Photo Life (2014.06-07)

cPL_JULY14.
qxp_Photo Life Jan 2005 2014-05-08 10:17 AM Page 1
ERA
M
A
C STS
TE
YOUR GUIDE TO EVERYTHING PHOTO
FUJIFILM X-T1 & SONY 6000
MASTER
THE MEDIUM
Be a Better Photographer
Without Buying New Gear
Photographing Waterfalls
GET GREAT PHOTOS

THIS SUMMER!
RAW VS. JPEG

What You Need to Know
RESIZING PHOTOS
Make the Most of Your Pixels
CLOUD COMPUTING SEE WHAT IT CAN DO FOR YOUR PHOTOGRAPHY
AWARDS 2014
RESULTS INSIDE
PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:17 AM Page 2
F1.4
Perfect for
low-light conditions
Shallow depth-of-field
allows creative focus control
Bright
viewfinder
Fast, accurate
autofocus
Photo: Garry Black

Sigma 85mm F1.4 EX DG HSM
Ideal for portraits

and video
Achieve your artistic vision with Sigmas bright, sharp, large-aperture lenses.
With an aperture of F1.4,
these world-class prime
lenses offer unlimited
creative potential with
your full-frame or crop
sensor DSLR camera.
Learn more at
www.SigmaCanada.ca
DG | FULL-FRAME
DC | CROP SENSOR
30mm F1.4 DC HSM
Win a TRIP
TO JAPAN
35mm F1.4 DG HSM
50mm F1.4 DG HSM
85mm F1.4 EX DG HSM
Enter by May 31, 2014 for a chance to win a Trip to Japan, plus great monthly prizes.
For details and contest entry, visit www.SigmaCanada.ca/photocontest.
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
June/July 2014, Volume 39, Number 4
4
6
8
66
Contributors
Editorial
Exposure
Close-up
VISION
20 Wet Behind the Ears: Cultivating a Beginners Mind
by David duChemin
What if we stopped looking to new gear to make us better photographers and
instead embarked on the difficult journey to master the medium?
Cover photo
by David duChemin
26 Showtime Travel Memories
TECHNIQUE
28 Photographing Waterfalls
by Ida Koric
Water is the most dynamic of all landscape subjects, with its fluidity making it
unique. Doing waterfalls justice requires a combination of planning and technique.
34 Photo 101 Reducing the Number of Pixels
26
by Jean-Franois Landry
Reducing the size of your files makes them easier to download and share.
36 FAQ Raw vs. JPEG: Which is Best?

A Raw file is a little like a diamond covered in kimberlite. There are huge benefits to working with Raw files, but are they always essential?
38 In Pursuit of the Roadrunner
28
by Scott Linstead
The real-life greater roadrunner is, biologically speaking, a far cry from the creature pursued by Wile E. Coyote, but its equally entertaining. Here are some
shooting techniques to capture this birds unique charisma.
GEAR
45 Digital Workflow Exploring the Cloud
38
by David Tanaka
The cloud is a shorthand way of describing massive computing power and
exabytes of data storage lashed together in a global grid. Here are various
options to suit your photography.
66
PHOTO LIFE
20
3
48 The 24th TIPA Awards

by Guy Langevin
As a member of TIPA, we participate each year in the selection of the best
imaging products in 40 categories. The following products were chosen for their
leading-edge technology, design and ergonomics, and price/performance ratio.
52 Review LaserSoft Imagings PrinTao 8

by David Tanaka
54 Review Fujifilm X-T1

by Peter K. Burian
56 Review Sony a6000

by Peter K. Burian
58 Gadget Guide
60 Imaging Products Review

by Peter K. Burian
PHOTO LIFE JUNE/JULY 2014

Volume 39, Number 4
171 St. Paul Street, Suite 102, Quebec, QC Canada G1K 3W2
418-692-2110 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
418-692-2110 or 1-800-905-7468 Ext. 101
National Sales Manager
Michael Skinner . . . . . . . . . . . . .mskinner@photolife.com
416-473-4624
Accounting
Danile Rose Riopel . . . . . . . . .accounting@photolife.com
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.
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 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.
David duChemin is a Vancouver-based photographer and adventurer. His bestselling

books on the art of photography have been translated into a dozen languages. davidduchemin.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
A photographer and teacher based in Rossland, B.C., Ida Koric also runs a dog-rescue organization in her spare time. Her main photographic subject is waterfalls, of which she has photographed
nearly 100.
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.
Trained in aerospace engineering, Scott Linstead stepped into professional nature
photography after leaving a high-school teaching position in 2007. He is the author of the book
Decisive Moments: Creating Iconic Imagery (2010). scottyphotography.photoshelter.com
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 2002. 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.
David Tanaka
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.
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 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.
COPYRIGHT 2014 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.
Publications Mail - Agreement No.: 40010196
102-171 St. Paul Street, Quebec, QC Canada G1K 3W2
PRINTED IN CANADA
PHOTO LIFE
Michael Cali
You stake out a vantage point 800 feet high.

Contort up an antenna not made for climbing.
Defy the downward pull of 60 pounds of gear.
Fight your nerves, trust your equipment,
then lean back as far as you dare.
Just to get one shot.
Finish strong.
Joe McNally
EPSON Stylus Pro 3880 $1,320*
EPSON Stylus Photo R2880 $649.99*

EPSON Stylus Photo R3000 $849.99*
Exhibition-quality prints from 13 to 17 wide

EPSON UltraChrome K3 with Vivid Magenta, used by the worlds leading
photographers for stunning black-and-white and brilliant reds, blues and purples
MicroPiezo print head technology for exceptionally precise ink droplet placement
World-class service from a dedicated support team
Available at:
epson.ca/finishstrong
Concept submitted by Finish Strong Contest winner Josh Lohmeyer.
*Prices are Manufacturer Suggested Retail Price. EPSON, EPSON Stylus, EPSON UItraChrome K3 and MicroPiezo are registered trademarks
and EPSON Exceed Your Vision is a registered logomark of Seiko Epson Corporation. All other product and brand names are trademarks and/
or registered trademarks of their respective companies. Epson disclaims any and all rights in these marks. Copyright 2013 Epson America, Inc.
EDITORIAL
June/July 2014, Volume 39, Number 4
n this issue we have an article by David duChemin that addresses an aspect of

the practice of photography that is not often considered. He explains that when
travelling to Zanzibar, he put himself in a new situation that was out of his
comfort zone. Though he has explored many different avenues in photography,
underwater photography was new to him. This well-established and highly talented
photographer let himself learn new basics with the open-mindedness of a beginner
photographer. Had he done otherwise and chosen to have a know-it-all attitude,
he would have totally missed out on the experience and all he learned from it.
One thing that is great about us humans is that we come with an intrinsic quality
that can overcome many, many barriers: curiosity. If we cultivate this natural
curiosity, it can counterbalance our fears and our pride. It can bring us back to the
same open-mindedness of beginners and of children. With this outlook, what we
know is no longer important; its what we dont know that intrigues us.
If you are currently looking for a way to challenge yourself and get out of your
comfort zone, you might want to consider sharing your work with other
photographers. One way to share photos is by participating in a photo contest (turn
to page 43!). As you prepare and begin the process of selecting your images, take the
time to really go through your photos and analyze your work. This is a great occasion
to have a photo-presentation party at your house! Invite some friends over, hang some
of your best shots on the wall, and ask for honest and constructive comments. Ive
been to this kind of party once; each person was invited to display one imageit was
a perfect opportunity to learn and practice humility at the same time!
Valrie Racine
Editorial Director
JUNE/JULY 2014
RENEE ROBYN
I once read that humility is the hardest quality for people to develop. From what
Ive observed since then, it seems that humility is also a key factor in our ability to
learn. The best road to stagnation is to adopt an attitude of self-indulgence and misplaced pride, both of which are probably fueled by fear of change. As adults, we
often have stagnant phases in our creative endeavours. We reach a place where we
feel pretty good about what we do, and we camp out there for a while. Sometimes
we enjoy coasting, and thats fine. But when we begin to have the urge to challenge
ourselves more, thats when we need to get out of our comfort zone and explore.
COMING UP
Interview with fashion photographer and model Renee Robyn

Travelling photography: how to
prepare and work like a pro
Colour spaces explained
Long exposures and star trails
Monetizing nature
stock photography
Our take on creative cloud
services, part 2
Carrying solutions
for your photo gear
And more
PHOTO LIFE
JOBYpros
The Pro Sling Strap

from JOBY
Designed for professional DSLRs
with zoom lenses and battery grips,
the JOBY Pro Sling Strap is a low
profile, high-strength camera
strap with SpeedCinch.
2013 | JOBY is distributed by DayMen Canada - daymen.ca
JOBYproslingAd PL.indd 1
Includes Camera Tether

for Peace of Mind and
Additional Security
Pro Sling Strap
14-04-24 9:13 AM
EXPOSURE
t,
y.
YOUR VIEW . WHATS ON . IN FOCUS . BOOK REVIEWS
[your view]
GUYS PHOTO-THEMED MIXTAPE
I cannot believe that Paul Simons Kodachrome was not on
his list. Or am a dating myselfboth musically and
photographically?
David Moseley via email
Youre not the only one! Jenny was mad at me for not including
it. I brought her homemade muffins as an act of contrition. :)
Oh well, hopefully you liked a few.
Guy Langevin
Actually I wasnt really mad, but I do like Kodachrome and
pushed for it to make the cut. (And, Ill point out, that its a
song from before my time, so it has nothing to do with age!)
Perhaps Guy will put it on his Photo-Themed Mixed Tape,
Volume II? (Hint, hint, Guy...)
Jenny Montgomery
ETHICS
After reading Patrice Halleys article, Ethics in Wildlife
Photography, I can only think this yet again blatantly reinforces
the way the world views everything and needs to consume, spit
out, alter and regurgitate everything from photography to
fashion, news and, of course, ourselves as a species. In a
world of vacuous self-absorption, why would these sad ethics
not be evident in nature photography? This only goes to
enforce the fact that everything should be questioned and given
a second look. As photographers or any media consumer we
need to be constantly questioning [if] what we see is real,
search for the angles not necessarily seen. The truth is out
there, just so much harder to see, hear and find.
Keven Munro via Facebook
I just read the article about ethics in wildlife photography and
agreed in all of it, but then I go to the next article, and when I
see its images I cannot help but feel at least some of those
images to be fully edited. I feel the theme of ethics should be
explored in the whole photography world since edited images
are present everywhere and steal the beauty of nature the same
way they do to animals.
like Christmas for me for the last two weeks! Thank you and your
team for putting on this contest and for continuing to offer us a
beautiful Canadian photo magazine (in both French and English).
Its very appreciated.
Mathieu Rivard via email
I just wanted to let you know that everything has arrived and what
a wonderful prize package! I also want to take the opportunity to
extend a warm thank you to you and Photo Life for sponsoring the
photo contest! Also if you would extend my thanks and
appreciation to all the sponsors who contribute in any way, I know
their contributions help to make an event such as this possible and
successful! Thank you to all involved!
Beverly Jay via email
A READERS OPINION OF THE NIKON DF

Being a real world user of the Df, and looking past the technical
data, this camera is awesome! The lighter weight, and handling
is very good! I really like that the body is smaller than a larger
DSLR. Image quality is top notch. After two months of shooting
the Df, I am so happy that I bought one. Dont believe the
online reviews that say its a horrible offering from Nikon.
David Sweeney via Facebook
IN RESPONSE TO WORLDWIDE PINHOLE

PHOTOGRAPHY DAY
Awesome, in one of my photography books it shows how to
turn a DSLR into a pinhole camera. I want to give this a try.
Mike Hill via Facebook
RE: DALE WILSONS BLOG POST EVEN ANSEL

ADAMS RECOGNIZED TECHNOLOGY
A friend of mine posted this Ken Rockwell quote on a LinkedIn
group I belong to: Photography is the power of observation,
not the application of technology, and I liked it. The quote
caused a bit of stir among members of the group, but personally I still firmly believe that technology is and will remain nothing
without the art of seeing.
Patrice Halley via Facebook
Perhaps it is time to create a term to be used when referring to

images that have been altered and leave the term photograph
to those left as they were captured.
Mario Castanon via email
FROM WINNERS OF THE WORLD WE LIVE IN 2013

Just wanted to let you know that I got all my prizes and that I am
very happy. All thats left now is to play with my new toys! The
bags are great, the tripod head is of excellent quality, the small
Sony camera is a true gem, the PocketWizards will replace my old
Quantums and be a thousand times better! I will use my Blurb
credits to make a photobook for my daughter who is going into
high school next year. I could go on, but to put it briefly, its been
8
JUNE/JULY 2014
LIKE PHOTO LIFE

FACEBOOK.COM/PHOTOLIFEMAG
EXPOSURE PHOTO LIFE
Stay focused.
The Nikon D7100, when focusing is crucial.

The Nikon D7100 is the camera you want by your side when critical focus is crucial.
With High-density 51-point AF and a 3D tracking system, the Nikon D7100 helps
maintain unbelievably accurate focus in the most challenging of conditions. So,
keep your eyes peeled, and never lose focus with the Nikon D7100 from Henrys.
www.henrys.com
PL_JULY14_INDESIGN.indd 1
2014-05-08 1:26 PM
EXPOSURE
WILLIAM IVOR CASTLE/LIBRARY AND ARCHIVES CANADA
Stephen
Bulger Gallery
in Toronto is
exhibiting Carl
Zimmermans
Cold City from
June 14
through July
12, followed
by Vivian
Maiers
Photographs
of Children
from July 17
through
September 13.
VIVIAN MAIER/COURTESY OF THE JEFFREY GOLDSTEIN COLLECTION AND STEPHEN BULGER GALLERY
STEPHEN
BULGER
GALLERY
CARL ZIMMERMAN/COURTESY OF STEPHEN BULGER GALLERY
[whats on]
2013 Clic Photo Show - Best in Show & Doug Boult Award
Jeff Gardner - Farming Chocolate
July 26 - August 10, 2014
THE GREAT WAR
Speakers Night - Friday, August 1st, 6:30 pm - 8:30 pm

Robert Bailey
but is it photography? digital technology
and the Altered Reality of the photographic image.
Visit ClicPhotoShow.ca for entry info, hours,

show location, enquiries and downloads.
10
JUNE/JULY 2014
From June 27 through November 16,

The Great War: The Persuasive Power of
Photography is on view at the National
Gallery of Canada in Ottawa. This
exhibition presents a collection of images
from the First World War, including
examples of official documentation used
for strategic purposes, photographs
intended to raise public support, and
personal portraits of soldiers and their
family members. gallery.ca
EXPOSURE PHOTO LIFE
The moment when the streets

you walk every day feel new again.
This is the moment we work for.
// PERFECTION
MADE BY ZEISS
The Touit lens family for Fujifilm X series cameras.

