
days of education,
networking and meals!
Landscape
Track
Where
education
creates the road
to success!
Deke McClelland
Post Production Track
14 Terrific Instructors
Focus on Education
Hands-on Workshops
Clay Blackmore
Wedding Track
Wildlife
Track
Post Production
Track
Portrait/Fashion
Track
Macro
Photography
Track
Photo by Jacob Cunningham
Ellen Anon
Multiple Tracks
More Info
www.canamphotoexpo.com
Wedding
Photography
Track
TECHNIQUE
THE GREEN SCREEN

OR HOW TO MAKE GIANT APES LEAP TALL BUILDINGS
BY DALE WILSON
In its efforts to commemorate the War
of 1812, Parks Canada organized
many activities and re-enactments of
that event in our countrys history. I
was fortunate to receive a commission
to photograph an encampment of the
Nova Scotia Fencibles as they might
have appeared at that time.
While photographers most often use green-screen technology to

transport people into a variety of backgrounds, the technology is
also very appropriate for creating elements to enhance, amend or
even replace any undesirable components of an existing image.
PARKS CANADA
While the images captured the essence of time and place, I was not
thrilled with the fire in the original set of images. So I started my
quest to find a solution to build a more aesthetically appealing fire.
The challenge was to find a technique that would allow the

background of the soldiers pant legs and grass to show through
as the fire and smoke waned. I tried numerous layer-masking
techniques in Photoshop using the fire from other images I
captured during the original shootwithout success. This led to
further reading and research on chroma-key and green-screen
technology.
This period encampment was photographed at the Halifax Citadel National Historic Site. The fire was photographed in my backyard with only the green
screen and no artificial light or light modifiersjust natural light at dusk. The separation was achieved with Digital Anarchy Primatte software and
compositing was completed in Photoshop.
42
BLUE OR GREEN?
One could use any solid colour for the screen (made of paper, fabric
or other materials), but blue and green are used because these
colours are not represented in human skin tones. I use both
interchangeably based on the colour of clothes the model may be
wearingdespite the assertion of better green values with digital
camerasand cant see the difference in practical use.
Photography is about creating illusionssometimes they appear

realistic; other times they are perceived as illusions.
PRE-PHOTOSHOP POST-PRODUCTION
Since the earliest days of image-making, artists have been adding
or deleting elements to achieve the
desired result. There are many examples of this trickery in public
archives. Two of the earliest examples
are U.S. President Abraham Lincolns
head transported onto the body of
fellow politician John Calhoun to
create the iconic presidential portrait,
and a portrait of General Ulysses S.
Grant taken around 1864 that was
actually a composite of three separate
photographs, according to Library of
Congress researchers. Students of the black-and-white darkroom
will know this compositing work was done by way of film
masking, or layer masking.
ier to remove undesired objects (usually people) by airbrushing

them out or, quite literally, painting the surrounding scene over
the unwanted elements. At the same time, the moving-picture
industry was searching for ways to film scenes within the
confines of a studio where all lighting elements could be
controlled and production costs could be ultimately lowered. To
accomplish this, they began using the travelling-matte method,
which was followed by the blue screen and the 1933 film King
Kong, and the breakthrough of chroma-key technology.
LEARNING THROUGH EXPERIENCE

Improvement in ones skill level is usually the result of the desire
to satisfy a curiosity or the need to solve a problem. With the
advancements of digital capture in stills and Adobe Photoshop,
photographers have the tools to create that weatherman effect
in which a person shot on a green (or blue) screen can be made
to appear in any location desired.
By the 1930s, the film and photography industries had taken

somewhat separate directions. Photographers often found it easDespite valiant efforts to have the director send us to New York City, the
lead actors of the musical West Side StoryRyan Henwood (Tony) and
Rachel Mills (Maria)were photographed with a
green screen at Cole Harbour District High
School cafeteria during a break from
rehearsals. The appropriate background for the
classic love scene was licensed from the
agency 123RF. By securing the background
first, I was then able to concentrate on the
lighting to make the colour and direction
appear as it might be originating from the windows of the derelict building. A condition of the
licensing rights was including the billing credits
of the authors and creators of the musical, so careful consideration had to
be given to ensure enough space was available on the poster. The text
and fonts on the final poster were changed from the mock-up, but it was
DALE WILSON
123RF
DALE WILSON
the pre-visualization and pre-production that made the process smooth.
43
In my experience, it is always best to research the concept and

sketch a composite before jumping in with both feet. When you
choose a project, understand that the success of the final result
will be proportionate to the amount of research done in preproduction.
While it is true you can incorporate as many elements or layers
as you like, it is typically easiest to start by making a portrait with
only two layersthe person and the background. Keep it simple.
The portrait of Chris (his real name is Darren) is a great example of how a simple green screen can work. I had driven by this
retro service station in Nova Scotias Annapolis Valley for several
years and knew I somehow wanted to photograph it. After
receiving permission from the property owners, I was in business. Since it is a private property, I wanted to be as unobtrusive
as possible. I had to find a way to create my image without
rolling onto the property with models, support staff and a full
lighting kit powered by generators.
I sketched out several composite ideas and decided to simply use
the background as a scene for a portrait. I recognized a different
sky would be required, so I captured that about two kilometres
further down the road. I recruited my friend Darren, who even
showed up with a period haircut.
With all the elements photographed, it was simply a matter of
stitching them all together. I find that its best to approach this
type of project with one of two underlying directions. You can
exercise extreme care to ensure the lighting in the studio mimics
that of the background scene if you desire a non-composite look,
or you can leave absolutely no doubt in the viewers mind that the
image is a composite by using different lighting on the model.
Creating a work somewhere in the middle simply looks like bad
DALE WILSON
DALE WILSON
DALE WILSON
Locations
Private property (I secured permission first) and studio for the
portrait.
Budget
Pizza and beer for my model friend (only if he askshe didnt) and
a print of the property for the owner.
Technique and aesthetics
The final image should have a 1950s aesthetic.
It should be obvious that it is a digital composite.
The photograph should only show the model from the waist up
to negate the need for shadows.
There should be a strong rim light on the model to create
separation from the background.
Out of consideration of the use of hot bulbs in the 1950s, the use
of light modifiers should be limited.
Lighting
Boom light above and behind, centered on the models head;
flash exposure index f/16, bare light.
Two side lights placed about 45 degrees behind the model, with
the light feathered to each side of his face; flash exposure index
f/11.5,
bare light.
The front fill light is a four-foot Chimera softbox positioned
directly above the camera and centred with the model; flash
exposure index f/8.
DALE WILSON
BREAKING DOWN MY
SELF-ASSIGNED PROJECT
From pre-production sketches, I knew I wanted a final image that

left no doubt the portrait was a digital composite. In order to do
so I needed a new sky that would suggest strong backlight. With
the background images completed, I was ready for the studio
portrait phase. I lit Darren with hard light to show strong specular
highlights on his face and to recreate a lighting style reminiscent
of the 1950s. Strong rear, or rim lighting, was also required to
separate him from the background. Consequently all lights
behind Darren were bare flash and the fill light in front was a
four-foot Chimera softbox. Colour desaturation and increased
density were achieved in Photoshop by using various blending
mode techniques.
DALE WILSON
44
TIPS FOR SHOOTING CHROMA-KEY
Photoshop skills, and the image will typically appear very

contrived and uninspired. Your mantra should be: it is or it isnt.
WHAT YOU NEED IN YOUR TOOL KIT

The necessary tools can be as simple as a camera, a green or
blue screen, depending on the models wardrobe colours
(remember, you dont want the models clothes to match the
background screen), and a computer loaded with Photoshop.
Personally, I also use a Photoshop plug-in distributed by Digital
Anarchy called Primatte Chromakey. Other plug-in softwares are
available as well, so download free trials and test several to find
one you like. You can also photograph your subject in front of a
middle-grey background and then use masking and blending
techniques in Photoshop. Each software solution has unique
attributes, but all are essentially doing what Photoshop masking
techniques can accomplishonly much faster and with less necessary Photoshop skill.
Lighting equipment is optional, but as with any other approach
to image-making, strategically placed and appropriately powered
lights can certainly add vibrancy to the end result.
Light the background screen 1 f-stop darker than the subject.