Featuring our patented T* anti-reflective coating for maximum flare reduction, nearly circular
diaphragms for surprisingly pleasant out-of-focus highlights, and superior build quality that
stands up to real-world use. ZEISS Touit lenses are designed especially for the art and the
demands of available light photography so that you can rediscover your world in stunning detail.
www.zeiss.com/touitforfuji
AG
PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 3:49 PM Page 12
EXPOSURE
[whats on]
e
Mosree!
to
EXHIBITIONS & EVENTS
THROUGH JUNE 7
SOFT LANDING
SHEREE HOVSEPIAN
RUINS JRME NADEAU
Gallery 44, Toronto
gallery44.org
THROUGH AUGUST 30
WAKHAN, AN OTHER AFGHANISTAN
VARIAL CDRIC HOUIN
AND FABRICE NADJARI
Arsenal Contemporary Art, Toronto
arsenalmontreal.com
THROUGH JUNE 14
CANADIANA
DIANA THORNEYCROFT
Mackenzie Art Gallery, Regina
mackenzieartgallery.sk.ca
JUNE 4-15
NOVA SCOTIA COMMUNITY
COLLEGE EXHIBITION
VARIOUS
ViewPoint Gallery, Halifax
viewpointgallery.ca
THROUGH JUNE 22
FROZEN LIGHT
VARIOUS
Burnaby Art Gallery, Burnaby, B.C.
burnabyartgallery.ca
THROUGH JULY 4
PHOTODRAWINGS
CAT SCHICK
EPCOR Centre Window Galleries, Calgary
epcorcentre.org
THROUGH JULY 19
MY EYES HAVE SEEN.
CELEBRATING 50 YEARS OF
PHOTOGRAPHY
NIR BAREKET
Toronto Market Gallery, Toronto
toronto.ca/marketgallery
THROUGH AUGUST 10
SHACKS, SNOW,
STREETS, SHRUBS
SCOTT MCFARLAND
Art Gallery of Ontario, Toronto
ago.net
JUNE 14-JULY 12
COLD CITY
CARL ZIMMERMAN
Stephen Bulger Gallery, Toronto
bulgergallery.com
JUNE 18-29
ATLANTIC PHOTO SUPPLY SALON
VARIOUS
viewpointgallery.ca
JUNE 18-AUGUST 24
WHAT IT MEANS TO BE SEEN:
PHOTOGRAPHY AND QUEER
VISIBILITY VARIOUS
FACES AND PHASES
ZANELE MUHOLI
Ryerson Image Centre, Toronto
ryerson.ca/ric
JUNE 18-SEPTEMBER 7
FAN THE FLAMES: QUEER
POSITIONS IN PHOTOGRAPHY
VARIOUS
Art Gallery of Ontario, Toronto
ago.net
JUNE 20-JULY 26
PROOF 21
VARIOUS
VERANT RICHARDS AWARD
RECIPIENT 2013
JESSICA TAI
Gallery 44, Toronto
gallery44.org
JUNE 18-29
ATLANTIC PHOTO SUPPLY SALON
VARIOUS
viewpointgallery.ca
JUNE 27-NOVEMBER 16
THE GREAT WAR: THE
PERSUASIVE POWER OF
PHOTOGRAPHY
VARIOUS
National Gallery of Canada, Ottawa
gallery.ca
JULY 1-AUGUST 3
THE TOPOGRAPHY OF WONDER
COLIN CAMPBELL
viewpointgallery.ca
JULY 17-SEPTEMBER 13
PHOTOGRAPHS OF CHILDREN
VIVIAN MAIER
Stephen Bulger Gallery, Toronto
bulgergallery.com
JULY 25-AUGUST 21
WORLD PRESS 2014 EXHIBITION
VARIOUS
Canadian War Museum, Ottawa
worldpressphoto.org
SENECA SPOTLIGHT
We have a new feature on our website highlighting
the work of students in the Seneca@York
Independent Digital Photography Program. This
two-year diploma course prepares students for a
freelance career and provides them with the necessary skill set to work in a multidisciplinary studio.
LAUREN MACDORMAND
12
JUNE/JULY 2014
PATRICK ESTEBAR
EXPOSURE PHOTO LIFE
The Nikon D7100 DSLR camera.
Order yours today!

Get the picture
Create without limitation.
D7100
The new flagship of Nikons DX-format HD-SLR lineup. Achieve a thrilling new level of
image quality and sharpness thanks to a specially designed 24.1-MP DX-format CMOS
sensor. Enjoy speed, precision and convenience at every step, from shooting up to 6 fps
to instantly sharing your shots with the optional WU-1a Wireless Mobile Adapter. Create
dazzling Full HD 1080p videos and ultra-smooth slow-motion or time-lapse sequences.
Unleash the power of Nikons nimble DX-format system.
The Camera Store is the proud recipient of the Consumer Choice Award for Photographic Retailer 9 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
EXPOSURE
FROZEN LIGHT
ViewPoint Gallery in Halifax is presenting Colin Campbells The Topography of

Wonder from July 1 through August 3. Campbells graphic black-and-white images
invite the viewer to wonder at what lies below the surface and to consider the
mystery of our existence in this world. viewpointgallery.ca
Through June 22,

Burnaby Art Gallery, in
Burnaby, B.C., is exhibiting a collection of works
by Marian Penner
Bancroft, Stan Douglas,
Terry Ewasiuk, Karen
Henderson, Nobuo
Kubota, Liz Magor, Chick
Rice, Barbara Steinman
and Ken Straiton.
burnabyartgallery.ca
COLIN CAMPBELL
STAN DOUGLAS/COURTESY OF BURNABY ART GALLERY
THE TOPOGRAPHY OF WONDER
WORLDWIDE WOW
PHOTO EXPOSITION
VANESSA NEUFELD
CPC Elevate recently

presented their 7th annual
Worldwide WOW! Photo
Exposition and Gala. This
event highlighted the work of
this years contest winners,
and the proceeds from the
evening went to support the
Canadian Womens
Foundation.
PHOTO ESSAY
ARCTIC NATIONAL WILDLIFE REFUGE,

NORTHEASTERN ALASKA
by Charles Graham
14
JUNE/JULY 2014
CHARLES GRAHAM
The Arctic National Wildlife Refuge in northeastern Alaska is the largest protected
wilderness in North America with over 18 million acres. Accompanied by three other
people, I embarked on a two-week, 160-mile rafting trip through the refuge, exploring as much as possible of this regionthe last 5% of Alaskas northern coastline not
open to oil drilling. Visit photolife.com to see this issues Photo Essay.
EXPOSURE PHOTO LIFE
Ava
GO
Ma
NEW 190.
NEW BENCHMARK.
DESIGNED AND MANUFACTURED IN ITALY,

THE NEW 190 IS BUILT TO LAST
Manfrottos most popular tripod sets a new industry

benchmark: its even more compact, its faster to set up,
and it gives you more shooting possibilities.
For more information, visit www.manfrotto.ca
Available at: BROADWAY CAMERA | CANTREX | DONS PHOTO | DOWNTOWN CAMERA | FOREST CITY IMAGE CENTRE | FOTO SOURCE
GOSSELIN | HENRYS | KERRISDALE CAMERAS | LOZEAU | McBAIN CAMERA | SANEAL CAMERAS | THE CAMERA STORE | VISTEK
To find other Manfrotto retailers near you, visit www.gentec-intl.com/where-to-buy
Manfrotto products are distributed in Canada exclusively by Gentec International, one of Canadas 50 Best Managed Companies www.gentec-intl.com
EXPOSURE
[book
reviews]
by Jenny Montgomery
THE WORLD OF
URBAN DECAY
photography and text by Martin
ten Bouwhuijs
Schiffer Publishing Ltd.,
US$34.99, 176 pages, hard
cover
The World of Urban Decay documents Martin
ten Bouwhuijs explorations of abandoned
buildings, most more than a hundred years
old. The eye-catching images of each location
are accompanied by text providing details of
the building and experience. The World of
Urban Decay is a visual history that honours
these forgotten, neglected places by
preserving a visual record of their beauty.
NAN GOLDIN:
EDEN AND AFTER
photography by Nan Goldin
Phaidon Press, $100, 384 pages,
hard cover
ON THE LABRADOR
text and photography
by Arnold Zageris
Fitzhenry and Whiteside Limited,
$60, 248 pages, hard cover
The attractive tome Eden and After is a

meditation on childhood, from its prenatal
beginnings to the brink of adolescence. With the
curiosity of an anthropologist, Nan Goldin
captures the universe inhabited by her young
subjects. With almost 300 images, Eden and
After is an unflinching collection of
non-traditional portraits of the everyday
moments of childhood.
On the Labrador is a collection of images and

travel stories by Canadian photographer Arnold
Zageris. Zageris had no way of knowing that his
first trip to Labrador in 1984with a 35-mm
Nikon, a 50-mm lens and Kodachrome 25 slide
filmwould lead to fifteen subsequent trips to
this compelling region. Take heedthe beautiful
and intriguing landscapes in this book might just
peak your curiosity and inspire you take a trip to
Labrador!
ALEX WEBB AND REBECCA NORRIS WEBB ON STREET PHOTOGRAPHY

AND THE POETIC IMAGE
photography and text by Alex Webb and Rebecca Norris Webb,
introduction by Teju Cole
Aperture Foundation, $32.95, 128 pages, soft cover
Alex Webb and his wife and artistic partner Rebecca Norris Webb share stories of their artistic processes in
this excellent book. Structured as a series of short reflections with images, the authors cover subjects like
colour, emotion, composition, street photography, sources of inspiration, research, mistakes, serendipity and
creative tension. I was particularly moved by Norris Webbs thoughts on loss and her project My Dakota.
(And her story about the antelope was hilarious.) The book even includes an extensive recommended
reading list at the end. If you want to be inspired in your creative process, read Alex Webb and Rebecca
Norris Webb on Street Photography and the Poetic Image. I already want to read this book again.
AT THE BEGINNING OF A PERSONAL PROJECT I TRY TO MAINTAIN A DELICATE BALANCE

BETWEEN INTUITION AND DISCOVERY VERSUS DISCURSIVE KNOWLEDGE. I READ SOME
GUIDEBOOKS, TO GIVE ME THE LAY OF THE LAND. AND I OFTEN READ A NOVEL SET IN THE
PLACE, TO GIVE ME A MORE POETIC ENTRE INTO THAT WORLD. BUT THATS ABOUT ALL.
HOWEVER, AS I PHOTOGRAPH MORE, AND LOOK AT MY PHOTOGRAPHS MORE, I READ
MOREMORE HISTORY, MORE ABOUT A CULTURESO THAT BY THE END OF A PROJECT I
HAVE A DEEP INTELLECTUAL KNOWLEDGE OF A PLACE. I WANT MY VISUAL AND
INTELLECTUAL KNOWLEDGE OF A SUBJECT TO GROW AT THE SAME RATE.
ALEX WEBB
16
JUNE/JULY 2014
EXPOSURE PHOTO LIFE
The new Dimension of Scanning
SilverFast 8 is now avaiable

for Microtek i900 and 1000XL.
SilverFast HDR now includes

the fully functional Virtual
Light Table (VLT) to ensure
optimized overviews and
selection of images
Like its predecessor, SilverFast 8 it is the only scanning software package which allows me to effortlessly
scan a wide range of film and reflective originals, and
the advances made with SilverFast 8, specifically in
the areas of the user interface and imaging workflow
are reason enough to upgrade.
Timothy Gray, Photographer
PrinTao 8
Effortless Professional Printing

PrinTao 8, a printer software developed
by LaserSoft Imaging, is a software photographers and all those who want to print easily
and professionally have been waiting for a long
time. It has been possible to utilize the
power of Apple Mac OS X in a very impressive
way. From installation to final print, PrinTao 8
lives up to expectations of achieving professional results effortlessly.
digit! 6-13
for more information please visit
www.SilverFast.com www.PrinTao8.com
Anzeige_PrinTao8_PhotoLife_FP_en.indd 1
30.04.14 23:35
2014-05-08 1:26 PM
EXPOSURE
TALES FRoM THE FIELD
SHE WHO
TELLS A STORY
BY PATRICE HALLEY
Since its invention, photography has been a field mainly dominated by

men. However, for several generations, the documentary impulse has
also motivated women.
ou only have to follow the paths
of passionate female adventurers
over the years to realize that its
not just men who have the determination
and courage of a photojournalist.
Female pioneers include Alexandra
David Nel (1868-1969); Gerda Taro
(1910-1937; the first female photographer killed in combat); the very
controversial, but nevertheless extremely
talented Leni Riefensthal (1902-2003); as
well as Margaret Bourke-White (19041971) and Lee Miller (1907-1977), who
were both war correspondents attached
to the U.S. Army during the Second
World War.
However, until recently, the profession

was not attracting many women. In the
1970s, there were a number who made
their mark, like Susan Meiselas from the
U.S., or Christine Spengler and Franoise
Fifi Demulder from France. (Demulder
was the first woman to win the World
Press Photo of the Year award.) But then
from 1980 to 1990, aside from Alexandra
Boulat, the presence of female reporters
in conflict zones was rather rare and the
profession stayed predominantly masculine. In France, the number of women
with the coveted national press card was
less than 10% of the total number of journalists until very recently.
Over the last several years, things have

started to change. More and more women
are turning to documentary photography
and photojournalism. Women like Lise
Sarfati, Jodi Cobb and Ami Vitale are
examples to many young women who
are now looking at the world around
them. In fact, its because they want to
express something about their world that
women are turning towards this career,
explained Jacques Nadeau, a Devoir
photographer and professor of photojournalism the Universit de Montral, during
a phone conversation. In his class of
thirteen students, there arethirteen
young women.
Since 2001, Canon France and the French
Association des Femmes Photojournalistes
(AFJ) have awarded the Canon Female
Photojournalist Award. This year the AFJ
has stepped down from its role, and
Canon and Images Evidence will continue
as organizers of this award. In addition,
the award will also be supported by ELLE
magazine for the first time. Vronique de
Viguerie,
Sarah
Caron,
Justyna
Mielnikiewicz and Claudia Guadarrama,
all recipients of this award, are examples
of the talent and force of the female
photographic vision. Nadeau continued,
Althoughlike with menmany are
called but few are chosen, women have a
greater need for social engagement than
men, which, no doubt, explains why they
have more of a need to express what they
think.
Isabelle Fougre, co-president of the AFJ,
summarizes what has without a doubt
been the principal problem for women:
We needed to raise the visibility of
women who were already working in
order to show young girls that it is
possible for them to pursue this type of
career. The developing interest of women
for this traditionally male field proves the
cumulative effect of globalization and
digital democracy has unexpected socialcultural results.
The 2013 edition of Zoom Photo Festival Saguenay emphasized the female perspective in
photojournalism. Nadia Benchallals Sisters: Muslim Women was among the featured exhibitions.
18
JUNE/JULY 2014
Women, who in other times were forced

to lead a more settled life than men, were
EXPOSURE PHOTO LIFE
often excluded from certain prestigious

professions. Traditionally, boys were given
cameras more often than girls, and men
were usually in charge of documenting
family activities. In an interview with
France Inter, the French photojournalist
Sarah Caron explained her viewpoint on
these topics: I work a lot on social subjects, on militantism and the struggles of
individuals. My photo essays are a way for
IN FACT, ITS BECAUSE

THEY WANT TO
EXPRESS SOMETHING
ABOUT THEIR WORLD
THAT WOMEN ARE
TURNING TOWARDS
THIS CAREER,
EXPLAINED JACQUES
NADEAU, A DEVOIR
PHOTOGRAPHER AND
PROFESSOR OF
PHOTOJOURNALISM
THE UNIVERSIT DE
MONTRAL, DURING A
PHONE CONVERSATION. IN HIS CLASS OF
THIRTEEN STUDENTS,
THERE ARETHIRTEEN
YOUNG WOMEN.
LITTLE BY LITTLE, WOMEN HAVE APPROPRIATED THE ROLE OF