Photograph the subject with as small of an aperture as possible,
ideally f/11 or smaller.
Keep the subject at least 3 metres from the screen if using seamless paper to reduce spill (reflected) light falling onto the subject.
Photograph background images first, maintaining a strong
indication of light direction.
Backlight is easiest to replicate in studio when lighting a subject;
therefore consider photographing background scenes that are
backlit.
Remember: it is or it isnt.
The most important tool you should have in your arsenal is an

open mind, coupled with a willingness to experiment and push
your creativity into the unknown. Be receptive to failure; its an
excellent learning opportunity.
Be it green screen, blue screen or middle-grey masking, the techniques of image masking will provide you with limitless fun and
opportunity. If King Kong could leap over buildings in 1933, and
Forrest Gump could shake hands with film reel footage of
President Kennedy, surely still photographers of today can be
equally liberated by the flexibility of shooting around the world
with the luxury of never having to leave their home studio. To
quote a line from one of the greatest chroma-key enhanced films
of all time: May the Force be with you.
45
TECHNIQUE
FAQ
HOW TO PHOTOGRAPH OUR

SNOW-COVERED LANDSCAPES
Ah, that dingy grey snow! Why is its heavenly purity so

hard to capture? Why does it insist on always looking so
drab in every single photo? In fact, its not the snows
fault; its the exposure system thats to blame. It gets
blinded by an abundance of light that it doesnt know
how to handle, so it stops this excess from getting to
the sensorjust like an iris protects the retina from too
much light. Heres how to work around this problem and
get some great winter landscape photos.
Use the right scene mode

If you have a scene mode dedicated for
this task on your cameracalled,
appropriately enough, [Snow]your
solution is quite simple: stop reading
now, select this mode and go brave
the freezing weather! If you dont have
this mode, read on to see what your
options are.
Despite their high quality, exposure systems

are led astray by the strong reflectivity of snow,
which causes them to underexpose
significantly. Blinded by the excess of light, the
exposure system prevents the photons from
reaching the sensor, a little like an eyes iris.
ISTOCKPHOTO / RCH1
46
The Camera Store

Overexpose to compensate
When you understand that every camera
makes the error of underexposing and rendering winters ivory blanket a dove grey,
all you need to do is overexpose to compensate. A simple exposure compensation
will do the job: navigate to the Program
mode [P], activate the [+/-] function, and
select a value between [+1 2/3] and [+2].
Your winter images will shine with pearly
brilliance. (It is commonly believed that
this error wont happen in Manual mode,
but thats incorrect. In both cases, you are
being guided by the same metering
system, so itll give you an inaccurate
reading even in Manual.)
JPEG compression. (But dont think that

your image sensor has a greater dynamic
range in Raw: it doesnt change one iota.
Overexposure still wipes out the details in
the highlights, no matter what type of
image format youre using.)
introduces a new
line of photography
accessories:
So, in the end

Put on a warm hat, some mittens and a
good scarf. Protect your batteries from the
cold, and get on your boots and snowshoes. Armed with good winter gear and
these solutions for avoiding overexposed
snowy landscapes, youre ready for a
winter adventure!
A grey card to avoid the grey

You can also set a grey card (a standard
reference card that reflects 18% of the
light) on the snow, take a reading of it,
and use those exposure values in Manual
mode. This will give you an accurate
reading because the metering system is
no longer blinded by the snow, and youll
get an image with glistening snow.
This is a conventionally underexposed winter

image: the snow is almost a bland grey.
Histogram
The histogram (which some people
wrongly assume is as complicated as
rocket science) is particularly useful in
evaluating the aforementioned overexposure common with snow. When you
photograph a snowy landscape, just try to
keep the curve slightly to the right side of
the histogram to ensure that the highlight
areas are teeming with detail.
Here, the whites are pure and the detail is

there. Theres no sign of clipping; the exposure
is perfect.
Raw
For those of you that have the option,
work in Raw when dealing with snowy
landscapes. The brighter zones in your
images will contain information and detail
that would be otherwise removed by
On this histogram, you can see that the whites

have lost their oomph: they are completely
pressed against the right wall. Its wishful
thinking to believe that Photoshop can resurrect some detailthere simply isnt any there!
WHEN YOU UNDERSTAND THAT EVERY CAMERA MAKES THE

ERROR OF UNDEREXPOSING AND RENDERING WINTERS
IVORY BLANKET A DOVE GREY, ALL YOU NEED TO DO IS
OVEREXPOSE TO COMPENSATE.
Purchase now at
thecamerastore.com
47
The term photography literally

means writing with light, but not all
light is equally good for writing.
Sometimes you have to wait for the
pieces of the puzzle to fall into place
before you can create a
masterpiece. And in outdoor
photography, seizing the light at its
best is often what matters most.
WAITING FOR THE BEST LIGHT
BY JEAN-FRANOIS LANDRY
PHOTO 101
You want me to be more specific?

Sure! Using an online Blue
Hour/Golden Hour calculator, Ive
found the best photographic times of
the day for a person who lives in
Toronto (N 43 39.2 W 79 23.0).
Yes, there are moments of grace in photography, but they are fleeting. Theyre probably
not even a full hour, in fact. But perhaps its their ephemeral nature that makes them so
magical!
But there is another time of day that is also spectacular for photography: when the sun is
hidden behind the horizon just following a sunset or preceding a sunrise. This heavenly
half-hour of blue comes at nightfall orfor the early risers out theredaybreakthe time
when the birds begin to sing and I pull my comforter up tightly under my chin.
THE BLUE HOUR
When the sun is approaching or going away from the horizon, there is a short time that is,
without a doubt, magic. The Golden Hour, as photographers call it, comes in the
45 minutes preceding a sunset or following a sunrise. The light is diffused and warm.
Shadows appear slowly, contrast drops, and our cameras seem to take better images.
THE GOLDEN HOUR
Later on in the year, these times shift. The Blue Hour is between 5:03 and 5:38 a.m.; the Golden Hour lasts
from 5:38 to 6:22 a.m. The sunrise continues until 9 a.m., and then you have a break until 6 p.m. The Golden
Hour happens from 8:21 to 9:04 p.m., followed by the Blue Hour, which finishes around 9:40 p.m.
TUESDAY, JULY 1, 2014
Night ends around 6h00. The Blue Hour begins around 7:17 a.m. and slowly changes into the Golden Hour
around 7:49 a.m. The Golden Hour lasts until 8:36 a.m. The sun reaches full force around 10 a.m., so you can
set down your camera for a while. The suns light starts to weaken around 2:30 p.m., and the Golden Hour
begins around 4:07 p.m. The sunset is at 4:54 p.m., when the Blue Hour settles in, coming to an end around
5:26 p.m.
WEDNESDAY, JANUARY 1, 2014
Exactly, and thats what determines the optimal moments. You can give up on the period
when the sun is at its most powerful and the contrast is brutal. However, in the morning,
when the sun is rolling out of bed, stretching and yawning, its subtle light offers an all-youcan-eat buffet of photographic options. Same for the end of the day, when the sun is wiped
out from a long day, and its energy seeps away well before it disappears over the horizon.
BUT THE SUN ISNT ALWAYS AT ITS PEAK
The sun emits a powerful light so intense that we can feel its heat on our skin. When you
are taking pictures during the daytime and the sun is at its apex, the contrast (which is the
difference in brightness between an area illuminated by the sun and an area that isnt)
greatly exceeds the capacities of our image sensor. Since its impossible to record the total
range of contrast, its sometimes necessary to pick the least bad of two equally undesirable
options: you expose for the highlights and the shadows get evicted, or you prioritize the
shadows and blow out the highlights.
CONTRAST ON THE AGENDA
PHOTOS JEAN-FRANOIS LANDRY
50

"&
$(
$

#'$(
$&%, 0%$#''$(
$ (
.$(
$(
' - #.
#%$
"# )' #''.