THE MEMORY KEEPER AND HAVE EXPANDED THEIR DOCUMENTARY ABILITIES WELL BEYOND THE TRADITIONAL FRAMEWORK OF THE FAMILY, REVEALING UNIQUE VISIONS, STYLES
AND SUBJECTSOFTEN ONES MEN DID NOT HAVE ACCESS
TO OR ONLY AWKWARDLY GRAZED THE SURFACE OF.
me to engage with and portray our society. To the question, How do you explain
the under-representation of women
among photographers? she responds, I
think its very indicative of our society
and, more broadly, the world in which we
live. We teach women that there are categories of work made for them and that its
necessary to fit into certain boxes. For
photography, I cant explain it really, and
to be honest, I think this work is just as
difficult for men as it is for women. These
days, you have to know how to promote
your vision of things and live your passionand thats not a question of gender
but of personality.
Little by little, women have appropriated
the role of the memory keeper and have
expanded their documentary abilities well
beyond the traditional framework of the
family, revealing unique visions, styles and
subjectsoften ones men did not have
access to or only awkwardly grazed the
surface of. Things are changing. Noor, a

collective based in the Netherlands, has a
team of ten photographers, four of whom
are women. In the Middle East, six women
have come together to create a collective,
the first of its kind in the region, to tell indepth stories, all while having, some of
them, a family life. They call themselves
Rawiya: She who tells a story.
In spite of the difficulties that are shaking
up the industry, from big magazines closing to budget reductions for documentary
and cultural projects, women are now taking their rightful place as photojournalists.
By taking risks, they are reinventing a profession that, until now, was just out of
reach. Their refreshing documentary ethic
is as serious as it is sensitive. Im ready to
wager you my first Nikonthe one I am
most attached to because my mom made
it possible for me to get itthat well be
hearing more and more fascinating stories
from women.
The lighting world just got brighter.
5-in-1 Reflectors
Umbrella Kit
Collapsible Reflectors
Collapsible Grey Card
On Camera Softbox
new!
Halo Ringflash Softbox
New to North America, Illumi has set their sights on designing and producing the best
lighting products imaginable. You will find lighting accessories that are more expensive,
but none that will perform at a higher standard. Best of all, a full range of Illumi
lighting accessories from collapsible softboxes, reflectors, umbrellas, backgrounds,
reflector panels and more are available at a Vistek showroom near you.
4/2/.4/s-)33)33!5'!s/44!7!s#!,'!29s%$-/.4/.
PHOTO LIFE EXPOSURE
VISTEK.CA
JUNE/JULY 2014
19
VISION
WET BEHIND THE EARS

CuLTIVATING A BEGINNERS MIND
BY DAVID DUCHEMIN
What if we stopped looking to new gear to make us better photographers
and instead embarked on the difficult journey to master the medium?
ve been doing a lot of thinking lately on the idea of mastery and what the path
toward mastery looks like. The popular photography media and the non-stop
buy-me messaging of the makers of the tools of our craft seem to imply its as simple
as owning or, more specifically, buying the right gear. And the voices in photographic
education arent helping, preferring tips, tricks and shoot-like-a-pro promises to the
longer, harder journey of craft. Its not an easy field in which to raise a voice in search
of the latter.
What Ive discovered is that the journey to masteryand it is a path and not a destinationis cyclical. The road toward mastery, in any endeavour, takes us from unconscious
incompetence (we dont know what we dont know) to
conscious incompetence (suddenly we know just how THE ROAD TOWARD MASTERY,
much we dont know) to conscious competence (we learn IN ANY ENDEAVOUR, TAKES US
and acquire skills, but it takes conscious effort and aware- FROM UNCONSCIOUS
ness) and finally to unconscious competence (the state INCOMPETENCE (WE DONT
where most of us might call our skills intuitive). But its KNOW WHAT WE DONT KNOW)
there at the point we might otherwise call mastery that we TO CONSCIOUS INCOMPETENCE
become aware, all over again, how much we have yet to (SUDDENLY WE KNOW JUST
learn. And we begin again, skipping that first stage.
HOW MUCH WE DONT KNOW)
Edward Weston once said, The fact is that relatively few
photographers ever master their medium. Instead they
allow the medium to master them and go on an endless
squirrel cage chase from new lens to new paper to new
developer to new gadget, never staying with one piece of
equipment long enough to learn its full capacities, becoming lost in a maze of technical information that is of little
or no use since they dont know what to do with it.
TO CONSCIOUS COMPETENCE
(WE LEARN AND ACQUIRE
SKILLS, BUT IT TAKES
CONSCIOUS EFFORT AND
AWARENESS) AND FINALLY TO
UNCONSCIOUS COMPETENCE
(THE STATE WHERE MOST
OF US MIGHT CALL OUR
SKILLS INTUITIVE).
As new cameras and lenses come faster and faster on the heels of advances in technology, its no wonder photographers are frustrated. Perhaps wed do better to spend more
time reading the wisdom of past masters, but were more likely to be found reading our
20
JUNE/JULY 2014
VISION PHOTO LIFE
DAVID DUCHEMIN
PHOTO LIFE VISION
JUNE/JULY 2014
21
camera manual. We struggle with the technology and just

when weve gotten to the point where conscious competence is about to give way to unconscious competence,
where we enter that state of creative process called flow,
we sabotage our journey by buying a new camera, a new
lens or whatever new shiny thing promises to make our
photographs better, and we take several steps back.
Voices like Westons are getting harder and harder to hear.
And thats a shame because those other voices convincing
us the newer gear will make better photographs are the
voices making so many photographers so frustrated. How
much further along would we be if we stuck to the gear
we havegear, which, by the way, is light years ahead of
what masters like Cartier-Bresson or Weston had and they
didnt seem to sufferand instead spent our time working
on those things that truly make better, more compelling
photographs?
WE STRUGGLE WITH THE

TECHNOLOGY AND JUST WHEN
WEVE GOTTEN TO THE POINT
WHERE CONSCIOUS
COMPETENCE IS ABOUT TO
GIVE WAY TO UNCONSCIOUS
COMPETENCE, WHERE WE
ENTER THAT STATE OF CREATIVE
PROCESS CALLED FLOW, WE
SABOTAGE OUR JOURNEY BY
BUYING A NEW CAMERA, A NEW
LENS OR WHATEVER NEW
SHINY THING PROMISES TO
MAKE OUR PHOTOGRAPHS
BETTER, AND WE TAKE SEVERAL
STEPS BACK.
All of this came back to me hard recently. I spent 10 days photographing the Orthodox
pilgrimage to Lalibela, Ethiopia, for Christmas; I followed that with January in East
Africa, a 10-day safari in Kenya, and a couple weeks learning to dive in Zanzibar. With
learning to dive came learning to make photographs underwater. Despite 25 years
behind me as a photographer and a beautiful new camera in a technological marvel of
waterproof housing, I was completely unprepared
to take my gear below the surface and spent a
couple days thrashing about in frustration before I
recognized where I was all over again, in that place
of beginning, that place of becoming aware of just
how much I didnt know.
DAVID DUCHEMIN
The word shoshin describes a Zen concept thats

translated as beginners mind. Its the internal
posture of humility that gives birth to curiosity and
patience on the road to mastery. In Zanzibar I was
surprised by how long it took me to shake the
frustration, and it only happened when I realized
Id left my beginners mind on the shore. Sure of
myself and what I thought I knew, it shocked me
to find myself unable to make a single decent
photograph. What an astonishing new world it is to
be 12 metres down surrounded by blue! I found it
hard enough to remember to breathe and to avoid
drifting into or stepping on anything that might
poison me, lacerate me or eat menever mind
make a photograph while doing so.
Sometimes the best thing we can do is give up, and
thats where I think Im going with all this. The
beginners mind, apart from being a necessary
posture to walk the path to mastery, is also the one
VISION PHOTO LIFE
DAVID DUCHEMIN
PHOTO LIFE VISION
JUNE/JULY 2014
23
DAVID DUCHEMIN
vital internal state we need as we learn to see. Its what makes

a photographer of someone who otherwise is merely a
camera operator. Receptivity. Seeing the world as it is and not
as we wish it were. Being open to whats right in front of us.
Seeing is, after all, not merely something we do with the eyes;
seeing is about perception. It happens in the mind, and it
happens best in an open minda mind ready to entertain
possibilities and what-ifs, a mind curious about new directions and willing to consider that old ways may no longer
serve us. Thats what makes a photographer. Its not the gear.
It never was. The gear, like the eyes, is merely the way we
physically capture the world we see. The seeing happens
elsewhere, and it begins with being open and receptive.
24
JUNE/JULY 2014
SEEING IS, AFTER ALL, NOT

MERELY SOMETHING WE DO
WITH THE EYES; SEEING IS
ABOUT PERCEPTION. IT
HAPPENS IN THE MIND, AND
IT HAPPENS BEST IN AN OPEN
MINDA MIND READY TO
ENTERTAIN POSSIBILITIES AND
WHAT-IFS, A MIND CURIOUS
ABOUT NEW DIRECTIONS AND
WILLING TO CONSIDER THAT
OLD WAYS MAY NO LONGER
SERVE US.
VISION PHOTO LIFE
Michelle Valberg
Explore Labrador
No crowds. All natural. Purely Canadian.
Award Winning Expeditions

Join Adventure Canada as we experience Arctic wildlife and
icebergs, the Torngat Mountains National Park, Inuit culture
and Northern Lights. This voyage runs from Greenland to
Newfoundland aboard the 118-passenger Sea Adventurer.
With special
guest author:
Michael Crummey
Greenland & Wild Labrador September 11 - 24, 2014

From $4,595 - $12,795 USD per person + $250 USD discovery fee
Call us at 905-271-4000 or 1-800-363-7566 for full prices, dates and itineraries.
Visit www.adventurecanada.com
ADVENTURE CANADA 14 Front St. S. Mississauga, ON L5H 2C4 Ont Reg # 4001400. Adventure Canada is a Member of TICO and ACTA.
Photolife March 29 2014 HITS June 9th.indd 1

2014-04-29 11:03 AM
2014-05-08 1:26 PM
Winner: Hong Kong Lights, David Ho, Coquitlam, B.C.
Phra That Luang,

Julie Larocque, Montreal, Que.
26
JUNE/JULY 2014
Quito Rainstorm,
Peter Andersen, Port Coquitlam, B.C.
The Tracks Less Travelled,

Aaron Falkenberg, Edmonton, Alta.
VISION PHOTO LIFE
TRAVEL MEMORIES
Leap of Faith, Mike Easton, Winnipeg, Man.
Christmas Eve in Laos, Cassidy Nunn, North Saanich, B.C.
Into the Sky, Victor Liu, Calgary, Alta.
Le Malecon, Mathieu Rivard, Montreal, Que.
WE INVITE OUR READERS TO PARTICIPATE IN THE SHOWTIME

PHOTO CONTEST SPONSORED BY EPSON CANADA LTD.
NEXT ISSUE
YOU COULD
WIN AN
EPSON
STYLUS
PHOTO R2000
INKJET 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
Expression Photo XP-950
Small-in-One Printer
(retail value: $349.99).
The Showtime contest is open to Canadian residents only.

FOR INFORMATION ABOUT EPSON PRODUCTS, VISIT WWW.EPSON.CA.
THEMES
Natural Parks
Fashion
Mountains
Horses
PHOTO LIFE VISION
DEADLINE
PUBLICATION DATE
July 27, 2014

September 28, 2014
November 23, 2014
January 18, 2015
October/November 2014
December/January 2015
February/March 2015
April/May 2015
JUNE/JULY 2014
27
If you need expert advice on which are the best photographic, video and imaging products, look out for products with the
TIPA Awards logo. The TIPA awards are judged on quality, performance and value, making them the independent photo
and imaging awards you can trust. In cooperation with the Camera Journal Press Club of Japan.
www.tipa.com
TECHNIQUE
PHOTOGRAPHING
WATERFALLS
SoME TIPS FoR DoING THEM JuSTICE
BY IDA KORIC
Ancient cultures worshipped waterfalls as the rebellious children of
river and thunder gods. Modern humanity celebrates their beauty by
using them as backdrops for shampoo commercials; yet the
sentiment of idolatry remains. Water is the most dynamic of all
landscape subjects, with its fluidity making it unique. Instead of simply
freezing a moment in time, we are able to capture a representation of
times passage. Doing waterfalls justice requires a combination of
planning and technique. Much like stalking the Kermode inside Great
Bear Rainforest, you must have an intimate understanding of both
your prey and the essential equipment.
THE SILK EFFECT

We are all familiar with those iconic
images rendering the waters path more
mist than liquid. The longer the exposure,
the silkier the effect will be. Depending
on the rate of flow, you should start
seeing some softness at a half-second

exposure, with significant silk at two or
three seconds. Tiered falls (those with
many divergences over rocks and outcroppings) see the greatest benefit from a
lingering open shutter.
Take care in venturing beyond two

seconds, as distinct paths of flow may
become blurred into a mess of
abstraction. Dialing in to your smallest
aperture, as well as your lowest possible
ISO setting, is a good start in increasing
exposure time, but sometimes the light
quality demands more.
Aside from the critical tripod, filters will
become your new BFF (best friend
forever). There is no limit to how many
Seljandafoss, Iceland. Capturing a waterfall
from behind adds an interesting element
to the subject.
Nikon D40 and Tamron 18-55 mm lens; 18 mm,
1/400 s, f/11, polarizing filter.
IDA KORIC
IDA KORIC
IDA KORIC
Skgafoss, Iceland. The solitary figure in the

frame provided a sense of scale, while the
graduated filter allowed for a more even
overall exposure despite the imbalanced
brightness of the sky. Nikon D40 and Tamron
28-300 mm lens; 1/2 s, f/22, warming filter
81B plus 2-stop graduated tobacco filter.
THE SILK EFFECT

CREATES A SCENE OF
DELICATE TRANQUILITY
A SETTING CUSTOMIZED
FOR FROLICKING PIXIES.
WATERFALLS OF STATURE
DESERVE BETTER. IN
CONTRAST TO SMALLER,
TIERED CASCADES, ICONS
ARE MORE TRULY
REPRESENTED WHEN THE
WATER IS FROZEN TO
DISPLAY ITS POWER AND
MAGNITUDE.
filters you can stack against your lens,
provided they are clean and of good
quality, and you arrange them flush
against one another. The most light
control you can possibly have, however,
comes from doubling up on polarizers.
When stacked correctly, two polarizing
filters will have all the transparency of an
eye patch, with a little twist to the left or
right allowing trickles of light to seep
through. Filters will also give you almost
complete control over colour temperature
before you even hit the digital darkroom.
When capturing the top of a cascade from
its base, youll often contend with a
frustrating patch of sky that will be
brighter than your subject; a graduated
filter is a nice tool to have in your back
pocket to deal with this inequity.
Having direct sunlight fall anywhere within the frame will compromise your photo;
its not possible to properly soften shaded
water without blowing out the highlights
in the image. Timing your trip so that your
subject is evenly lit is paramount.
CONSIDERING STYLE AND SCALE

The silk effect creates a scene of delicate
tranquilitya setting customized for
frolicking pixies. Waterfalls of stature
deserve better. In contrast to smaller,
tiered cascades, icons are more truly
represented when the water is frozen to
PHOTO LIFE TECHNIQUE
display its power and magnitude. One can

just imagine Victoria Falls fretting, Does
this long exposure make my flow look
soft? Single-spout horsetail falls also
suffer with long-exposure, somehow

always turning into UFO tractor beams. As
you approach a waterfall, think about
which style best suits its personality.
B+W Filters
You just spent a fortune on a great
lens. Why compromise your image
quality with a cheap filter? Trust in
the optical perfection of a B+W Filter.
Safari Pop-up Flash Booster

Extend the range of your pop-up
flash. Gain up to 4x light from 60
feet away! For Canon and Nikon
APS-C sensors, and lenses greater
than 100mm. No batteries
required! SLP $39.99
DSLR Pop-up
Flash Booster
Great gear we can provide
...the rest is up to you.
3-in-1 Honeycomb Grid

Selectable 16, 25, 45 degree
spot of light with a gradual
fall-off. Universal design fits all
standard shoe mount flashes. SLP $54.99
Spiff-y Light Blaster
Strobe based projector
adds exciting dimensions to
ordinary backgrounds.
Change reality! Use your
old 35mm slides or try a
blaster pattern kit.
SLP $129.99
Lens Adapters
Have a mirrorless
camera and a bunch of
great old glass? We
have the adapters for
you. Many options
available, see website
for details!
NEW!
2.0
Professional White Balance
Thirty seconds first with the
Expodisc will save hours of
valuable time correcting
colour later. Includes
portrait warming filters.
SLP. $54.99
Inspiring Tools
for Great Photography
www.redravenphoto.com
D i s t r i b u t ed ex cl u s i vely i n C an ad a by w w w. red r aven p h o t o. c o m

Avai l ab l e f rom d i s cer n i n g s p eci al t y p h ot o ret ai l er s acro ss C a n a da
JUNE/JULY 2014
31
2014-05-08 1:26 PM
WITH ALL OF THIS IN

MIND, GO FORTH AND
CREATE! BUT GO WITH
CAUTION, LEST THIS
HIGHLY ADDICTIVE HOBBY
CLAIM ANOTHER VICTIM.
photography because the volume of water

dictates every aspect of your shot. If you
simply take your chances you could, like
me, arrive at South Africas tallest waterfall
at the tail end of the dry season only to
find an uninspiring, cliff-top puddle, and
pine for what might have been.
A general understanding among artists is

that subjects that are meant to impress us
with their size need to be given a sense
of scale. The same holds true for waterfalls. When a frame contains only rocks
and water, it is difficult to determine
exactly how impressed were supposed to
be, so include a recognizable figure, if at
all possible.
In addition to volume, time of year affects

how your falls will be framed. Do you
want to include the layered greens of
springtime, the fiery warmth of autumn
foliage or the icicle curtain of a winter
cascade? Summer is unique as it can bring
about short-lived cascades born of
snowmelt.
MULTIPLE PERSONALITIES
Waterfalls change shape and scope
throughout the year or, if youre shooting
spring runoff, throughout the day.
Research is important when it comes to
this particular brand of landscape
MIND THE SPRAY

The largest waterfalls in the world seem to
be shot from a great distance. This is
partially because any falls of notable size
will send billions of miniscule droplets
into the air, which are carried by the wind
often more than a mile away, alighting
directly onto your lens. All of the
microfibre cloths in existence wont keep
your glass unblemished.
One trick, however, has allowed me to
successfully shoot some of the most
obnoxiously misty falls on the planet:
setting up the shot using a dummy filter.
When you are in a roaring vortex of cold
spittle, you wont have a respite to frame
your capture. With your camera secured
on a tripod, have your chosen filter(s)
locked in place and manually cover them
with a clear one, while you awkwardly set
up the composition and focus with your
free hand. Whisk the dummy filter away
just before you shoot, and you stand a
chance at a clean shot.
Maximum flow may seem like the instinctual best time to visit a fall, but it rarely is.
Lower flows reveal tiers and dynamics that
may be drowned out during freshet. They
also expose more of the bank and river
rocks, often giving you a chance to cozy
right up to the base of the falls.
Its not all bad, thoughin full sun, these

behemoths are rainbow factories, and
rainbows make everything better.
IDA KORIC
THE CHANGEUP
Tulip Falls, Castlegar, BC. Shooting this cascade toward the end of summer allowed a set-up on river
rocks that would have been submerged in water in springtime. The moss and canyon rock demand
attention, providing a complete backdrop for the scene. Nikon D90 and Sigma 11-18 mm lens; 1/10 s,
f/24, polarizer filter.
32
JUNE/JULY 2014
The creative possibilities are endless.

Dont get hung up on capturing the whole
cascade, and never be afraid to let it
become a secondary subject. Try focusing
on the chaos at the base of the falls or on
a moss-covered rock just downstream.
Sometimes the water itself makes a
notable subject; extremely long exposures
can create a stunning abstraction. A birdseye view from the top of a cascade or a
perspective from behind the waterfall can
provide an alternate interpretation of the
scene. Finally, the contrast (in both tone
and texture) between the water and its terrestrial surroundings is often intense; try
rendering it in black and white or sepia.
With all of this in mind, go forth and create! But go with caution, lest this highly
addictive hobby claim another victim.
TECHNIQUE PHOTO LIFE
Dis
Take Control of the Light
Working in different lighting conditions presents a number

of challenges. Lastolites TriGrip line of light modifiers
lets you control the light quickly and easily.
Whether you want to bounce, diffuse, reshape the light or you
simply want to be more creative, Lastolite has the solution.
Visit the Lastolite School of Photography website
to watch our FREE tutorial videos.
Distributed in Canada exclusively by Gentec International, one of Canadas 50 Best Managed Companies www.gentec-intl.com
www.lastolite.ca
2014-05-08 1:26 PM
4 x 6 in.
5 x 7 in.
8 x 10 in.
8 1/2 x 11 in.
11 x 14 in.
12 x 18 in.
72 dpi
Onscreen Display
288 x 432 pixels
360 x 504 pixels
576 x 720 pixels
612 x 792 pixels
792 x 1008 pixels
864 x 1296 pixels
NUMBER OF PIXELS PER USE

200 dpi
Everyday Printing
800 x 1200 pixels
1000 x 1400 pixels
1600 x 2000 pixels
1700 x 2200 pixels
2200 x 2800 pixels
2400 x 3600 pixels
300 dpi
Professional Printing
1200 x 1800 pixels
1500 x 2100 pixels
2400 x 3000 pixels
2550 x 3300 pixels
3300 x 4200 pixels
3600 x 5400 pixels
On the other hand, if we only want to display a photo on a monitor (on a website, for example), the number of pixels necessary decreases by two-thirds: you only need to have 72 dots per inch for a photo to retain its image quality. Displaying an
8 x 10 image on a screen only requires 414,720 pixels (8 x 72 dpi x 10 x 72 dpi), which is a mere half a million pixels.
In order for a printed photo to appear visually flawless, the individual pixels it is made of must not be perceptible;
they have to be small enough that we can forget about them. When printing a photo on paper, there must be a
minimum of 200 pixels for each inch of surface covered, which is where the acronym dpi, or dots per inch, comes
from. If we have to print a 4 x 6 photo, there should be 800 pixels on the shortest side and 1200 pixels on the longest
side, for a total of 960,000 pixels. A million pixels will do the job. If we want to print a 12 x 18 photo (12 x 200 dpi
x 18 x 200 dpi), well need 8,640,000 pixels for a good quality photo.
A pixel is a microscopic light-sensitive square surface; an image sensor packs millions of these little photosensitive surfaces
side by side. A photograph created by a 24-MP camera has a matrix of 6000 horizontal pixels by 4000 vertical pixels.
DPI
Each generation of new cameras proudly boasts sensors with two if not four million additional
pixels. It is becoming increasingly frequent to see an entry-level compact camera with 16, 18 or
even 20 MP. Sadly, the benefit of having this many pixels is debatable: do we really gain
anything? All of these pixels take up an enormous amount of space, particularly when working
in Raw format. Since this type of uncompressed file can easily reach 30 or 40 MP in certain
cameras, its important to know how to reduce the size of the files in order to make them easier
to download or share.
BY JEAN-FRANOIS LANDRY
UNENCUMBER YOURSELF
REDUCING THE NUMBER OF PIXELS
PHOTO 101
The number of pixels needed for an optimal quality print is a bit controversial. Some will say that they cant see a difference between a
print at 200 dpi and one at 300 dpi. Others will say that the sweet spot of this or that brand of printer is at 240 or 260 dpi. Others wont
print files if the resolution is not at least (or above) 300 dpi. Personally, I believe that 200 dpi is more than enough for pixels to be imperceptible and to have a good quality print.
HOW MANY PIXELS DO YOU NEED FOR PRINTING?
Reducing the size of your images makes transporting and transferring them easier. When the rules are respected,
the loss of quality is invisible. So, you might as well unencumber yourself (and others) by sending only whats
necessary!
AND YOURE READY TO SEND!
Using Picasa 3.9.137 is just as easy: start by selecting the images to be transferred, then click on the [Email] button. In
[Image Size] use the cursor to select the 1200-pixel size, and then under [Image Quality] check [Automatic]. And its
ready to send.
In iPhoto 9.5.1, simply select the photos to be sent and head to the menu to select [Share] > [Email]. Check in the
following window that the [Size] option is on [Large], which will create an 855 x 1280 photo that will be big enough
to allow the recipient to print the image in a 4 x 6 format.
When you attach photos to an email, its often easier to use the default settings within photo-management software
such as iPhoto or Picasa.
HOW TO SEND PHOTOS BY EMAIL
Once this action is complete, the only thing left to do is to save the resulting file under a new name, and youre done!
After that, head to the top of the window to the [Pixel Dimensions] section. As photos are generally rectangular, one
of the numbers should be bigger than the other one. Select it and then replace it with the number of pixels you
want to see. For example, if you want to print a 5 x 7 photo for everyday use (see the table), enter a value of 1400
for the longer side (the second field will be filled in automatically, keeping the photo dimensions proportional) and
click [OK].
Make sure that the options [Constrain Proportions] and [Resample Image] are checked. (Its this last one that enables
you to change the number of pixels.)
With Photoshop Elements, once the photo is open, simply go to [Image] > [Resize] > [Image Size].
The best way to reduce the number of pixels in a photo is to use photo-editing software. Photoshop Elements,
PaintShop Pro, PhotoPlus and GIMP all know how to get the job done. No matter what software you use, they all
function in relatively the same way.
HOW TO REDUCE THE SIZE OF AN IMAGE
JEAN-FRANOIS LANDRY
TECHNIQUE
FAQ
RAW VS. JPEG: WHICH IS BEST?
At the moment you push the shutter to take a photograph, the mirror
lifts to allow light to enter, the shutter opens and each of the sensors
pixels absorbs photons coming from the scene, which they transform
and store as an electrical charge. And voil, the picture is taken. The
shutter closes again, the mirror goes back to its starting position and
the camera is ready for the next shutter release. The information the
sensor just captured is raw, meaning it is still in a crude state, direct
from the source. It is pure, free from interpretation or modification by
the camera processor. Its a little like a diamond covered in kimberlite.
If you asked for a Raw file, this unaltered information is saved on your memory card. But if you opted for a JPEG
file, the diamond is extracted from the
kimberlite, cut, rubbed and polished (i.e.,
the application of white balance, increase
in sharpness, adjustment of contrast,
application of a colour space, etc.) before
it is placed in box, ready to ship (i.e.,
compressed into JPEG format and saved
on the memory card).
Asking for a Raw file is like ordering a

raw diamond and saying, I am capable of
extracting the diamond from the rock
myself. This is a necessary operation if
you want to enjoy the diamond. Likewise,
in order to do something with a Raw file
(print the image, for example), you have
to first process it in a software. There are
huge benefits to working with Raw files,
but are they always essential?
PRECISION
The image resulting from a Raw file is first
and foremost more precise: no compression has altered the quality of the original
file. The JPEG format only retains, in the
best of cases, one pixel out of four. Ill
keep the first pixel. Ill forget the second,
third and fourth. Ill keep the fifth pixel;
Ill forget the sixth, seventh and eighth
Well, okay, the algorithms that are used to
calculate the JPEG compression are
clearly more advanced than that.
36
JUNE/JULY 2014
Nevertheless, the only way to reduce the

size of a file is to leave out certain
components and to reinterpret the
absences when the file is decompressed.
COLOUR RANGE
Each pixel in a Raw file has access to a
mind-boggling range of colours. A simple
JPEG file, with 8-bit encoding, can only
display 16,777,216 coloursIll concede,
thats a good start. Yet, a Raw file, generally based on 14-bit encoding, can show
4,398,046,511,104 (or 4.4 billion) different
colours! Talk about swimming in the subtlety of tones and tints! Of course, that
doesnt add pixels to the final image, but
the quality of those existing pixelswow!
Just writing about it is enough to make
the hair on my arms stand up.
COLOUR ACCURACY
When you ask for a JPEG file and push the
shutter, the camera performs a white
balance, which is a colour adjustment
based on the type of light illuminating the
scene being photographed: incandescent,
fluorescent, daylight, etc. This is done to
every JPEG file, before the camera saves it.
The white balance adjustment comes from
a mathematical analysis, which doesnt
necessarily account for the subtleties of
each scene. What differentiates a white
wall bathed in orange light (from incandescent light bulbs) from an orange-coloured
wall photographed in daylight? Sometimes
the camera will get it wrong. And this error

is difficult to reverse in Photoshop. Yes, it
is possible to eliminate a dominant colour
resulting from a bad analysis, but the other
colours in the image will also be affected;
a loss of saturation and a change of tint are
to be expected. But those kinds of fixes are
not my idea of fun.
When you choose to shoot in Raw, a
white balance is not performed on the
image; the file is kept in the crude state.
However, a white-balance adjustment can
be done with software, allowing you to
achieve the hoped-for colorimetric perfection. In addition, when you develop
your image, you have access to 4.4 billion
colours to refine your finished product.
BRIGHTNESS, CONTRAST
AND DETAILS
Its a mistake to believe that a Raw file has
a better dynamic range than a JPEG. The
GRRR! IM JPEG!
The Camera Store

ASKING FOR A RAW FILE IS
LIKE ORDERING A RAW
DIAMOND AND SAYING,
I AM CAPABLE OF
EXTRACTING THE DIAMOND
FROM THE ROCK MYSELF.
THIS IS A NECESSARY
OPERATION IF YOU WANT
TO ENJOY THE DIAMOND.
dynamic range (the ability to record the
details in high and low light in a very
high-contrast scene) depends only on the
quality of the sensor. But a Raw file does
offer an unrivalled ability to control the
overall image. Working with 4.4 billion
colours (have I mentioned them yet?), its
easy to recover the brightness of a scene,
to retrieve details in the dark and light
tones, and to establish jet-black blacks
and pure whites, as long as the exposure
was halfway decent when the image was
taken. The JPEG file allows for the correction of small errors, but it doesnt offer
anything close to the extensive range of
correction possibilities available when
using Raw files.
IM RAW, AND I
WILL CRUSH YOU!
NOISE
Noisethe beyond-detestable granulation that appears with long exposures or
when using high ISOsseems less present in a Raw file than in a JPEG. Its not
that the Raw file causes less of it (the
noise depends more on the quality of the
sensor and the image processing than
anything else), but rather its that the
JPEG format multiplies the noise due to
the compression it performs.
introduces a new
line of photography
accessories:
BUT YOU STILL HAVE

TO PROCESS YOUR
IMAGE CORRECTLY!
So, by all counts, a Raw file provides
images that are more precise and detailed
than any JPEG, no matter what its quality.
But its important to remember that the
Raw file is a crude file, and its necessary
to develop it in a specialized software in
order to extract all the information.
Whether you use Corel AfterShot Pro,
Adobe Camera Raw, Nikon Capture NXD, Phase One Capture One Pro, DxO
Optics Pro, Canon Digital Photo
Professional or Adobe Photoshop
Lightroom, read the instruction manual
and learn to master your preferred software, whatever it is. Because a badly
processed Raw file isnt any better than a
JPEG. (You can quote me on that.)
ISTOCKPHOTO / MEVANS
ALL RAW, ALL THE TIME?
Certainly not! The majority of images we

take dont merit this level of special treatment. For example, lets say youre in
Cuernavaca, Mexico, and in your twoand-three-quarter-star hotel rooms bathroom, you see a cucaracha. You want to
capture the moment before you politely
deport it. In Raw? Really? What a waste of
time for a roach! Use Raw on your artistic
imagesthe ones that are important to
you and all the ones that merit enlargement. Choose Raw when the white balance is difficult to get right when you are
shooting, or when the colours of your
photograph will determine its impact (4.4
billion!). Otherwise, a JPEG from a good
camera will do the job just as well.
Purchase now at
thecamerastore.com
JUNE/JULY 2014
37
TECHNIQUE
ONCE THE
PHOTOGRAPHER FINDS A
COOPERATIVE INDIVIDUAL,
IT BECOMES IMMEDIATELY
OBVIOUS HOW
PHYSICALLY DIFFERENT
THE REAL ROADRUNNER
IS IN COMPARISON TO THE
LOONEY TUNES ONE.
IN PURSUIT OF
THE ROADRUNNER
SHooTING To CAPTuRE CHARACTER
BY SCOTT LINSTEAD
Transformed into a pop-culture icon after first appearing in Looney
Tunes cartoons in 1949, the real life greater roadrunner is, biologically
speaking, a far cry from the creature pursued by Wile E. Coyote.
However, this member of the cuckoo family does share a common
trait with its fictitious cartoon version: charisma.
y first encounter with the roadrunner was in April 2008 near
Alice, Texas. That brief sighting
lead me to believe that this bird was
tough to approach and would require a
photo blind and long hours spent for a
photograph. I would later discover that
this birds approachability varies greatly
depending on geography and the time of
year. Indeed, that first encounter seemed
to be the exceptional case. But for the
best photo ops, my experience has
shown the pre-nesting mania of March
and April to be the period when the
roadrunner abandons much of its natural
fear of humans. At this time, the birds
energy is focused on the task of

reproduction, and it becomes almost
reckless. If a roadrunners home territory
is adjacent to human activity, the photographer can expect the creature to be even
tamer than a purely wild, isolated one.
Once the photographer finds a cooperative individual, it becomes immediately
obvious how physically different the real
roadrunner is in comparison to the Looney
Tunes one. Most notable is the absence of
the ostrich-like legs and long neck. The
real bird is much smaller than the cartoon
would have us believenot at all comparable in size to a coyote. And the roadrun-
ner is, in fact, not a flightless bird.