$(
$&%.$(
$ &''.&$
$(
$ $(
$&%$' .$(
$)' #'' (
/!
' $(
2

(
(
& $(
$&%,
$(
$&

!
+ .
$(
$ &% $(
$&
. $(
$' .
$(
$
- #
&(
$(
$&/
$ .
$(
$
1
$ (
)!

(
!
$(
$ . $(
$&%, $#(
!
, . &(!
$(
$&%, . &$
'' $#!
$(
$&%&

)(
(
&)

#$$%&($#* (

"& $)&#!
&''
!
)

# "

!

!

!

#
#

!
!

#

$

!

!

#

!

#

!

#

GEAR PHOTO LIFE
GEAR
HOW TO STABILIZE YOUR

CAMERA WHILE SHOOTING VIDEO
BY PETER K. BURIAN
Now that virtually all recent digital
cameras can shoot HD video,
accessories that were primarily for
camcorder owners have become more
important. Just as in still photography,
serious moviemaking calls for a tripod
or a monopod, preferably with a
special video pan head. When greater
mobility is required, however, youll
want to switch to a portable shoulder
rig accessory. Lets take a look at
some specific products that can help
you make excellent video clips with any
type of camera.
Serious moviemakers often select a tripod with bracing struts

(also called spreaders) between the legs because they add
stability. Naturally, this adds weight to the tripod, and the braces
eliminate the possibility of low-level camera placement. Many,
but definitely not all, video shooters consider those to be
worthwhile trade-offs for the extra stability provided by the
bracing struts.
Here are some suitable tripods with fluid video heads. They
range in price, but all are significantly more affordable than the
equipment used in broadcast studios and by professional video
journalists. Unless otherwise stated, the maximum height listed
is with the centre column fully extended.
TRIPOD LEGS AND VIDEO HEAD

For maximum stabilityand smooth pans and tiltsa rigid
tripod with a video head is the best investment you can make.
You can find numerous conventional tripod kits, but nearly all
include a standard pan/tilt or ball head. Either type is perfect for
taking still photos but not really suitable for shooting movies.
The best solution is to buy a video tripod kit with a fluid head.
The term fluid indicates that the head is equipped with a
cartridge containing a liquid as a lubricant for a much
smoother pan/tilt effect to prevent jerkiness in your movies.
The most frequent adjustments can be made with a video
heads long handle, which can be loosened, tightened and
locked. Do note that a most video heads provide only
two-way panning; theres no way to place the camera in a
vertical orientation, so its not fully suitable for shooting still
photos. If you already own an excellent tripod, add a highgrade, mid-size head such as the Mini Manfrotto 701HDV Pro
($160), Compact Manfrotto MVH500 ($180), Benro S6 ($170)
or Gitzo G2180 Series 1 ($260).
PHOTO LIFE GEAR
BENRO A2573FS6 KIT

This kit (3.12 kg with a 5.9-kg load
capacity) offers very good value with a
2573F aluminum tripod with magnesiumalloy components, individually adjustable
leg angles, anti-rotation legs for fast
set-up and quick flip-lock levers. The
maximum height is 1.78 m. Its
equipped with a high-grade S6 head
with a fluid cartridge, separate pan
and tilt friction control, and an
illuminated bubble level. A
counterbalance feature allows
for great stability even with a
long, heavy telephoto lens.
$315 (street) gnigami.ca
51
52
GITZO
GK2500LVLQR KIT
MANFROTTO
MVT502 KIT
Made without leg braces to allow for

low-level capability, this high-grade kit (3 kg
with a 5-kg load capacity) includes a
Series 2 carbon-fibre tripod with antirotation legs and independent angle
settings. A levelling mechanism allows
for quick and perfectly horizontal
camera positioning on uneven ground.
The maximum height is 1.8 m. It also
has also a strong, lightweight twoway fluid G2380 head with separate
pan and tilt controls and a fully
adjustable counterbalance
system for weight distribution.
$1100 (street) gentec-intl.com
This is an aluminum 502AM tripod with

telescopic twin-tube legs with struts and
elliptic sections plus a 502A fluid head
(3.1 kg, 5-kg load capacity). The
aluminum pro head is equipped with a
spring-loaded counterbalance system
for weight distribution and
independent pan and tilt locks. The
maximum height is 1.54 m. A special
feature allows for levelling the head
without adjusting the legs, which is
useful on uneven terrain.
SACHTLER ACE M
SYSTEM
SLIK PRO 723CF

TRIPOD
Sachtler products are used in many video

studios. The Ace M is a relatively affordable,
lightweight (4.4 kg with a 4-kg load
capacity) kit for moderately large
equipment. The two-stage aluminum
tripod with a spreader has legs that lock
with thumbscrew mechanisms; the
maximum height is 1.69 m. The fluid
head is equipped with a
counterbalance for weight
distribution, a bubble level, a long
quick-release system, and drag
control for vertical and
horizontal settings.
$600 (street) sachtler.com
This is a high-quality tripod (without

struts) thats ideal for outdoor use;
simply add any suitable video pan
head. Features include twist-type
locks, pads on two of the legs for
carrying comfort, and a hook on
the centre column for hanging a
weight for extra stability. You
can also invert the column in
order to place the camera
at a very low level. The
carbon-fibre construction
keeps it light (1.4 kg),
yet it has high load
capacity (5 kg). The
maximum height is 1.31 m. $400 (street) daymen.ca
VELBON C600
VIDEO KIT
VELBON SHERPA
538N/FHD 51Q KIT
If youre on a very tight budget, check

out this 2-kg kit (with a 4-kg load
capacity), including an aluminum tripod
with braces and a PH-368 fluid head.
The latter features separate pan and
tilt controls that can be attached to
either the left or right side. The
maximum height is 1.63 m. The
tripod is equipped with a geared
centre column with pre-set
friction control for quick and
easy camera positioning and a
bubble level. $130 (street)
nadel.ca
An affordable kit (2.19 kg with a 4-kg load

capacity), this one includes a heavy-duty
tripod with bracing struts and aluminum
legs with quick-release locks. The
maximum height is 1.59 m. The
magnesium FHD 51Q true oil fluid
pan head features a spring-loaded
counterbalance, controls for tilt
friction and tilt range, a separate pan
lock, a bubble level, and an extra
large sliding plate in the quickrelease mechanism for adjustment
of the cameras position.
$250 (street) nadel.ca
GEAR PHOTO LIFE
BENRO
A38FBS2
A monopod provides greater mobility than a tripod, and a
few are available in a kit with a head. Of course, if you
already own a monopod, you can equip it with small fluid
head such as the Velbon FHD710Q ($140), the Benro S2
($85) or the Manfrotto 391RC2 ($85). Otherwise, consider
one of the following kits.
This (1.3 kg) kit with a fluid video

head (and a 2.5-kg load capacity)
is quite affordable. Features
include quick-flip leg locks, an
anti-rotation leg, three small
(retractable) feet that provide extra
stability and a rubber grip for comfort.
The S2 head provides separate friction
and lock controls for pan and tilt, a
bubble level and a quick-release
system. $140 (street) gnigami.ca
MANFROTTO 558B
MANFROTTO 560B
This company makes several monopods with very small

headsincluding this 1-kg model with a 7.9-kg load
capacity ($140)with three-section legs, rubber
handgrips and locks that allow for a
very quick set-up. The head (not
specifically for video) has a
quick-release system.
For panning or tilting,
simply move the
monopod as necessary.
A monopod with a compact head equipped with a fluid

cartridge and quick-release system, this 0.85-kg kit
allows for smooth pans. The monopod has pivoting
retractable feet for firm footing on uneven terrain and
for extra stability (with at least a 2-kg load capacity).
MONOPODS AND HEADS
The secret to taking gorgeous portraits