However, it does resist flying under most
conditions, preferring to leap and run. This
inclination is perhaps at the heart of the
behavior that humans tend to anthropomorphize as character. It is easy to imagine how the creators of the cartoon may
have been inspired by simply observing
this desert creature run around, raising and
lowering its crest and tail almost as if to
imply mood. The bird also appears to be
quite curious and almost puppy-like in its
interactions with humans; it even cowers
in a submissive posture when in the close
proximity of people. Roadrunners that I
have encountered while driving on rural
roads have invariably run away from my
vehicle in the opposite direction for comically long distances along the road before
finally veering off into the brush. Yes, it is
safe to say that the real life roadrunner is
equally entertaining as its cartoon cousin.
THE NAMESAKE
If a jumping spider jumps and a howler monkey howls then a
behavioral photographer would clearly be guilty of bad
behavior should he or she ignore the activity for which the
roadrunner was named. A long telephoto is the way to go for
photographing the roadrunner running. The subject isolation
provided by the shallow depth of field is ideal for isolating the
roadrunner from its often-busy environment.
Subjects running or flying from left to right look good, but
subjects coming straight at the camera look great. The key to
38
JUNE/JULY 2014
success for incoming action shots of any subject is having a

camera that is up to the task and setting up the autofocus
system properly. On the Nikon system, when tracking
something in continuous autofocus mode, I like to turn the
lock-on function to off. This feature is intended for use
when panning with a left-to-right subject, so that the
autofocus does not lock onto other objects that may pass in
front of or behind the target. These lock-on focus-tracking
features tend to confuse the autofocus system when tracking
incoming subjects.
SCOTT LINSTEAD
Nikon D3, Nikkor 600 mm f/4 AF-S I, Aperture Priority f/5.6,

1/2500 s, ISo 1250, AF-C focus mode with lock-on set to off.
Nikon D700, Nikkor 500 mm f/4 AF-S II, Shutter Priority 1/8000 s,
f/5.6, ISo 1250, AF-S focus mode pre-focused on eye with
takeoff and landing spots in same plane of focus.
THE LEAP
The roadrunner shown in this image was leaping from the rock
to the snag in a repetitive way. Short-duration, high-speed events
that occur with minimal warning often require advanced
techniques, such as camera traps and/or high-speed flash
techniques. However, for the type of situation I was in, the highISO capabilities of modern cameras provide a solution without
having to resort to specialized equipment. This allowed me to
plan for the photograph and implement a simple but powerful
technique.
When a subject is jumping or flying a short distance from a
clearly defined takeoff point to a clearly defined landing point,
it is a safe bet that it will follow an almost perfectly straight line
between the two points. In other words, if both the takeoff and
40
JUNE/JULY 2014
SCOTT LINSTEAD
landing points are in the same plane of focus and the subject is
focused upon just before the action takes place, a continuous
burst at a high frame-per-second rate is likely to capture the
action in perfect focus.
Panning with the subject was impossible and quite useless in
this situation. Instead, I framed the scene for where I expected
the subject to be at peak action and focused ahead of time on
where the subject was before takeoff, with the expectation that
it would remain in the same plane of focus throughout its
trajectory. I made sure that the autofocus was set up so that it
did not try to refocus after the subject began moving.
Now lets take a look at the shutter-speed requirements for
freezing a subject in mid-action. The classical action photograph,
where we benefit from the panning motion, allows us to achieve

sharp action photographs with shutter speeds as low as 1/1000 s,
even if our technique is not perfect. However, in the shortduration event of the leaping roadrunner, this static-camera,
pre-focused scenario is a circumstance more typical of a cameratrap shot. This technique uses short-duration flashes of 1/10,000
of a secondanything longer creates blurred photographs.
I photographed this roadrunner in a traditional way, the lighting
coming from the sun, without the benefit of high-speed flashes.
Thankfully, we have modern DSLRs that are capable of high ISO
ratings and hence higher shutter speeds. 1/8000 s is as high as
most DSLRs will go and setting this value via Shutter Priority
mode is the photographers best bet. An auto-ISO function may
also be used so as to further ensure this speed is attained.
JUNE/JULY 2014
41
SCOTT LINSTEAD
Nikon D3, Nikkor 24 mm f/2.8 AF-D, Aperture Priority f/16, 1/500 s,

ISO 1000, manually pre-focused.
Wide-angle, close-up photographs of wild creatures are difficult

to produce. But they have the benefit of showing the creatures
habitat as well as lending an element of intimacy to the image.
Naturally, we cannot creep up within inches of a roadrunner
with a 24-mm lens attached to our camera, but we can leave it
in place and allow the subject to approach the camera.
In the wide shot of the roadrunner, I placed my camera
conspicuously on the ground in the middle of a footpath and
allowed the roadrunner to approach. The only additional
hardware I had was a cable release modified to be extremely
long. Notice the pebble at the foot of the roadrunner. That was
the reference point that I had pre-focused on. Watching from a
distance in a spot perpendicular to the lens axis, I could easily
see when the roadrunners eye lined up vertically with the
pebble. This was my cue to trigger the camera. Note how this
atypical camera angle highlights the curious nature of the roadrunner while encompassing the desert surroundings that make
up its home.
Keep this kind of photograph in mind the next time you are
leafing through National Geographic magazine, and youll notice
how super telephoto photographs are used sparingly in animal
photo essays when compared to intimate, wide close-ups.
42
JUNE/JULY 2014
ROADRUNNERS
THAT I HAVE
ENCOUNTERED
WHILE DRIVING ON
RURAL ROADS
HAVE INVARIABLY
RUN AWAY FROM
MY VEHICLE IN
THE OPPOSITE
DIRECTION FOR
COMICALLY LONG
DISTANCES ALONG
THE ROAD BEFORE
FINALLY VEERING
OFF INTO THE
BRUSH. YES, IT IS
SAFE TO SAY THAT
THE REAL LIFE
ROADRUNNER IS
EQUALLY ENTERTAINING AS ITS
CARTOON COUSIN.
SCOTT LINSTEAD
WIDE AND LOW
Nikon D300, Nikkor 70-200 mm

f/2.8 AF-S I VR, 200 mm, 1/60 s,
ISO 200, f/4.
3 THEMES
HUMANITY
ENVIRONMENT
INTERCONNECTIONS
PHOTO LIFE & PHOTO SOLUTION PRESENT THEIR
20TH ANNUAL
PHOTO
CONTEST
THE WORLD
WE LIVE IN
A GRAND PRIZE CRUISE
PLUS
THOUSANDS OF DOLLARS
IN FABULOUS PRIZES
PHOTOLIFE.COM/TWWLI
PHOTO LIFE & PHOTO SOLUTION PRESENT THEIR
20TH ANNUAL PHOTO CONTEST THE WORLD WE LIVE IN

A GRAND PRIZE WORTH
MORE THAN $10,000!
Grand Prize................................................................................................................................$10,548
Adventure Canada Mighty St. Lawrence expedition cruise for two, from Quebec City to St-Pierre-et-Miquelon .......$9360
Lowepro Pro Trekker 600 AW...................................................................................................................................$500
DxO Optics Pro 9 Elite ..............................................................................................................................................$299
Slik Pro 340DX tripod................................................................................................................................................$130
Billingham Khaki/Tan iPad slip ...................................................................................................................................$109
Blurb photo book voucher ........................................................................................................................................$150
Humanity
Environment
Interconnections
1 Prize ..................................................$2753
Sony 6000 CSC with 16-50 mm lens ................$800
Sigma 105-mm f/2.8 EX DG OS HSM Macro lens ..$650
Billingham Large Hadley Pro Khaki/Chocolate bag $495
Sirui ET-1004 Tripod Kit........................................$249
Lowepro Transit 350AW ......................................$150
Blurb photo book voucher ...................................$150
B+W 62-mm XS-PRO Clear MRC 007 filter...........$130
Light Blaster ........................................................$129
1 Prize ..................................................$2759
Sekonic L-478 D light meter .................................$400
Sirui P324S photo/video monopod.......................$329
Datacolor Spyder4 Pro ........................................$180
BlackRapid Sport Camera Strap ..........................$120
1st Prize ..................................................$2747

Sirui EN-2204 tripod ............................................$549
DxO Optics Pro 9 Elite .........................................$299
Lowepro Slingshot 202AW...................................$130
Rogue Safari DSLR Pop-up Flash Booster ...........$39
2nd Prize .................................................$2320

Adobe Creative Cloud one-year membership ......$599
Billingham Hadley Small Black/Tan bag ...............$269
Rogue Master Lighting Kit ....................................$229
Lowepro Pro Messenger 160AW..........................$169
Joby Pro Strap.....................................................$70
Joby Gorillapod Action Tripod...............................$40
2nd Prize .................................................$2304

DxO Optics Pro 9 Elite .........................................$299
Light Blaster ........................................................$129
Lowepro Urban Reporter 150AW .........................$120
Rogue Large Soft Box Kit .....................................$69
Hama USB 3.0 Card Reader.................................$24
2nd Prize .................................................$2297

Billingham Stowaway Pola Khaki/Tan bag.............$229
PocketWizard Plus X 2 pack.................................$180
Light Blaster ........................................................$129
Hama IR Light Sensor shutter release with Canon adapter ...$95
Slik F143 tripod ....................................................$40
3rd Prize .................................................$1594

Sony Cyber-shot DSC-QX100 camera .................$550
Manfrotto MT190XPRO3 3-Section aluminum tripod ..$270
Joby Gorillapod SLR.............................................$50
PocketWizard Plus X 2 pack.................................$180
Hoya 77-mm Pro 1 D Circ Pol DMC filter ...............$140
Joby UltraFit Sling Strap ......................................$50
Lowepro Topload Zoom 45AW .............................$40
Sirui K30X Ball Head ...........................................$189
3rd Prize .................................................$1593

Hoya 77-mm Pro ND 500 filter .............................$150
Sirui T005X Tripod Kit .........................................$179
3rd Prize .................................................$1603

Hoya 77-mm Pro ND 500 filter .............................$150
Joby Gorillapod SLR.............................................$50
Hama Car Camera Mount Kit ..............................$139
4th Prize..................................................$1167
Epson Stylus Photo R2000 Inkjet Printer .............$599
Manfrotto Advanced Tri-Backpack ......................$120
Sandisk Extreme Plus 16-GB SD Memory Card ....$50
4th Prize..................................................$1167
4th Prize..................................................$1168
Joby Pro Strap.....................................................$70
5th Prize..................................................$858
Epson Artisan 1430 Inkjet Printer ........................$299
5th Prize..................................................$858
5th Prize..................................................$858
6th Prize..................................................$598
Adobe Photoshop & Premiere Elements ..............$149
Light Blaster ........................................................$129
Gary Fong Lightsphere Collapsible Speed Mount .$100
6th Prize..................................................$598
Light Blaster ........................................................$129
6th Prize..................................................$598
Light Blaster ........................................................$129
7th Prize ..................................................$488

Epson Perfection V550 Photo Colour Scanner ....$199
7th Prize ..................................................$488

7th Prize ..................................................$488

st
st
HEAD TO PHOTOLIFE.COM/TWWLI
AND FIND OUT HOW TO ENTER OUR
ANNUAL PHOTO CONTEST!
EACH WINNER WILL RECEIVE A FREE COPY OF

THE WORLD WE LIVE IN YEARBOOK
SPONSORED BY BLURB
GEAR
548
0
DIGITAL WoRkFLoW
EXPLORING THE CLOUD, PART 1

FIND THE RIGHT oPTIoN FoR You
BY DAVID TANAKA
Its hard to escape the patter of cloud-based this and cloud-based

that. But do you need it? Should you embrace it? Will it do something
great for your photography?
he cloud is a short-hand way of
describing
massive
computing
power and exabytes of data storage
lashed together in a global grid. Just as the
electrical grid gives us electricity at our
fingertips, the clouds computational grid
offers digital resources at our fingertips.
The benefits of the cloud include secure

remote storage of important files; the ability
to get at those files from any location using
virtually any digital device (and equally
important, the limitation of who has access
to your files); as well as the flexibility and
cost savings of using cloud-based services
and productivity applications.
PHOTO LIFE GEAR
A decade ago few photographers would

have found much value in these. Then
came two quick ticks of the technology
clock: the rise of photo-sharing sites and
social networking, in general; and the
explosion of portable, always-online
smart devices. Today the ability to have
your photos at your fingertips is potentially relevant to all photographers.
THE PHOTO-CENTRIC CLOUD

There is no single model that defines a
cloud service, so what it means photographically to be in the cloud covers a
lot of territory, from simple photo storage
to services supporting commercial activi-
ties. Flickr, Photobucket and a few others

immediately come to mind as the most
prominent social-networking sites devoted to photography. But if you talk about
photo sharing, you cant ignore
Facebook, which isnt specifically about
photography but has become a gigantic
photo warehouse in its own right. Ditto
for iCloud, Apples way to have all your
digital contentincluding photographs
in the cloud so all your digital devices
have access to it.
Maybe you dont want to get involved in
the social-networking aspects of the
cloud. If you want to just share some
recent photos with a select group of people, a general cloud-storage service like
Dropbox or Google Drive might be all
you need. But in the case of Google
JUNE/JULY 2014
45
THE BENEFITS OF THE

CLOUD INCLUDE SECURE
REMOTE STORAGE OF
IMPORTANT FILES; THE
ABILITY TO GET AT THOSE
FILES FROM ANY LOCATION
USING VIRTUALLY ANY
DIGITAL DEVICE (AND
EQUALLY IMPORTANT, THE
LIMITATION OF WHO HAS
ACCESS TO YOUR FILES);
AS WELL AS FLEXIBILITY
AND COST SAVINGS OF
USING CLOUD-BASED SERVICES AND PRODUCTIVITY
APPLICATIONS.
Drive, because Google also has a socialnetworking site (Google+) and photosharing extension (Google+ Photos),
when you use Google Drive for photo
storage, youve already got one foot in
social networking. Such is the essential
nature of the cloud. You might be there
for a specific reason, but you cant help
but bump into other possibilities.
Camera manufacturers are getting into
this too, but like cloud services in general, there is no single approach. Canons
shot at the cloud is called Project 1709.
However, this has been in beta for more
than a year, and the last time I checked it
still wasnt fully formed.
Nikons Nikon Image Space is open to

anyone (though Canadians have to register
as being in the USA). If you are a Nikon
camera user, you can register for a special
account and get additional benefits such as
more cloud storage (20 GB), more albums
and the ability to set permissions for
downloading your images. Nikon Image
Space accepts quite a few file formats,
including Nikons NEF Raw file format,
TIFF, MPO 3D, several video file formats
and GPX-format GPS data. There are
Android and iOS apps, so you can access
Image Space from tablets and phone too.
Sony PlayMemories is a broad service
environment that includes PlayMemories
Mobile, which connects Apple iOS and
Android devices to Wi-Fi-equipped Sony
cameras for transferring photos and video
to smart devices. Another feature is the
PlayMemories Online service that can
automatically upload photos from your
computer or smart device into the
PlayMemories storage cloud. Once there,
you can organize your images, access
them from all your digital devices, and also
share by posting on Facebook or YouTube
or by emailing specific people.
There are a few photo-specific services

geared to photographers with commercial
aspirations. These have evolved far
beyond just store and share functions.
Theyve become full content management
and delivery systems. Using one of these
services is a simpler and less expensive
alternative to building your own custom
websiteanother benefit of the cloud
services. Yet the quality of the design
themes and scope of what you can offer
can seriously boost the professionalism of
your online persona.
Zenfolio and SmugMug typify this
approach, and they both advertise
themselves as being in the photo-website
business. They include storage as well as
asset management (like secure backups)
and cataloguing features. Most offer
presentation features, so that rather than
sharing a folder of image files as you
would using Dropbox, you can create
albums, galleries and multimedia slide
shows to share.
Both also offer ways for photographers to
sell their photographs. You can populate
your e-store with the images you want to
The competitive nature of commercial cloud services means that
By registering my Nikon camera with Nikon Image Space, the free
companies constantly evolve. Case in point: SmugMug. It is one of the
space goes from 2 GB to 20 GB. But dont expect too much versatility
older photo-hosting services around, but in mid-2013, the company
this is a fairly basic photo-cloud offering. There are a few ways to
launched the new SmugMug. Shown is the default gallery view; you can
look at your albums, including a nifty map view if your metadata
select others. The pop-up box, accessed by clicking the information icon,
includes GPS information. You can share albums by emailing
displays the cameras EXIF data including, in this case, GPS data.
invitations, or you can post individual images to Facebook or Flickr.
Depending on which subscription you choose, you can add commerce
The special account status also allows you to upload original NEF Raw
components, like a shopping cart, and set your own pricing.
images for safe storage.
46
JUNE/JULY 2014
GEAR PHOTO LIFE
sell, and they provide the e-commerce

back-end servicesshopping cart, credit
card transaction management, print-lab
services, currency conversion, etc.
RESTRICTIONS MAY APPLY