)TS ALL IN THE LIGHTING !ND WITH THE
$ ,ITE 28 4O 'O SET ITS ALL IN THE
kit. The D-Lite RX To Go set from
%LINCHROM COMES COMPLETE WITH ALL
the lighting tools you need to take
PROFESSIONAL LOOKING PORTRAITS )TS THE
perfect portable lighting studio for
HOME OR BUSINESS 7ITH %LINCHROMS
NEW 7I&I COMPATIBLE 28 mASH HEADS

you can adjust flash/modeling light
SETTINGS AND TRIGGER mASH WIRELESSLY
0LUS YOU CAN ADJUST SETTINGS AND TEST
mASH FROM AN I0AD I0HONE OR I0OD
4OUCHWITHOPTIONAL7I&IMODULEAND
free Skyport app.
Set includes: 2 action-freezing, fan-cooled flash
HEADS7SOR7S SOFTBOXESREmECTORSTANDS
WIRELESSTRANSMITTERANDCARRYINGCASES
Elinchrom D-Lite RX To Go sets are available at:

s6ISTEK
s$OWNTOWN#AMERA
s!TLANTIC0HOTO3UPPLY
s3IMONS#AMERAS
s,OZEAU
s+ERRISDALE#AMERAS
s0HOTO,APLANTE
s"ROADWAY#AMERA
PHOTO LIFE GEAR
s,ENS3HUTTER
s0HOTO#ENTRAL
s0HOTO%XPRESS
s$UNCAN7RIGHT
s,EOS#AMERA3UPPLY
s0HOTO0RESTO
s:ONE0HOTO
s0HOTO#$-
s'OSSELIN0HOTO
s.EWFOUNDLAND
#AMERA
s0HOTO*OLIETTE
s,ONDON$RUGS
s0HOTO3ERVICE
s6ICTORIAVILLE0HOTO
s,ORD0HOTO
Gnigami Ltd. 2013 Pronounced ni-gah-mee
www.gnigami.ca
53
REDROCK
MICRO NANO
SHOULDER RIGS
An accessory used by professional videographers when
shooting events, a shoulder rig provides stability while
allowing for maximum mobility. Use a camera/lens with
an image stabilizer system; brace the rigs body pad
against your shoulder and hold the handgrip portion to
minimize camera shake as you walk around to record HD
video. The pro rigs used by photojournalists are very
expensive (usually $2000+) but you can find more affordable models too, such as the following.
REDROCK RUNNINGMAN
Designed for video shooters
who must move quickly,
this Redrock Micro kit
offers a different design
for even greater stability.
Like the Nano models,
its equipped with a
body pad and handgrip.
This accessory is a bit
larger than the basic
Stealth but still relatively
compact. $430 (street)
gnigami.ca
The basic Stealth Grip Nano kit

($390) offers great stability and can
be adjusted to hold the camera (with
the handgrip), so you can view the
scene on the LCD while
recording. The Stealth V Nano
(shown in this photo) is more
expensive, but its equipped
with an extended handgrip.
This feature enables you to
manoeuvre the camera more
freely with a relaxed arm
position while still benefiting
from the stability provided by the
body pad. $600 (street)
gnigami.ca
SEVENOAK
SHOULDER RIG
Quite affordable and versatile,
this rig with a grip
handle and large
foam-covered
shoulder pad for
great stability can be
set up for left or right
shoulder operation. You
can make positioning
adjustments with
thumbscrews and precision
adjustments using a hex key.
The stainless-steel stand can be changed to various
heights and the base plate can be moved back and forth.
SHOULDER RIG ACCESSORIES

With any shoulder rig, regardless of the brand, youll probably want to add a loupe accessory that attaches
to the LCD. It will become a type of viewfinder that eliminates the risk of glare obscuring the screen. The
3.2-inch Hoodman Loupe ($110), with a +/-3 diopter adjustment, would work well. Attach it to the
camera using the Cinema Strap accessory ($22) or with the Redrock Micro Finder Accessory Kit
($45). Another option is the Hoodman Cinema Kit ($250) that includes a 3-inch loupe and a more
professional metal bracket (crane) for mounting it on a DSLR camera via the hot shoe.
THE BOTTOM LINE

Its important to check out tripods, heads and shoulder rigs in
person at a well-stocked photo store. Look for one thats
convenient to operate as well as rigid/stable, but not excessively
heavy. If you live in a remote area, read reviews about suitable
54
models in your price range. Buy the best that you can afford.
High-grade accessories should easily last for a decade, and they
will provide maximum image sharpness whether youre
shooting stills or video.
GEAR PHOTO LIFE
Challenging the elements

to get the shot.
When
When nothing short of perfection will do, Gitzo sets the standard
standard
for excellence. Meticulously hand-crafted in Italy
Italy and backed
backed by
a lifetime warranty,
warranty, Gitzo tripods offer exacting
exacting photographers
a full range of products that represent the pinnacle of tripod
technology,
technology, craftsmanship, and quality.
quality.
www.gitzo.ca
www.gitzo.ca
Available
Available at the following Canadian retailers:
retailers: BROADWAY
B R OADW
WAY C
CAMERA
CAM
AM E RA | HENRYS
HENRYS | LOZEAU
LOZ EAU | THE
TH E CAMERA
CAM E RA STORE
STOR E | VISTEK
VI STE K
To
To find other Gitzo retailers
ret ailers near you, visit www.gentec-intl.com/where-to-buy
www
w.gentec-intl.com/where-to-buy
.gent
Gitzo tripods are distributed in Canada exclusively by Gentec International, one of Canadas 50 Best Managed Companies www.gentec-intl.com
GEAR
SIZING
UP LIGHTROOM 5
BY DAVID TANAKA
DIGITAL WORKFLOW
Officially the software is called

Photoshop Lightroom, but Lightroom is
not cast from the same mould as
Photoshop. Photoshops strength is its
vast array of tools that let you do
virtually anything you can imagine to a
pixel. Lightroom is a tool for the end-toend management of your photo
collection, not an image editor per se.
drive containing the main library, the adjustments are synced to

the original images.
You can create Smart Previews when you import images or after
the images have already been catalogued. You can also delete
them if you no longer want them. My system created them from
already catalogued photos at around 50 Smart Previews per
minute. If you create them as you import new images, you
likely wont notice the extra time, but if you want to create
them for an existing collection, be prepared to set aside a block
of time.
Nevertheless, since its launch in 2007, Lightroom has gained

many useful image-editing capabilities. You can often get the
same result using Lightroom or Photoshop, although the ways
and means wont be the same. Thus, unless you are a habitual
pixel pusher, Lightroom could easily serve as your main or only
photography software.
Upright Tool: Heres a helpful tool for anyone who habitually

or even occasionally snaps the shutter while the camera isnt
quite level. You could straighten and square up images in
Lightroom before, but the new Upright buttons are part of LR5s
redesigned Basic panel in the Lens Correction module. You can
choose to emphasize horizontal or vertical correction or use Full
or Auto modes.
Lightroom 5 (LR5) is a modest upgrade. Adobe highlights half a

dozen brand new features and, overall, around 50 tweaks and
refinements to improve usability.
DAVID TANAKA
Smart Previews: If you store your original images on an

external drive, this new feature will be handy. Smart Previews
allow you to work on photos even when the originals are
offlineif youve left the drive at home while travelling with
your notebook computer, for example. Smart Previews are small
stand-ins of the original images that are in the catalogue. As
long as you have the catalogue files with you, you can make
adjustments to these stand-ins. When you reconnect the external
DAVID TANAKA
Enhanced Spot Removal: A common image-editing task is to

remove unwanted elements of a photoskin blemishes in a
portrait, litter in a landscape image or sensor dust, for example.
The Spot Removal tool has been tweaked in LR5 to act more like
a brush. You paint over the problem area, and a blend routine
patches the area invisibly and seamlessly. (You can choose
cloning or healing as the patch method.) A new control in the
Spot Removal tool is called Visualize Spots. This inverts the
image and switches to an edge-detect view, which makes it
easier to see the borders of spots you might want to eliminate.
Whats new
A Sampan zipping around Hong Kongs Aberdeen Harbour isnt the most stable camera platform. The Auto button on Lightroom 5s new Upright toolset
makes correction a one-touch operation. Sometimes the result doesnt look quite righteven though it might be mathematically correctbut you can
take manual control of the adjustments if thats the case.
56
GEAR PHOTO LIFE
Grids and guides: These new overlays to the Loup view will be
generally helpful for composition and correction. The Guide
overlay sets crosshairs over the image, which you can move and
position anywhere. The Grid overlay has two adjustable
parameters: grid size, which alters the fineness of the grid mesh,
and opacity, which allows you to adjust the brightness of the grid.
And so?
There are alternative workflow suites to consider, including
Apple Aperture (Mac only), ACDSee Pro (Mac and Windows),
Phase One Capture One Pro (Windows and Mac) and Corel
AfterShot Pro (Mac, Windows and Linux) that all cost less. The
broad feature sets are similar, even if the user interfaces are not.
If you use Photoshop, there are some good reasons to stay in
the Adobe camp, especially if you work with Raw image files.
DAVID TANAKA
Enhancements to output: LR5 includes a few enhancements

spread across its output modules. The book module gains the
ability to start page numbering on any page. Access to text
boxes has also been improved. The Slideshow module now
allows you to include video clips. Previous Lightroom versions
included one-click publish to buttons for popular social media
sites. Now there are also shortcuts to Behance, which is a prooriented portfolio site, and Adobes own Revel sharing site.
DAVID TANAKA
Radial Gradient: Lightroom already has a Linear Gradient tool

to make transitions across straight features like horizon lines, but
its not so friendly if youre working on a rounded shape like a
persons face. The Radial Gradient tool addresses that by
allowing you to create elliptical gradients. You can also use an
Invert mode, giving you the flexibility to apply an adjustment to
everything insideor everything except whats insidethe area
youve selected. The Radial Gradient adjustments include
saturation, exposure, contrast and sharpness.
Previous versions of Lightroom had a linear gradient tool that was helpful
in establishing straight transition zones across natural features like
horizon lines. The Radial gradient tool, new in LR5, allows you to make
elliptical masks when straight ones dont do what you need to do. Once
youve drawn an elliptical shape, you can adjust it by making it thinner or
more circular, reposition it, and change the angle of the shape to better fit
the subject. In the after shot in this example, Ive simply moved the
exposure slider to the left, which darkens the background.
Adobes XMP sidecar file, which holds a lot of image metadata,

is common to both Lightroom and Photoshop Bridge.
Photoshops Adobe Camera Raw utility and the Develop module
in Lightroom are virtually the same; learn one and you pretty
much know the other. Plus Lightroom has some built-in menu
selections to hand off an image to Photoshop for deeper processingpanorama merging and HDR creation come to mind.
Is it worth the upgrade? The Smart Previews have the potential
to be my favourite enhancement. Though they dont perfectly
address my specific situation because I work on two computers
and still have to move the catalogue file back and forth, it is a
step in the right direction. I also appreciate tools like radial
gradient and enhancements like the grid overlay and one-touch
horizon correction, even though I wasnt desperately waiting for
these changes. Overall, I dont mind the $80 upgrade price to
get all of these improvements.
THE PROFOTO B1
WITH TTL
WITHOUT CORDS
The new Profoto B1 makes it easier than ever to take the
flash off your camera. With TTL you set the light in a
flash. With battery-power and without cords, you bring
the B1 wherever you go and put it wherever you want.
Richard Walch
Add to that the power, speed and light shaping possibilities

that Profoto lights are known for, and you have an offcamera flash that makes great light easy.
PHOTO LIFE GEAR
blazes@blazesphoto.com
phone: 1-888-561-0906
57
GEAR
GADGET GUIDE
Why this love of gadgets? Why this enormous passion

for an endorphin rush that normally lasts no longer than
a moment after purchase? Because we are forever
young at heart. Some of you will remember digging
through your box of cereal to find the secret-decoder
ring. Cracker Jacks and Kinder Surprises also cleverly
combine calories and toys. The beauty of gadgets is
their power to remind us that no matter our age, the
child inside us is still alive and filled with wonder.
The Sigma Mount

Conversion Service
Change mounts with ease
like John Wayne
So youve decided to switch sides and go
from a Canon reflex camera body to a
Nikon? From Sony to Pentax? From Pentax
to Canon? From Nikon tookay, so you
get the idea. Well, Sigma is offering you
the chance to change the mounts on your
current Sigma lenses to the ones your
heart desires. For the moment, only eight
lenses are available through this service
(the complete list of candidates is on the
Sigma site). Expect to pay between $120
and $315, plus shipping costs from Japan.
sigmacanada.ca
The Light Blaster from Spiffy Gear

Lightning-fast projection
To succeed in photography, you need to stand out and the Light Blaster could very
well be the key. The principle is alarmingly simple: the Light Blaster is a piece of
plastic that allows a Cobra flash to be attached to one side of your camera and a
Canon EF lens to the other. You just need to insert a slide into the middle of the Light
Blaster, and you have an extremely versatile projector on your hands! The flash (in
sync with the camera either by a cable or by an infrared or radio trigger system) will
project the image onto a surface behind (or even on) the model. This makes it possible
to project texture, shading, abstract lighting, bokeh, graffiti, landscapes, a
post-apocalyptic city or really just about anything that can be made into a slide or
printed on a 24 x 36 mm transparent surface. The basic kit is $100. If you add the
adapter ring for Nikon lenses, its $116. Install everything on a tripod or use it
handheld with the Pistol Grip ($19). Four sets of 20 slides
are also among the optional accessories
($17 each). redravenphoto.com
The PIXI by Manfrotto

Compact support for
compact cameras
The PIXI, made of 230 g of aluminum and
high-quality Adapto, measures
13.5 cm when closed and slides
easily into any bag. Originally
designed for compact cameras
and compact-system cameras,
it can support up to 1 kg of
gear so entry-level SLRs
are welcome too (if the
camera body weighs
650 g or less and the lens has
a focal length of 85 mm or
less). $40. gentec-intl.com
58
GEAR PHOTO LIFE
The ColorRight Pro

from ColorRight
It makes whites
whiter than white
White balancing is far from easy. Depending
on the type of lighting, a milk-white can
become cream, eggshell, off-white or worse:
buttercream or caramel. Under fluorescent
lights, sometimes we are treated to
olive green. The automatic
functions dont know
which way to lean
and neither does the
photographer. This
dilemma is easily
solved by attaching
a ColorRight in
front of your
lens and by
manually performing a white
balance
(which
almost every camera
allows). Shaped like a bulb, the ColorRight
takes sidelighting into account, which is all
too often forgotten when adjusting white
balance. $130, including a strap that allows
you to wear the gadget around your neck
and look like a member of Tony Starks
family. colorright.com
CineSquids from
Cinetics
A product that
knows how to
bond with things
Do you already have a
GorillaPod Focus from
Joby that you want to
attach to the hood of a
Chevy SS, strap on a
Blue Djinn sailboat
like a figurehead, or install on the
fuselage of a Boeing 787 (or
any other non-porous surface)?
CineSquids will soon play a role in your fantasies. They fit on the ends
of the GorillaPods flexible legs and generate suction that would make
an octopus green with envy. Their
pump action system has been
put to the test: it supports a 2.2kg (5-lb) camera
on the outside of a moving vehicle going
130 km/h (80 mph)you
might get a speeding ticket, but the camera will stay in
place! A package includes three suction cups for $99. The
GorillaPod Focus and ball head are not included. There
also is a smaller version for the GorillaPod SLR-Zoom
tripod called the miniSquid, available for $50.
cinetics.com
A tripod that will move you to action