One of the initial attractions of the cloud
is free storage, and indeed most cloud
services give you some free space
typically 2 to 15 GBin their cloud when
you sign up for an account. Computer
hard drive capacities are now in the
terabytes so comparatively speaking,
2 GB or even 15 GB doesnt sound like
much (1000 megabytes = 1 gigabyte; 1000
gigabytes = 1 terabyte). However, even
2 GB is enough to store hundreds of
high-resolution or thousands of webresolution JPEGs. And you can buy more
storage if you need it.
Service agreements are all over the map,
so its in your interest to read the fine print.
There are rules on how much free space
you get, the maximum resolution of files
you can upload, the maximum size of files
you can upload, how many files a day you
can upload, how many megabytes a day
you can upload, the types of file formats
that will be accepted and so on. On top of

that you may encounter an equally diverse
set of rules governing the control you have
over who can download your images and
at what resolutions.
Flickr set a new benchmark last year by
bumping the amount of free storage to
one terabyte. Its size limit is a generous
200 MB for individual photos and 1 GB
per individual video clip. You can store
full-resolution original JPEG files and
control access to them. However, Flickr
automatically creates web-optimized
(resized) versions at various resolutions
for gallery display, and this has caused
concern for some who expected to be
looking at their original uploads.
Sonys PlayMemories Online service
allows unlimited uploads, but there are
some fine-print restrictions. You need to
use the All-Sync feature, and image sizes
are restricted to 1920 pixels. If you want
to upload full-resolution images, you can,
but the free space is capped at 5 GB.
Commercial services are often easier to
negotiate because their cost structure is
ONE OF THE INITIAL

ATTRACTIONS OF THE
CLOUD IS FREE STORAGE,
AND INDEED MOST CLOUD
SERVICES GIVE YOU SOME
FREE SPACETYPICALLY
2 TO 15 GBIN THEIR
CLOUD WHEN YOU SIGN UP
FOR AN ACCOUNT.
COMPUTER HARD DRIVE
CAPACITIES ARE NOW IN
THE TERABYTES SO
COMPARATIVELY SPEAKING,
2 GB OR EVEN 15 GB
DOESNT SOUND LIKE
MUCH.
clearly stated. For example, Zenfolio
clearly states what you get in their
multiple plans, ranging from the Basic
Plus plan at $30/year to the Premium
Business plan at $300/year.
But perhaps one thought to hang on to is
the fact that cloud services continue to
evolve. Its a competitive business, so
todays service agreements and offerings
arent necessarily going to be the state of
affairs tomorrow.
BECOME A LIGHT SHAPER

WITH PROFOTO SOFTBOXES
AND SPEEDLIGHT ADAPTER
Andrea Belluso
Get access to the entire range of RFi softboxes.

Mount a softbox on your speedlight and create
a soft and flattering light.
Attach two speedlights and light up an even
larger softbox.
Slide and tilt the speedlights inside the softbox
to eliminate hotspots.
Tilt, rotate 360 and adjust the softbox high
wise on the fly.
Explore light shaping.
PHOTO LIFE GEAR
Blazes Photographic Inc.

351 Steelcase Road West #6
Markham, ON L3R 4H9
Tel. 1-888-561-0906,
blazes@blazesphoto.com
JUNE/JULY 2014
47
2014-05-08 1:26 PM
GEAR
TH
THE
24
TIPA AWARDS
THE MoST CoVETED PHoTo
AND IMAGING AWARDS WoRLDWIDE
AWARDS 2014
BY GUY LANGEVIN
Since its beginning in 1991, the Technical Imaging Press Association
(TIPA) has held its annual meeting each spring in a different country.
Photo Life joined this association in 2009, and we are honoured to be
the representative of the Canadian market. Naturally, our team was
really excited when we learned that, for the first time, the annual TIPA
meeting would take place in Canada (Vancouver, more precisely).
o, from April 3 to 5, I had the
opportunity to meet with editors of
27 other photography magazines
from all over the world to finalize the
2014 TIPA Awards. Even though the
weather conditions were not on our side
(did I mention we were in Vancouver?),
this meeting was a unique occasion for
passionate
exchanges
about
the
international photography scene and the
magazine industry.
The goal of the TIPA Awards is to

commend the most outstanding photo
and imaging products announced during

the previous 12 months based on such
criteria as innovativeness, use of leadingedge technology, design, and ease of use.
Following 12 months of evaluation, a
shortlist of potential finalists in each of
the categories is created. The finalists are

then judged by a panel of editors from 28
photography magazines across the world
dedicated to ensuring the utmost
objectivity, credibility and integrity.
The result is the following list of awardwinning products. Each listing is accompanied by a summary of the comments
expressed by the TIPA members. We
hope that you will find this information
helpful as you consider new products on
the market.
WHEN TIPA MEMBER MAGAZINES BEGAN THE TIPA

AWARDS, THEY DECIDED THAT THEY WANTED AN
AWARD THE INDUSTRY COULD BE VERY PROUD OF;
ONLY PRODUCTS THAT THE GENERAL ASSEMBLY
THINKS DESERVE RECOGNITION ARE TAKEN INTO
CONSIDERATION FOR VOTING.
BEST DSLR ENTRY-LEVEL

NIKON D3300
BEST DSLR ADVANCED

CANON EOS 70D
BEST DSLR EXPERT

PENTAX K-3
one of the first entry-level DSLRs without a

low-pass filter, the D3300 has a 24.2-MP
DX-format CMoS sensor, an ISo range from
100 to 12,800, with a 1EV push available, and a
5 frames-per-second shooting rate. Stills and
1080p Full HD videos can be shared with the
Nikon Wu-1a adapter. The D3300 measures
4.9 x 3.8 x 2.9 inches, making it one of the new
breeds of compact DSLRs that compete with
CSCs for those who might enjoy the DSLR form
factor in a more portable and handy size. For
those stepping up to DSLR photography, a
built-in Guide Mode provides step-by-step
instructions on getting the best results.
The Canon EoS 70D features a 20.2-MP CMoS

APS-C sensor and DIGIC 5+ processor that can
deliver up to 7 fps and an ISo range of 10012,800, with an extended range to 25,600 ISo. AF
is enhanced with a 19-point (all cross-type) AF
system. The breakthrough in the EoS 70D is the
Dual Pixel CMoS AF system that allows for
capture of video in Live View with precise AF, as
well as very fast AF operation for stills. The
Vari-angle touch-screen 3-inch Clear View II LCD
monitor sports 1.04 million dots. Built-in wireless
allows for sharing or easy upload to smartphones
via the Canon Remote app.
The Pentax k-3, with a 24-MP APS-C CMoS

sensor, adds the unique anti-aliasing simulator
to its low-pass filter-less design. Housed in a
weather-sealed magnesium-alloy body, the
camera can deliver 8.3 fps in bursts of 23 Raw or
60 JPEG images. utilizing the sensor-shift image
stabilization mechanism, it adds a controllable
anti-moir effect. The k-3 delivers Full HD
video with stereo sound and an upgraded
interval movie mode for capturing 4k movie
clips. It also incorporates a new PRIME III
processor and 27-point SAFoX II AF system, with
25 cross-type sensors. The shutter is now rated
at a robust 200,000 actuations.
48
JUNE/JULY 2014
GEAR PHOTO LIFE
BEST DSLR PROFESSIONAL

NIKON D4S
BEST MEDIUM-FORMAT CAMERA

PHASE ONE IQ250
BEST CSC ENTRY LEVEL

OLYMPUS OM-D E-M10
Nikons D4S features a new 16.2-MP FX-format

sensor that works in conjunction with the new
EXPEED 4 image-processing engine to deliver
enhanced stills and Full HD videos with various
frame rates. The 51-point AF system features a
new Group AF function and overall
improvements, while the camera breaks the ISo
speed range barrier and goes to a remarkable
409,600 ISo. overall speed and response has
been boosted, capturing full resolution at 11 fps
with auto focus and auto exposure, while
benefiting from an overall 30% increase in
processing power. The D4S uses CF cards as well
as the super-fast XQD cards.
The Phase one IQ250 is a CMoS-based, 50-MP

digital camera back with 14-stop dynamic
range. ISo range is from 100 to 6400, and
exposure times have been expanded to a range
of 1/10,000 s to 1 hour. Live View allows for
focus and compositional control, either directly
on the back, connected via uSB3 to a computer
(running the companion Capture one software)
or displayed wirelessly to an iPad or iPhone
with the Capture Pilot app installed. The back
supports flash sync speeds up to 1/1600 s,
allowing for creative latitude especially when
balancing ambient and flash in the studio and
on location.
The oM-D E-M10 offers great image quality and

operation thanks to the TruePic VII Processor,
16-MP Live MoS sensor, built-in Wi-Fi with QR
code scanning, 1.4-million-dot electronic
viewfinder and tilting 3-inch touch-screen
monitor with 1,039,000-dot resolution. The
camera incorporates 3-axis image stabilization
and FAST AF, making it the fastest olympus AF
system with 81 target areas covering the entire
image. With an 8-fps shooting speed, burst rates
can deliver up to 16 Raw images and an unlimited
amount of JPEGs; with continuous AF, the
camera delivers up to 3.5 fps.
BEST CSC ADVANCED

SAMSUNG NX30
BEST CSC EXPERT

FUJIFILM X-T1
BEST CSC PROFESSIONAL

SONY ALPHA 7R
The Samsung NX30 has a 20.3-MP APS-C CMoS

sensor, offers a fast 1/8000 s shutter speed and a
9-fps shooting rate. It sports a very handy and
unique tiltable electronic viewfinder plus a
high-resolution 3-inch Super AMoLED swivel and
touch-screen display. While many cameras have
connected options, the NX30 seems to be state
of the art in this regard, including Tag & Go (NFC)
functions, MobileLink to connect to four distinct
smart devices, and AutoShare, which
automatically sends every photo to a smartphone
or tablet. Dropbox web storage service and Flickr
are pre-loaded on the NX30.
The Fujifilm X-T1 is a weather-resistant camera

with an oLED electronic viewfinder and a
16.3-MP APS-C X-Trans CMoS II sensor. The
X-T1 uses approximately 80 points of weather
sealing, and the camera body is dust-resistant
and water-resistant. The 3-inch LCD has
1.04-million-dot resolution and is made of
tempered glass. Phase-detection pixels
integrated into the sensor offer the benefit of a
Digital Split Image manual-focusing aid, which
helps bring precision to wide aperture or macro
shooting. Lens Modulation optimizer technology
integrates focal length, aperture and image data
for each lens mounted.
The Sony Alpha 7R is the smallest and lightest

full-frame CSC. It features a 36.4-MP Exmor
CMoS sensor with no low-pass filter. Features
include Auto HDR, numerous Picture Effects,
manual-focus peaking, 1080p video at 60 and
24 fps, and an ISo range of 100-25,600. The Alpha
7R delivers 4 fps in continuous shooting mode. In
addition, five Sony FE-mount dedicated lenses
were introduced. E-mount lenses can also be
usedthey automatically initiate an APS-C crop
mode as well as A-mount lenses via an adapter.
The camera has built-in Wi-Fi with NFC for
connectivity.
BEST EXPERT COMPACT CAMERA

CANON POWERSHOT G1 X MARK II
BEST RUGGED CAMERA

NIKON 1 AW1
BEST PREMIUM CAMERA

NIKON DF
The 13.1-MP PowerShot G1 X Mark II includes a

multi-aspect 1.5-type sensor, an f/2-3.9 5x zoom
(24-120 mm equivalent) and numerous custom
functions. Capture options include Full HD, 14-bit
Raw and JPEG, with fast and accurate AF via 31
points. The 3-inch tiltable touch-screen LCD
offers 1.04 million sRGB dots and 100%
coverage, while exposure and camera control is
expanded and enhanced via the new Dual Control
Rings on the lens barrel. Focusing range begins
at 2 inches. Wi-Fi with NFC capability as well as
full-time manual focus with focus peaking are
also available.
The Nikon 1 AW1 is the first waterproof (down

to 49 ft), shockproof (6.6 ft) and freeze-proof
(14 F) CSC. Befitting its likely use by outdoor
enthusiasts, the camera incorporates built-in
GPS, an altimeter, a depth gauge, an electronic
compass and a visual horizon indicator, as well
as Wi-Fi with Nikons Wu-1b adapter. It even
includes a built-in waterproof flash. The
14.2-MP CMoS sensor, with an EXPEED 3A
processor, delivers both still and HD video, with
a wide ISo range of 160 to 6400. While all 1
Nikkor lenses can be used, two new sealed
lenses accompany the camera, an 11-27.5 mm
and 10 mm f/2.8, with more to follow.
The Nikon Df is a full-frame camera designed

along the lines of Nikons classic film SLRs, with
numerous control dials. But inside this retro
magnesium-alloy body sits a 16.2-MP full-frame
CMoS sensor, a Nikon EXPEED processor,
2016-pixel Matrix Metering and a 39-point AF
system. The camera offers up to five-frame
auto-bracketing, 5.5 fps shooting and ISo speed
settings up to 204,800. Nikons commitment to
lens-mount compatibility continues with the
ability to use all current Nikkor lenses as well as
all Ai and non-Ai classics. Theres both a glass
pentaprism finder and a 3.2-inch LCD.
PHOTO LIFE GEAR
JUNE/JULY 2014
49
BEST CSC ENTRY-LEVEL LENS