The S-Series video tripod sets from Benro are
designed to capture moving pictures. Each set
provides the perfect pairing of video head and legs,
providing exceptional rigidity and torque resistance
critical for smooth camera movement. For an extra
measure of flexibility, the legs can be independently
locked into place at three different angles to enable
shooting in cramped quarters, uneven surfaces,

and at ground level. Available in aluminum or
carbon fibre and in a variety of sizes, S-Series Video
tripods offer great value and performance.
4/2/.4/s-)33)33!5'!s/44!7!s#!,'!29s%$-/.4/.s7776)34%+#!
PHOTO LIFE GEAR
59
GEAR
IMAGING PRODUCTS REVIEW

by Peter K. Burian
The last quarter of the year is typically an active one in the photo industry
because of trade shows such as Photo Pro Expo in New York and, every second
year, photokina in Cologne, Germany. Some significant new cameras and lenses
were introduced this quarter, including the long-awaited full-frame CSCs from Sony,
the first in the world to employ a 24 x 36-mm sensor.
NIKON DF
A magnesium-alloy 16.2-MP full-frame model
with classic 35-mm SLR styling, the DF offers
retro controls, many mechanical aspects, a large
pentaprism and compatibility with new and old
Nikon lenses, including the pre-Ai series. This
silver or black DSLR employs the D4s sensor
and processor and also the latest technology
such as 39-point AF and 2016-pixel Matrix
meter. Since it targets old-school photographers,
Movie mode and built-in flash were omitted.
+
+
+
+
+
+
+
+
Gorgeous classic styling

3.2 (921,000-dot) LCD
All-glass 100% prism finder
Many mechanical controls
5.5-fps continuous drive
Large pixels for superb quality
Pro-calibre feature set
Maximum lens compatibility
- No Movie mode nor built-in flash
$3100, with AF-S 50 mm f/1.8G Special Edition lens (street) nikon.ca
NIKON D610
An upgrade over the D600, this very rugged fullframe, enthusiast-level 24.3-MP DSLR with an
oversized 3.2 (921,000-dot) LCD, a 39-point AF
module with 9 cross-type points, and a 16-bit
processor, offers some new benefits. These
include a new shutter mechanism for faster continuous drive and a Quiet Shutter mode and
improved auto white balance, with an advanced
algorithm designed to reproduce more naturallooking colour, even under artificial lighting.
+
+
+
+
+
+
+
24 x 36 mm sensor with large pixels

Fast and versatile AF
HDR and time-lapse options
Image-retouching tools in Playback
Compatible with Wi-Fi accessory
6-fps drive (3 fps in Quiet mode)
Full HD Movie mode with AF-C
- Not a major upgrade over the D600

- LCD does not tilt or rotate
$2100, body only; $2600, with 24-85 mm VR lens (list) nikon.ca
PENTAX K-3
This new 24-MP model provides even more
features than the K5-II. Its faster, with 8.3-fps
drive, and benefits from a larger LCD, an
8600-pixel RGB metering system, more options in
Movie Mode and an improved 27-point AF system
with more user-selectable options. The anti-aliasing
filter was omitted to allow for maximum resolution,
but an in-camera feature will apply mechanical
moir reduction when desired.
+
+
+
+
+
+
+
+
Optional moir reduction

3.2 (1.037-million-dot) LCD
25 cross-type AF points
In-camera HDR mode
In-camera image stabilizer
Full HD Movie mode
Headphone and mic jack
2 SD card slots
$1300, body only; $1700, with 18-135 mm lens (list) ricoh-imaging.ca
FUJIFILM X-E2
Reminiscent of a gorgeous rangefinder camera with
retro-style controls, a 2.35-million-dot electronic
viewfinder and a built-in flash, the 16.3-MP X-E2
includes all X-E1 features and offers additional
benefits. These include an improved X-Trans CMOS II
sensor, a faster EXR II processor with Lens Modulation
Optimizer (for better quality with any lens), 7-fps drive,
a larger/tougher LCD, advanced contrast- and
phase-detect AF for greater speed and reliability, plus
Wi-Fi connectivity.
+
+
+
+
+
+
+
+
External mic jack

Ultra high-resolution EVF
3 (1.04-million-dot) LCD
Lens-optimizer processing
Very fast and reliable AF
More convenient manual focus
Full HD Movie mode
External mic jack
$1000, body only (list) fujifilm.ca

60
GEAR PHOTO LIFE
NIKON 1 AW1
The 14.2-MP AW1 offers most of the same
features as the Nikon 1 J3, including the 60-fps
(15-fps with C-AF) drive mode, but its submersible (to 14.9 m), shockproof (drop tested at
2 m) and freeze-proof (to -10C). While it accepts
all 1 Nikkor lenses, two new submersible lenses
with a metal barrel and high-tech optical elements
are available to date. Extras include GPS, altimeter, depth gauge, electronic compass and electronic level gauge.
+
+
+
+
+
+
+
Extremely rugged
3 Underwater modes
Fast EXPEED 3A processor
Fast Advanced Hybrid AF
Incredibly high burst speed
3 (921,000-dot) LCD
Full HD Movie mode
- No optical viewfinder
- A bit heavy (313 g)
$850, with 11-27.5 mm AW lens (list) nikon.ca
PANASONIC LUMIX DMC-GM1

By far the smallest in the G series, especially with the
diminutive new 12-32 mm OIS zoom, this 16-MP
magnesium-alloy and aluminum camera uses the same
large Micro Four Thirds sensor as the full-size models.
It also offers most of the same features. Amenities
include an LCD with touch-screen controls, built-in WiFi (though not with Near Field Communication), very
convenient manual focus, the versatile Light Speed AF
system and many functions for full creative control.
+
+
+
+
+
+
3 (1.04-million-dot) LCD
Some touch-screen controls
4-fps drive with Continuous AF
Dynamic range expansion and HDR
Image retouching in Playback mode
Full HD 60i/30p video
- No viewfinder
$800, with 12-32 mm lens (list) panasonic.ca
PHOTO LIFE GEAR
61
SONY A7R
+
+
+
+
+
+
+
Boasting a huge 24 x 36 mm (full-frame) sensor,

this 36.4-MP camera with an electronic
viewfinder (2.36 million dots) and DSLR-style
controls omits the anti-aliasing filter to provide
superior per-pixel resolution. The 7R has a new
hybrid Intelligent AF system and BIONZ X
processor for a drive speed of 4 fps. (Theres also
a 24.3-MP 7 with most 7R features, but with
a low-pass filter, 5-fps drive and only contrastdetect AF; $1700, street.)
Well-sealed and rugged body

Tilting 3 (1.23-million-dot) LCD
Phase- and contrast-detect AF
Wi-Fi with NFC
Full HD AVCHD video
4K TV compatible
Only 407 g, plus battery
- Only three full-frame FE-mount lenses

initially
$2299, body only (list) sony.ca
SONY CYBER-SHOT RX10
Resembling an 58 DLSR because of its

built-in stabilized Zeiss 24-200 mm equivalent f/2.8
T* aspherical lens with a very wide f/2.8 maximum
aperture, this 20.2-MP magnesium-alloy camera
employs a large 8.8 x 13.2 mm sensor and BIONZ X
processor for fine quality. Its very fast too, with
10-fps drive with tracking AF. It offers new AF
options, versatile Full HD 60p movie mode, Wi-Fi
with Near Field Communication (NFC), a tilting LCD
and an electronic viewfinder.
+
+
+
+
+
+
+
Dust/moisture-resistant
7 aspherical elements
Accepts 62-mm lens filters
Tilting (1.23-million-dot) LCD
1.44-million-dot viewfinder
Versatile Full HD video
4K TV compatible
- Quite large (129 x 88 x 102 mm)

and heavy (813 g with battery)
$1500 (street) sony.ca
SONY DSC-QX100
Based on a unique concept, this 165-g
camera module consists of a 20.2-MP
(8.8 x 13.2 mm) sensor, a BIONZ processor, a
stabilized Zeiss T* 28-100 mm f/1.8-4.9
equivalent lens, the top features from the highly
rated RX100 II, plus a battery and memory card
slot. Attach it to a smartphone (or use it as a
remote camera), establish wireless connectivity,
and you can shoot using the smart devices LCD
for viewing and for camera control.
+
+
+
+
+
+
+
-
Compact size (63 x 63 x 56 mm)

Smartphone mount included
Moderately large sensor
High-grade lens
Wi-Fi with NFC
Bluetooth connectivity
Lightweight
No built-in flash
- Omits some RX100 II functions
NIKON 1 NIKKOR AW 10 MM F/2.8

One of the submersible, shock-resistant lenses
developed for the AW1, this 27-mm equivalent
prime wide-angle features a wide maximum aperture
for fast shutter speeds in low light. Benefits of this
slim lens include a rugged metal exterior, a short
minimum focus distanceespecially useful
underwaterand high-tech optical elements.
+
+
+
+
+
+
+
Nikon CX mount
Minimum focus to 20 cm
Very compact
40.5-mm filter size
Weighs only 118 g
Very tough, well-sealed
- No VR image stabilizer
$330 (street) nikon.ca
NIKON AF-S 58 MM F/1.4G

This lens with an extremely wide maximum
aperture was optimized to deliver the best
possible images even at f/1.4, an f/stop
used for very shallow depth of field or fast
shutter speeds in low light. The optical
formula is said to ensure edge-to-edge
sharpness with great resolving power even
at infinity focus, minimal flare thanks to
Nano Crystal Coat, and minimal corner
darkening even at f/1.4.
+
+
+
+
+
+
+
Suitable for all Nikon DSLRs

Portrait lens with DX DSLRs
Circular-aperture diaphragm
Excellent flare control
Fast Silent Wave AF
MF override in AF mode
- Somewhat large (72-mm filter) and heavy

(385 g)
$1800 (list) nikon.ca

62
GEAR PHOTO LIFE
SIGMA 24-105 MM F/4

To be available soon, this gorgeous multi-platform
Art series lens for full-frame (and small-sensor)
DSLRs boasts an impressive optical formula.
Other benefits include very rugged construction,
optical stabilizer, fast/silent Hypersonic AF and a
circular-aperture diaphragm. Its compatible with
the Sigma USB Dock and the new mountconversion service, in case you switch to another
brand of DSLR.
+
+
+
+
+
+
2 FLD, 2 SLD and 3 AL elements

For Canon, Nikon and Sigma
Close focus to 45 cm
Wide, constant f/4 aperture
Multi-layer coatings
Unusually rugged construction
- Large (82-mm filter size) and heavy

(885 g)
Price: TBA, gentec-intl.com
ZEISS T* 16-70 MM ZE F/4 OSS

The most impressive of four new E-mount lenses
launched by Sony for their CSCs with the
conventional sized sensor, this very rugged zoom
features an optical stabilizer; a wide, constant
maximum aperture; fast AF with internal focusing;
and the beautiful styling of the larger A-mount
lenses at a much smaller size. The high-tech
elements offer fine image quality while T*
multi-layer coatings provide effective flare control.
+
+
+
+
+
High-grade build quality

4 advanced aspherical elements
Linear drive motor AF
Internal focusing
Compact size (67 x 75 mm)
- Heavier (308 g) than a comparable

Sony-branded lens
Seize the opportunity, steal

the show, capture the moment.
Set the mood and create the looks you want with our wide
range of backgrounds, lighting, lighting controls and accessories.
For more product information visit www.lasolite.ca
Collapsible
$ISTRIBUTEDIN#ANADAEXCLUSIVELYBY'ENTEC)NTERNATIONALONEOF#ANADAS"EST-ANAGED#OMPANIESswww.gentec-intl.com

PHOTO LIFE GEAR
63
PROFOTO B1 500 AIRTTL

Up to 10x more powerful than shoe-mount
flash guns, this 3-kg battery-powered
500-Ws unit with an LED modelling light
allows for wireless off-camera flash with
hi-tech TTL metering. However, an optional
AirTTL Remote transmitter ($402)
available for Canon DSLRs now, and for
Nikon DSLRs in the springis required for
wireless remote TTL flash with one or many
B1 units.
+
+
+
+
+
+
+
Supports E-TTL and i-TTL metering

LCD data panel
2-second recycling time at full power
300-m wireless control range
Controllable 9-f/stop range
Can fire 20 bursts per second
Includes charger and Li-ion battery
- Large, heavy and expensive

- Only for Canon and Nikon DSLRs
$2033 (list) profoto.com/ca/home
ROGUE SAFARI
Designed to increase the range of a
cameras built-in flash by 8x, the Safari is
designed for current Canon and Nikon
DSLRs (not full-frame or older models), it
may work with some other brands too. Use
it only with a 100-mm or longer focal
length. The Safaris Fresnel lens strongly
concentrates the light into a smaller area
than usual; thats why its not recommended
for use with shorter focal lengths.
+
+
+
+
+
+
Uses a Fresnel lens

Includes mounts for various DSLRs
Rugged polycarbonate shell
Lightweight (56.7 g)
No batteries required
Mounts on the hot shoe
- Not suitable with shorter lenses

- Will not fit all cameras
$40 (street) redravenphoto.com
LOWEPRO TRANSIT SLING 150 AW

This sling-style photo case is not only
comfortable to carry, but it also provides great
flexibility and fast access to contents when
rotated to your front. The innovative UltraFlex
fit system provides multiple ways to organize
and protect your camera, tablet and personal
gear. It comes with an All-Weather cover that
will resist rain and snow.
+
+
+
+
+
+
+
Accommodates a DSLR and tele lens

Padded tablet compartment
Built-in All Weather cover
Hideaway tripod mount
Front stash pocket with key fob
Stowaway waist strap
Padded, mesh-covered back pad
- Only in one colour (mica)
$89 (list) daymen.ca
GIOTTOS SILK ROAD YTL8384

The Silk Road series of tripods (in
carbon fibre and aluminum) won the
TIPA Best Design Award 2013, because
it employs a unique Y-Tube column for
exceptionally small size when folded.
This Pro carbon-fibre model (with 8x
layer tubes) has four-section legs, quick
lever locks, three leg-angle positions
and a bubble level. The versatile centre
column tilts 180 and rotates 360.
+ Includes a short column

+ Maximum height of 1.82 m (1.51 m
without center column)
+ Folds to 57 cm in length
+ Lightweight (1.38 kg)
+ Load capacity of 8 kg
$430 (list) jclsalesgroup.com
MANFROTTO MT 190PROX
This entirely new series of tripods, in aluminum
or carbon fibre and in several models, offers
definite benefits: a more convenient tilting 90
column, Quick Power Locks for one-handed
tripod set-up, four leg angles with improved
angle selectors, and connection points for
accessories such as an LED light or a reflector.
The models with four leg sections are
particularly compact when folded.
+ Pads on two legs (aluminum

model)
+ Convenient, versatile column
+ Very quick set-up
+ Rotating levelling bubble
+ Two sizes, XPRO 3 and 4
+ Some in kits include ball head
+ All offer 7-kg capacity
Price: TBA, gentec-intl.com

64
GEAR PHOTO LIFE
Walkstool
comfort 55
CANADAS BUYING GUIDE

TO EVERYTHING PHOTO
ON NEWSSTANDS NOW!
LIKE PHOTO LIFE

FACEBOOK.COM/PHOTOLIFEMAG
PROFESSIONAL
PHOTOGRAPHY
Take a giant leap toward
your photography career!
WWW.NIC.BC.CA
THE
CONTACT
SHEET
Available at
better camera stores
and on-line at
www.walkstoolcanada.com
From photo journalism to weddings,

portraits, advertising, fine art, and
more youll acquire technical and
business expertise from industry
professionals while you develop your
creative skills.
Length: 10-month certificate
Tuition: $7,180 approx
Find out more about
Professional Photography
in the beautiful Comox Valley.
Watch our video at
www.nic.bc.ca/finearts
or call 1-800-715-0914
The thinnest and the

lightest filters in the world
Contact: info@webbsight.ca
TO
ADVERTISE
IN THE
CONTACT SHEET
GUY POIRIER
Phone 1-800-905-7468
Email gpoirier@photolife.com
MICHAEL SKINNER
Phone 416-473-4624
Email mskinner@photolife.com
CLOSE-UP
PHOTOGRAPHY AT THE MOVIES

BY GUY LANGEVIN
With winter here, its the perfect time to
have a look at some of the best movies
for shutterbugs. From thrillers to
documentaries, photography has inspired
the movie industry for years, creating
some really unforgettable onscreen
moments. This is not a rarefied list for
photography connoisseurs; its a list of
flicks that even the most casual
photography buff might want to check
out. With that, lets get started! Turn off
the lights, sit back, relax and enjoy.
Guinevere 1999 Drama/Romance