OLYMPUS M.ZUIKO DIGITAL
ED 14-42 MM F/3.5-5.6 EZ
BEST CSC EXPERT LENS

FUJINON XF 10-24 MM F/4 R OIS
BEST CSC PRIME LENS

ZEISS TOUIT SERIES
This extremely compact (2.4 x 1.9 inches; 3.2 oz),

high-quality yet highly affordable Micro Four
Thirds electronic zoom lens (28-84 mm
equivalent) is an oM-D E-M10 kit lens that is also
available separately. Even when zooming, the
MSC technology delivers rapid and nearly silent
AF operation for both still and video recording
thanks to its high-precision screw-drive system, a
high-speed drive motor with precise stop/start
controls, fine tolerance guide shafts, and a
low-focusing optical mass. The lens includes 8
elements in 7 groups with 3 aspherical elements.
Closest focusing distance is 7.87 inches.
This 15-36 mm equivalent stabilised lens has a

new optical system using 4 aspheric glass and
3 extra low-dispersion elements. An internal
steeping motor and enhanced focusing system,
with high-speed AF and internal focusing,
makes zooming a silent and rapid process.
Close-focusing distance via the macro setting is
about 11 inches (to about 10 feet), while normal
focusing (about 1.5 feet to infinity) allows for
extremely deep depth of field at
narrower apertures or wonderfully soft
backgrounds at wider ones. The aperture can
be controlled in 1/3 EV steps. The HT-EBC
multi-layer coatings reduce ghosting and flare.
Available for Fujifilm X-mount and Sony Emount

series cameras, the Zeiss Touit f/2.8 12-mm and
f/1.8 32-mm lenses have recently been joined by
the f/2.8 50-mm Macro. All three raise the quality
bar for the CSC format. offering 1:1 magnification, the Touit 2.8/50M is also a perfect focal
length for portrait (the crop factor being 1.5x for
these lenses). on top of the floating element
design, the lens includes two aspheric and two
low-dispersion elements, plus a nine-blade
diaphragm for fans of bokeh. The Touit 2.8/12 is
of Distagon design, while the Touit 1.8/32 is a
Planar design. All three lenses feature T* coating.
BEST ENTRY-LEVEL DSLR LENS

SIGMA 18-200 MM
F/3.5-6.3 DC MACRO OS HSM
BEST EXPERT DSLR LENS

TAMRON SP 150-600 MM
F/5-6.3 DI VC USD
BEST PROFESSIONAL DSLR LENS

CANON EF 200-400 MM
F/4L IS USM EXTENDER 1.4X
This amazingly compact (2.8 x 3.4 inches) and

affordable 18-200 mm F/3.5-6.3 DC MACRo oS
HSM (27-300 mm equivalent) lens is exclusively
for APS-C sensors. It is smaller and lighter than
the previous version and offers a closer focusing
distance. The 16-element, 13-group construction
includes a new SLD glass element plus 3
aspheric elements. The lens incorporates an
optical stabilizer (oS) system, with automatic
panning detection to shift the oS to one axis. It
has a close focusing range of about 1.5 feet
throughout the focal length range, making it
extremely versatile for close-up photography.
The Tamron 150-600 mm lens, for full-frame and

APS-C DSLRs (1.5x magnification factor) incorporates VC (Vibration Compensation), fast uSD
(ultrasonic Silent Drive) and eBAND (extended
bandwidth and angular dependency) coating for
flare and ghosting reduction. The lens employs 20
elements in 13 groups, with the front group containing 3 ED glass elements. The circular, 9-blade
diaphragm provides exciting bokeh effects and
maintains the circular shape even at 2 stops
down from maximum aperture. The included
Silkypix Developer Studio software corrects distortion, light falloff and chromatic aberrations.
Targeting professional sports and wildlife photographers, the Canon EF200-400 mmf/4LISuSM
Extender1.4xlens isa high-performance super
telephoto zoom with a built-in1.4xextender. The
benefit is in applications where itisnot possible
to change lenses quickly, while also protecting
delicate equipment such as a DSLR image sensor
in environments with dust and high humidity.
Thelens incorporates one fluorite and 4 uD elements and a 9-blade circular aperture. A Power
Focus mode makes focus shifts quiet and
smooth, invaluable for filmmaking. The
lensisalso highly resistant to dust and water.
BEST PHOTO PRINTER

EPSON EXPRESSION
PHOTO XP-950
BEST IMAGING SOFTWARE

DXO VIEWPOINT 2
BEST ACCESSORY
SANDISK CONNECT
WIRELESS FLASH DRIVE
The Epson Expression Photo XP-950 takes the

all-in-one concept to a new level with 11 x 17inch capability using Claria Photo HD six-colour
inks. Delivering 4 x 6-inch photos in less than 10
seconds, the unit also allows for wireless printing
from a phone, tablet or computer plus mobile
solutions using the Epson Connect collection of
apps. Scans of up to 4800 dpi are available, as
well as direct CD/DVD printing and a dedicated
photo paper tray. A dedicated rear tray allows for
printing on heavier card stock and a 3.5-inch LCD
with gesture navigation helps the user make use
of all functions and features quickly and easily.
50
JUNE/JULY 2014
This software is ideal for those who enjoy

working with wide-angle lenses. It can be used
to fix perspective (keystoning, etc.) and to
restore previously distorted shapes and
subjects at the corners of the image. It can also
be used stand-alone or as a plug-in for Adobe
Photoshop, Lightroom and Elements as well as
Apples Aperture. It features automatic distortion correction using Dxo optics Modules,
manual distortion correction and an 8-point
perspective correction tool. ViewPoint 2 can
handle all of the current and future Dxo optics
Modules that are or will be available in the
companys Dxo optics Pro.
Available in 16-, 32- and 64-GB capacities, the

3.11-inch device can create wireless connections
to 8 devices with 3 simultaneous media streams,
including iPad, iPhone, iPod Touch, kindle Fire,
Android devices and Mac and PC computers. The
free SanDisk Connect app allows for easy
coordination of all operations. The drives battery
recharges via uSB and offers up to 4 hours of
continuous streaming on a single charge. It
works without an Internet connection or need for
a router, and it can operate in a range of 150 feet
from the host device.
GEAR PHOTO LIFE
BEST TRIPOD
MANFROTTO
NEW 190 COLLECTION
BEST STORAGE MEDIA

SANDISK EXTREME PRO SDHC/
SDXC UHS-II MEMORY CARD
Manfrotto new 190 collection tripods appeal to

advanced hobbyist photographers. Two different
configurations are available: either aluminum or
carbon fibre. This new collection features the new
Quick Power Lock lever, which allows the release
of all locks on each leg with one hand and a
single movement. A new 90-degree centrecolumn mechanism and flat-top disc for the centre column significantly reduce the overall length
of the closed tripod, plus they allow easy set-up
of a horizontal position for the centre column for
macro. The Easy Link system in the top casting
allows attaching accessories to the tripod.
The SanDisk Extreme PRo uHS-II cards are

optimized for the next generation of high-end
DSLRs and pro video cameras that support the
uHS-II standard. The SanDisk card delivers fast
write speeds of up to 250 MB/s and transfer
speeds of up to 280 MB/s. The card also offers
the highest video performance available for
video capture of 30 MB/s, allowing capture of
cinema-quality 4k, 3D and Full HD videos.
SanDisk also announced the SanDisk Extreme
Pro SD uHS Card Reader/Writer with uSB 3.0
interface, capable of transferring card content
up to 500 MB/s.
BEST PRO LIGHTING SYSTEM

PROFOTO B1 OFF-CAMERA FLASH
BEST PORTABLE FLASH

NISSIN I40
BEST ACTIONCAM
SONY ACTION CAM HDR-AS100V
Battery-powered and cordless, the Profoto B1

has become an instant hit with pros. The
systems Air Remote TTL controller attaches to
the cameras hot shoe and becomes a command
centre for light output and balance, even for
manual settings. Each monobloc-styled flash can
be assigned a channel and controlled from up to
1000 feet away, with results are quickly
previewed, checked and modified by the
photographer without leaving position. The
500 w/s units have a 9-stop range, very fast
recycling time and a LED modelling light, and are
powered by a lithium-ion battery with 220 fullpower flash capacity.
The small (3.35 x 2.4 x 3.35 inches) and lightweight (203 g, without battery and softbox) Nissin
i40 is available in models dedicated (TTL) to
Canon, Nikon, Sony, Four Thirds and Fujifilm
models. It can cover a lens angle of view from
24-105 mm, with additional coverage to 16 mm
with the supplied diffuser. The Guide Number is
40 at 105 mm (metres/ISo 100) and 27 at 35 mm.
The LED illuminator is innovative and the light
can be used for both still and video recording
with 9 steps of output. The i40 offers rear, front
curtain and high-speed sync, wireless slave and
can be swivelled up to 180 degrees laterally and
90 degrees vertically.
The Sonys AS100V offers a wide variety of Wi-Fi

and connection options, built-in GPS and both
still (13.5-MP) and video (XAVC-S 60p available)
recording capabilities. The compact
(about 1 x 2 x 3 inches) unit includes advanced
image stabilization and built-in stereo mic, plus
an ultra-wide (170-degree) Carl Zeiss Vario Tessar
lens. All functions can be controlled via
smartphone, and the unit comes supplied with a
waterproof case, adhesive mount and tripod
adapter. Various optional mounting systems are
available. Capabilities include interval photo
recording ranging from 5 to 60 seconds per shot.
BEST EASY COMPACT CAMERA

SAMSUNG WB50F
BEST PHOTO PROJECTOR

EPSON EH-TW7200
BEST PHOTO BAG

THULE PERSPEKTIV SERIES
BEST SUPERZOOM CAMERA

PANASONIC LUMIX
DMC-TZ60/ZS40
BEST MOBILE PHOTO APP

PHOTOSMITH 3
BEST PHOTO SERVICE

SIGMA MOUNT
CONVERSION SERVICE
BEST INKJET PHOTO PAPER

HAHNEMHLE PHOTO
SILK BARYTA 310
BEST PHOTO TV
LG UHD UB980 SERIES TV
PHOTO LIFE GEAR
BEST CAMCORDER
SONY FDR-AX100
BEST MOBILE IMAGING DEVICE
SONY QX SERIES
BEST HYBRID PHOTO/VIDEO CAMERA

PANASONIC LUMIX DMC-GH4
The Panasonic GH4 is a 16-MP Live MoS CSC
with a magnesium-alloy body that can record 4k
video. Its Venus Engine processor has been
enhanced with a quad-core CPu to handle the
high data rate. While the GH4 can be thought of
as a pro video camera, especially when coupled
with the Lumix DMW-YAGH interface unit, it can
also deliver up to 12 fps still recording with burst
rates of 40 when shooting Raw and 100 in JPEG.
The Live-View oLED Finder has a remarkable
2.359-million RGB dots, while the monitor has
1.036 RGB dots, both of which make for clear and
vibrant viewing.
BEST IMAGING INNOVATION

CANON DUAL PIXEL CMOS AF
BEST DESIGN
SIGMA DP QUATTRO
BEST PHOTO MONITOR

LG 21:9 ULTRAWIDE 34UM95
JUNE/JULY 2014
51
GEAR
REVIEW
PRINTAO
8
BY
LASERSOFT
IMAGING
AN EFFECTIVE FACILITAToR FoR MAC-EPSoN CoLLABoRATIoNS
BY DAVID TANAKA
Epson often makes the short list when photographers are looking for
a high-quality printer. And many photographers use Mac computers.
But sometimes people need a little help to most effectively use Mac
and Epson together.
his is the singular reason why
LaserSoft Imaging developed the
printing-solution software PrinTao 8:
to help Mac users eliminate the mystery
surrounding complicated print driver settings. Its job is to help photographers get
consistent, predictable and repeatable
results from their printers.
START-PILOT: INTEGRATION MAGIC

After youve installed PrinTao you are
first presented with a settings panel
called the Start-Pilot. Here you select

your printer model, the kind of paper
you will be using, the quality of output
you want, the paper source and, finally,
the size and type (roll or sheet) of paper
youll be printing on. Its a set-it-andforget-it procedure. Once youve made
those five simple choices, you dont have
to think about them again until you want
to change something. At that point you
call up the Start-Pilot and alter the relevant settings.
PrinTao
uses
International
Color
Consortium (ICC) profiles in its colour
management. Through a feature called
the Media Manager you can access a
library of paper profiles from Epson and
third-party paper brands. Profiles you add
show up as paper selection choices in the
Start-Pilot panel.
Although its easy to use, theres some
powerful integration magic going on in
the Start-Pilot. If you think of the usual
way you might set up a printing job from
an image-editing application, you have to
negotiate the image applications print
dialogue as well as the operating systems
printer settings dialogue and make those
Normally when you want to print a photo, you need to adjust some
PrinTaos main workspace follows a layout common with other image-editing
settings within the application you are using and then make other
applicationsa main workspace flanked on either side by function panels.
changes in the printer-management settings in Apples System
on the left, the Mediathek shows image folders and thumbnails. on the right,
Preferences. This can result in common errors such as double
a nested set of panels controls various aspects of the printing set-up
profiling. PrinTaos Start-Pilot puts all the relevant settings into
including access to layout templates, a panel to adjust borders and margins,
one easy-to-adjust panel.
the native DPI of the image to be printed, and paper characteristics.
52
JUNE/JULY 2014
GEAR PHOTO LIFE
ALTHOUGH ITS EASY TO USE, THERES SOME POWERFUL

INTEGRATION MAGIC GOING ON IN THE START-PILOT. IF YOU
THINK OF THE USUAL WAY YOU MIGHT SET UP A PRINTING
JOB FROM AN IMAGE-EDITING APPLICATION, YOU HAVE TO
NEGOTIATE THE IMAGE APPLICATIONS PRINT DIALOGUE AS
WELL AS THE OPERATING SYSTEMS PRINTER SETTINGS
DIALOGUE AND MAKE THOSE SELECTIONS. START-PILOT
PUTS THE ESSENTIAL SETTINGS IN ONE PLACE.
selections. Start-Pilot puts the essential
settings in one place.
A FAMILIAR INTERFACE
The main user interface is set up in three
sections. If youve used an image editor or
workflow suite, it will seem familiar. The
centre panel is the workspace window
where you lay out your image or images.
On either side are panels that contain
other functions.
On the left is an asset panel called
Mediathek, where you can access libraries
of other imaging applications like iPhoto,
Aperture or Lightroom (yes, thats right,
PrinTao will work with your existing
image libraries), and a folders section
where you can browse folders of images
on your hard drive. Theres also an information panel that shows the metadata for
the image you are working on.
Getting an image to the workspace is a
simple drag-and-drop procedure. The
right window is filled with layout tools
and templates. You have the usual grid
templates that automate the task of
printing multiple copies of an image at
the same size on a single sheet. There are
also pack templates for portrait work
where you lay out different sizes of the
same image on a single page.
When you want to print several different
images of different sizes on a single sheet,
a best fit mode arranges images in a
layout that wastes the least amount of the
sheet. Similarly, a best cut mode places
the images so that you can separate them
using the fewest cuts.
One of the most common printing questions photographers have is How big can
PHOTO LIFE GEAR
I print this image? PrinTao 8 has a nifty

readout called the Resolution Slider.
Appearing at the bottom of the print-image
layout, its a multi-hue ribbon that goes
from yellow to green to red. If the marker
is in the red, it means that the image resolution is too low for the print size you
want to make. A marker in the yellow indicates that your image has more resolution
than you need. Green marks the just
right zone. The marker is interactive, so as
you move it from left to right, the image
shrinks or grows in the layout window.
PrinTao includes several well-known
brands of paper in its database, including
Epson, Canson, Hahnemhle, Ilford, Red
River, Tecco and Tetenal, but it does not
include Moab or Inkpress, which are commonly used in Canada. There doesnt
seem to be a way for the user to add these.
(I use the Epson lustre paper setting for
Inkpress lustre paper with good results, so
this isnt a deal breaker.) Likewise there
doesnt seem to be a way to specify custom paper sizes. This may be a function of
my Epson 3880 being a sheet-only printer
(with no roll attachment), but I often cut
roll paper manually to 17 x 25 to match
the 2:3 aspect ratio of SLR sensors. Sticking
to mainstream paper sizes like 17 x 22 or
16 x 20 presents no problems.
COST AND VALUE

The Home Studio Edition that works with
the 13-inch width Stylus Photo R2880 and
R3000 models costs $99, while the
17-inch edition for Stylus Photo 3880,
4880 and 4900 models is $299. There are
also editions for Epsons larger 24-inch,
44-inch and 64-inch printers ($399, $499
and $699, respectively). All specifications
and system requirements are available at
printao8.com.
Is it worth the money? That really depends
on how you feel about how Mac and
Epson work together. If youve laboured
through the process and have a printing
workflow youre happy with, PrinTao
might not be so helpful. If you stick with a
couple of paper types at a couple of print
sizes, the versatility of templates might not
be so useful. On the other hand, if you are
constantly switching paper sizes and paper
stocks and need variation in printing
templates but find yourself frustrated every
time you need to change a printing
parameter, PrinTao may be your saviour.
ONE OF THE MOST