A young girl from an affluent family falls for a much older
photographer.
J.A. Martin Photographer 1977 Drama
Every summer in the 1920s, a photographer travels to the
province of Quebec to take and sell pictures. One time, his wife
decides to make the trip with him.
The Midnight Meat Train 2008 Horror/Suspense
A photographer in search of the perfect subject tracks a sadistic
serial killer.
One Hour Photo 2002 Thriller/Mystery
A one-hour photo lab clerk obsesses about a family and
imagines himself a part of it.
Pecker 1998 Comedy/Drama
The Bang Bang Club 2010 Drama
A young amateur photographer becomes the flavour of the
This is the true story of four young combat photographers capmonth after an art dealer sees his photos.
turing the final days of apartheid in South Africa.
Proof 1991 Drama
The Big Picture 2010 Drama
A blind man takes pictures as proof that the world really is as
A successful lawyer kills his wifes lovera photographerand
people describe it to him.
decides to take the dead mans identity.
The Public Eye 1992 Mystery/Drama
Bill Cunningham New York 2010 Documentary
This film noir tells the story of a photographer who specializes
This documentary focuses on New York Times fashion photograin crime. Its loosely based on the photographer Weegee, who
pher Bill Cunningham, who covers the way people dress for the
defined New York in the 1940s.
Times Style section in his columns.
Rear Window 1954 Mystery/Thriller
Blow-Up 1966 Thriller/Mystery
A photographer with a broken leg spies on his neighbours
A photographer finds out that he may have recorded
through the window, and he believes one of them
evidence of a murder through one of his pictures.
has committed murder. (Steer clear of the bad
The Bridges of Madison County 1995
1998 remake though!)
Drama/Romance
Shutter 2008 Horror/Suspense
Set in the 1960s, this love story between a
Your favourite movie
A photographer and his girlfriend discover
National Geographic photographer and a
about photography isnt
mysterious shadows in their photographs
married woman was adapted from a novel
on this list? Let us
after a tragic accident. This is a remake of a
by Robert James Waller.
know on our Facebook
2004 Thai movie with the same name.
Calendar 1993 Drama/Comedy
page or by email
Somebody Has to Shoot the Picture
A Canadian photographer and his wife take
(write@photolife.com),
1990 Drama
photographs of Armenian churches to be
so we can share the
A photojournalist is hired by a convicted man
used in a calendar.
title with our readers!
to photograph his execution and finds evidence
City of God 2002 Drama/Action
that the man may not be guilty.
This is a story of two boys growing up in Rio de
That Most Important Thing: Love 1975
Janeiro. One becomes a crime lord; the other becomes
Drama/Romance
a photographer who documents gang wars.
A photographer tries to help a soft-core movie actress by financDelirious 2006 Comedy/Drama
ing a theatrical production.
A tabloid photographer plots revenge when his friend gets
Triage 2009 Drama/Mystery
involved with a big star.
Two photojournalist friends head off to war full of confidence,
Eyes of Laura Mars 1978 Horror/Thriller
but only one comes back. What happened?
A photographer can see through the eyes of a serial killer as he
War Photographer 2001 Documentary
murders his victims.
Through a small camera mounted on top of James Nachtweys
Funny Face 1957 Musical/Comedy/Romance
own camera, we follow the greatest war photographer on his
A fashion photographer (based on Richard Avedon) turns an
assignments.
unknown bookstore salesgirl into an international supermodel.
66
Be the focus of h__ affection

A photo can be taken. But it means so much more when its given. No other gift will
generate more lasting memories than a new digital camera or camcorder from Vistek.
Make some magic this year. Give the affordable full-frame camera from Nikon.
Experience the joy of shopping at Vistek.
PHOTO |6)$%/|$)')4!,|3!,%3|2%.4!,3|3%26)#%
4 / 2 /. 4 / s - )3 3) 33!5'! s / 44!7! s #! ,' ! 29 s % $ -/. 4 /.
The Visual Technology People
WWW.VISTEK . C A
THE NIKON D4
When Nikon raises the bar, the pros take note. The D4 is well worth all the attention. No moment is too fleeting, no light
too low, no location too harsh, no deadline too tight for the advanced technologies built into Nikons rugged flagship
DSLR. Prepare to be impressed with specs like the 51-point AF system, 10 fps continuous shooting, 16.2 MP FX-format
CMOS sensor, 91,000-pixel 3D Colour Matrix Metering lll, staggering 100-to-204,800 ISO range... even Full HD (1080p)
video, with an external mic to record stereo sound and headphone jack for monitoring audio input. What it all adds up
to is a must-have camera that masters the crisp detail, rich colour and heart-stopping impact that you and Nikon are
famous for. Read up at Nikon.ca
nikon.ca

Photo Life (2013.12-2014.01)

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Photo Life (2013.12-2014.01)

Uploaded by

Copyright:

Available Formats

CANADAS GUIDE TO EVERYTHING PHOTO

STABILIZE YOUR CAMERA

WISDOM FROM TED GRANT

WHEN TO SHOOT FOR THE BEST LIGHT

LIGHTROOM 5 NEW FEATURES, TWEAKS AND REFINEMENTS

The new standard in standard zoom lenses.

...we no longer have to

18-35mm F1.8 DC HSM

35mm F1.4 DG HSM | 30mm F1.4 DC HSM

To find other Sigma retailers near you, visit www.gentec-intl.com/where-to-buy

38 The Art of Shooting Low-Light Events

42 The Green Screen

46 FAQ How to Photograph Our Snow-Covered

48 Photo 101 Waiting for the Best Light

56 Digital Workflow Sizing Up Lightroom 5

60 Imaging Products Review

CONTRIBUTORS AND EDITORIAL STAFF

is a technology writer and freelance stock photographer. He is the

PHOTO LIFE DECEMBER/JANUARY 2014

Andrew Emond is a Toronto-based photographer who documented the sewers of

has been providing advice to photographic equipment buyers

Occasionally, we make our subscriber list available to carefully

COPYRIGHT 2013 APEX PUBLICATIONS INC.

Publications Mail - Agreement No.: 40010196

is a technology writer based in Lethbridge, Alta. His work as a photographer

is a self-taught freelance photographer. A Photo Life collaborator since 1991, he is

Sony make.believe and

are registered trademarks of Sony Corporation.

Find out more at

AN OPINION ON PHOTO CONTESTS

Awesome project, Jeff! The images are all beautiful and

ON THE WORK OF PHOTOGRAPHER JO-ANNE

FROM TEST REVIEW: PANASONIC GX7 ON THE BLOG

Accurate and thorough review, excellent job! Cant wait to get

OUR RESOLUTIONS: LOOKING BACK AT 2013 AND PLANNING FOR 2014

manual. Better late than never? For 2014, my goal is to finish

Be it known that Richard Wiseman, a Professor of Public

Wed love to hear what photo resolutions you are working

EXPOSURE PHOTO LIFE

Rent the gear. Ow

SPECIALLY COMMENDED: WILDSCAPES, THE ENCHANTMENT,

CREATIVE VISIONS WINNER, SNOW MOMENT,

EXPOSURE PHOTO LIFE

The moment a passion

Touit 2.8/12 and Touit 1.8/32

PHOTO LIFE VISION

EXHIBITIONS & EVENTS

EXPOSURE PHOTO LIFE

Introducing the Nikon D610 camera.

Order yours today!

Experience the passion of Nikon full-frame photography.

Big Box Prices, Expert Knowledge.

APRIL 6 TO 19, 2014

TURKEY PHOTO TOUR

HOW MANY PHOTOS DO YOU TAKE IN A MONTH?

XL Pro Lighting Kit

About a bakers dozen.

Less than a hundred.

Probably around 1000 or so.

Over 2000, Id guess.

I dont have time to count;

There is no better Filter

a snake sheds its skin and is replaced by a

THE MASTERS OF NATURE

THEY STAND OUT IN A WAY OTHER TRIPODS DONT 4HEY