COMMON PRINTING
QUESTIONS PHOTOGRAPHERS HAVE IS HOW BIG
CAN I PRINT THIS IMAGE?
PRINTAO 8 HAS A NIFTY
READOUT CALLED THE
RESOLUTION SLIDER.
APPEARING AT THE
BOTTOM OF THE PRINTIMAGE LAYOUT, ITS A
MULTI-HUE RIBBON THAT
GOES FROM YELLOW TO
GREEN TO RED. IF THE
MARKER IS IN THE RED, IT
MEANS THAT THE IMAGE
RESOLUTION IS TOO LOW
FOR THE PRINT SIZE YOU
WANT TO MAKE. A MARKER
IN THE YELLOW INDICATES
THAT YOUR IMAGE HAS
MORE RESOLUTION THAN
YOU NEED. GREEN MARKS
THE JUST RIGHT ZONE.
JUNE/JULY 2014
53
GEAR
REVIEW
FUJIFILM
X-T1
EXCELLENT BuILD QuALITY
WITH A RETRo DESIGN
BY PETER K. BURIAN
The original X-Pro1 and the subsequent CSC X-series models have
resembled classic rangefinder cameras, but Fujifilm took a new styling
approach with the XT-1. This high-end camera in a weatherproof
magnesium-alloy body was inspired by SLRs of an earlier era. Its
equipped with many mechanical dials and levers, in addition to
electronic controls, and features a hump on the top of the body that
looks as if it might contain a pentaprism. In fact, the X-T1 is equipped
with an entirely new electronic viewfinder (EVF), an oversized
2.36-million-dot OLED screen with a 100% view thats larger than the
optical finder in an EOS 1D X.
TECHNOLOGY AND FEATURES

The XT-1 retains the best of the recent
X-E2, including the familiar modes and
overrides, built-in Wi-Fi, the fast EXR
Processor II and the large (23.6 x 15.6 mm)
16.3-MP X-Trans CMOS sensor. A unique
colour filter array minimizes moir
without an optical low-pass filter, in order
THE CAMERA
CAN BE
CONTROLLED
REMOTELY FROM
A SMART DEVICE
RUNNING A
FUJIFILM APP.
54
JUNE/JULY 2014
to provide maximum per-pixel resolution.

However, the XT-1 offers several benefits,
such as a tilt mechanism for the 3
(1.04-million-dot) LCD; faster drive speed;
quicker, more reliable AF; a PC (flash)
cord socket; and compatibility with two
optional grip accessories. Its also the first
digital camera of any brand that can take
advantage of the much greater speed

possible with the brand new SDXC
UHS-II memory cards.
The electronic viewfinder provides a
bright, contrasty and fully saturated display
with unusually high (0.77x) magnification
and a significantly faster refresh rate than a
typical EVF. The screen shows the
shooting data at the top and bottom of the
screen; the location of the data rotates
when the camera is held in a vertical
orientation. Manual focus is enhanced with
focus peaking and a new feature that adds
a small second screen with a magnified
view of a part of the scene.
The Intelligent Hybrid autofocus system,
with on-chip phase-detection technology,
THIS HIGH-END CAMERA IN A WEATHERPROOF

MAGNESIUM-ALLOY BODY WAS INSPIRED BY SLRS
OF AN EARLIER ERA. ITS EQUIPPED WITH MANY
MECHANICAL DIALS AND LEVERS, IN ADDITION TO
ELECTRONIC CONTROLS, AND FEATURES A HUMP
ON THE TOP OF THE BODY THAT LOOKS AS IF IT
MIGHT CONTAIN A PENTAPRISM.
GEAR PHOTO LIFE
THE ELECTRONIC VIEWFINDER PROVIDES A BRIGHT,

CONTRASTY AND FULLY SATURATED DISPLAY WITH
UNUSUALLY HIGH (0.77X) MAGNIFICATION AND A
SIGNIFICANTLY FASTER REFRESH RATE THAN A
TYPICAL EVF. THE SCREEN SHOWS THE SHOOTING
DATA AT THE TOP AND BOTTOM OF THE SCREEN; THE
LOCATION OF THE DATA ROTATES WHEN THE
CAMERA IS HELD IN A VERTICAL ORIENTATION.
provides an incredibly quick response
and continuous-tracking AF even when
shooting at a full 8 fps. The camera was
able to maintain focus on a motorcycle
approaching my position at 100 km/h.
The X-T1 is loaded with capabilities for
serious
photographers,
including
Multiple-Exposure and Panorama modes,
five film-simulation options, and Full HD
video capture at up to 60p with overrides.
The videos look great on a large HD TV;
the audio quality was excellent with an
external stereo mic.
IMAGE QUALITY
The Fujifilm X-T1 with two of the superb
XF lenses produced stunning low-ISO
photos, with accurate exposure, beautiful
colours and great definition of intricate
details. Theres no visible moir in any of
my photos. My best JPEGs would make
very good 16 x 24 prints. With well-
new!
exposed ISO 3200 photos, I was able to

make 13 x 19 prints suitable for framing.
Shooting with Raw capture at ISO 6400
and tweaking noise reduction in software
enabled me to make a surprisingly nice
11 x 15 print.
EVALUATION
Friends over 40 appreciated the retro look,
but those in their early 30s were less
enthusiastic about the design and the
aspects of operation that differ from more
typical digital cameras. In any event, build
quality is excellent and the electronic
viewfinder is one of the best I have ever
used. In addition to the EVF, the greater
speed, improved autofocus and more
rugged body with tilting LCD make the

X-T1 even more desirable than any
previous X-series camera.
PRoS
Oversized, superb high-resolution OLED EVF
Very rugged body with classic styling and
controls
Wi-Fi includes remote control from a smart
device
CoNS
Only EVF, not a hybrid finder as with the X-Pro1
Large controls and EVF increase the body size
Unusual operating aspects since it lacks a
mode dial
Price: $1300, with Vertical Battery Grip;
$1900 with 18-135 mm zoom (street)
fujifilm.ca
STANDS APART FROM THE REST.
Its a new name in lighting. But Mantis is destined to become a name that stands out and for good reason.
Not only does Mantis stand for quality and exceptional value, they offer a wide variety of lighting tools,
including stands, background support kits, umbrella holders, reflector clamps, flash brackets, adapters and
spigots. Mantis products are durable, affordable and extremely reliable, designed to meet the demanding
needs of pro photographers and serious hobbyists. Check out the full line of Mantis lighting products at Vistek.
4/2/.4/s-)33)33!5'!s/44!7!s#!,'!29s%$-/.4/.
PHOTO LIFE GEAR
VISTEK.CA
JUNE/JULY 2014
55
GEAR
REVIEW
SONY
6000
FoR SERIouS SHooTERS WHo
ARE TIRED oF BuLkY DSLRS
BY PETER K. BURIAN
Although Sony dropped the NEX designation in 2013, the company
has continued to develop new and improved versions of its compactsystem cameras. The 6000, which replaces the 16-MP NEX-6, has
retained the best aspects of its predecessor but benefits from 24.3MP resolution and more sophisticated technology. That includes the
newer BIONZ X processor for greater speed and image quality, significantly improved autofocus, and several valuable new amenities.
TECHNOLOGY AND FEATURES

Billed as the worlds fastest AF, the
hybrid system boasts 179 vs. 99 phasedetection focus points, covering 92% of
the frame vs. about 50%. This enables the
camera to continue tracking a small
subject that drifts far off-centre. In use, I
found the Continuous AF system to be
unusually effective in action photography,
even while shooting at 11 frames per
second. Other AF improvements include

lock-on for subject tracking, Eye-AF that
can identify a subjects eye and set focus
on it, and a variable-size focus-detection
point in Flexible Spot AF.
The BIONZ X processor employs a new
sharpening method that enhances fine
detail as well as algorithms that correct
for the inherent softness produced by
lenses when used at small apertures.

Noise reduction (NR) is also more
advanced with a context-sensitive algorithm that applies different amounts of
NR to various areas of a scene for a more
pleasing overall effect. Its worth noting
that its Wi-Fi has gained NFC for simple
connectivity to compatible smart devices
and more of the Sony Camera Apps. As a
bonus, the a6000 can be controlled from
a smart device via Wi-Fi or from a USBconnected computer.
The superb tilting 3 (921,000-dot) LCD,
still without touch-screen controls, was
retained, but the OLED electronic
viewfinder was downsized very slightly to
a lower 1.44-million-dot resolution. Even
so, its still competitive with the EVF found
THANKS TO THE
23.5 X 15.6 MM SENSOR,
THE PIXELS ARE
ADEQUATELY LARGE
FOR EFFICIENT LIGHT
GATHERING, AND THE
NEW BIONZ X PROCESSOR
HELPS MAKE ITS JPEGS
LOOK GREAT.
BILLED AS THE WORLDS FASTEST AF, THE HYBRID

SYSTEM BOASTS 179 VS. 99 PHASE-DETECTION FOCUS
POINTS, COVERING 92% OF THE FRAME VS. ABOUT 50%.
56
JUNE/JULY 2014
GEAR PHOTO LIFE
THE SUPERB TILTING 3 (921,000-DOT) LCD,

STILL WITHOUT TOUCH-SCREEN CONTROLS,
WAS RETAINED, BUT THE OLED ELECTRONIC
VIEWFINDER WAS DOWNSIZED VERY SLIGHTLY
TO A LOWER 1.44-MILLION-DOT RESOLUTION.
EVEN SO, ITS STILL COMPETITIVE WITH THE
EVF FOUND IN MANY SIMILAR CAMERAS.
in many similar cameras. The redesigned
analogue controls and the improved menu
system make camera operation quicker
and more intuitive. Instant access to
frequently used functions remains
available via the very useful [Fn] and the
Quick Navi sub-menus.
IMAGE QUALITY
Thanks to the 23.5 x 15.6 mm sensor, the
pixels are adequately large for efficient
light gathering, and the new BIONZ X
processor helps make its JPEGs look great.
My photos at ISO 100 to 400 would make
for very good 20 x 30 custom prints; even
those made at ISO 1600 were suitable for
very nice 13 x 19 prints. Theres a slight
loss of detail by ISO 3200, but my best
shots made 8.5 x 11 prints that friends
rated as pleasantly surprising in quality.
Videos are just as impressive: my full
HD/60p clips look absolutely stunning on
a 50 HDTV.
PHOTO LIFE GEAR
EVALUATION
Almost the same size and weight
as the NEX-6, the black or silver
Sony 6000 is even more
desirable in most aspects, including
its user interface.
Especially compared to the much earlier
NEX models with their simplified
controls, this cameras controls are more
like those of a DSLR, making it a better
match for experienced photo enthusiasts.
If you decide to make the transition from
a DSLR, you wont find a steep learning
curve. Any novices in your family will also
be satisfied because of the two Intelligent
Auto modes and the many Scene modes.
In my estimation, this Sony camera would
be a perfect choice for serious shooters
who appreciate fast autofocus, convenient
operation and exceptional versatility, but
want it all in a body thats a lot more
portable than a DSLR.
PRoS
Unusually fast, versatile autofocus
New processor for greater speed and quality
DSLR-style features with improved operation
CoNS
EVF is slightly smaller, with lower resolution
LCD does not provide touch-screen control
Telezoom lenses are quite large due to
oversized sensor
Price: $800, with 16-50 mm stabilized Power
Zoom lens; $650, body only (street)
sony.ca
JUNE/JULY 2014
57
GEAR
GADGET
GUIDE
WHAT You NEVER kNEW You NEEDED
The shelf life of a gadget on the market is relatively short,
and this reality is likely to generate its share of
post-purchase frustration. After a few short months, a
new version of the object will come out thats trendier,
faster, more compatible or simplynewer! Dissatisfaction
will quickly turn to envya powerful and persistent feeling
that manipulates us and prompts us to act. To justify our
actions, we get rid of the now-obsolete item that, only
days ago, was perfect. Return to sender, re-gift it to a
friend, an unexpected malfunction or unfortunate loss
whatever works. Consumerist society, why do you make
us into monsters?
THE CFAST 2.0 FROM LEXAR
A COMPACTFLASH CARD THATS FASTER

THAN FLASH HIMSELF
3333x. Oh, yes: 3333x. A single x is equivalent to
transferring 150 KB per second, so this means that
the CFast has a top speed of 500 MB/s (in Read
mode). It can transfer batches of Raw files as well
as full-HD, 3D and 4K video clips, plus it even
meets VPG-65 professional video specifications! (I
have no idea what that is, but a standard with letters and numbers looks impressive to me.) The CFast is available in 32, 64,
128 and 256 GB, though no price has been announced as of yet. lexar.com
THE THETA
FROM RICOH
PANORAMAS
WITH THE TOUCH
OF A FINGER
The Theta is the size of a
television remote control
and has two lenses
placed back to back (like
Janus, the Roman god of
beginnings and transitions). Each lens covers a
180 range of focus from
10 cm to infinity when
set with the hyperfocal
distance. When you press
the shutter, the Theta
simultaneously takes two
pictures, which are
combined to create a
spherical panoramic
image. Saved first on its
4-GB built-in memory, the
images can then be transfered via Wi-Fi to any
authorized smartphone (it
can even be controlled by
them). While its expensive, $400 for the ability to
cover 360 works out to roughly $1 per degree!
theta360.com
THE FLIR ONE FROM FLIR
INFRARED FOR YOUR IPHONE

Infrared is often associated with thermal energy because, at room
temperature, objects spontaneously emit a certain heat signature that is
translated into infrared spectrum radiation. (Ill spare you the laws of
Planck and Wien; just take my word for it.) These wavelengths are
normally invisible to cameras, which usually have infrared-blocking
filters in front of their sensors. The FLIR ONE sensor, affectionately
known as Lepton, is infrared-sensitive: in fact, thats its job. The
item attaches to an iPhone like a thick, protective case. (The FLIR
ONE has a built-in 1400-mAh battery that allows up to four hours
of life.) It records differences in temperature between 0 C and 100
C, and translates the results into images or video sequences, which can
then be transferred to a smartphone via an app. Designed primarily for the iPhone
5 and 5S, other versions are in development for some Android phones. The FLIR ONE is
available in three colours, and you can get one for less than $350. (iPhone not included.) flir.com
58
JUNE/JULY 2014
GEAR PHOTO LIFE
THE SANDISK CONNECT WIRELESS FLASH DRIVE

A RATHER CONNECTED WI-FI UNIT
Its common knowledge that available memory space on smart devices is

somewhat limited. Currently, with the system, applications, games and
music installed, my 16-GB iPad only has 1.4 GB free, which is equivalent
to 140 10-MB JPEG photos. This is where the Connect Wireless Flash Drive
comes into the picture. While it looks like a (16-, 32- or 64-GB) USB 2.0
flash drive, its different due to its ability to launch a Wi-Fi network
allowing eight devices to share content: movies, photos, music
and documents. The network range is 45 metres (or about
150 feet), and the drive has a battery life of four hours when
fully charged. Once connected, its a little bit like having access
to high-capacity internal memory. The Connect Wireless Flash
Drive is compatible with iPad, iPod Touch, Kindle Fire and Android
(as well as Windows and Mac operating systems). The
64-GB version can be found online for $100. gentec-intl.com
THE MPOD MINI STAND FROM JOBY
A CATCHY TRIPOD
For some people, iPhoneography has become a way of

seeingand living! There are hundreds of thousands of
accessorieswell, thats only a slight exaggeration. Let me
add another one to the list: the MPod Mini Stand. This threelegged support has a rather minimalist design. It has no screws or
plates; a simple elastic band and two independent jaw pieces allow it to hold onto most
smartphones on the market, with or without a case, as long as they do not weigh more
than 325 g. As with all Joby tripods, its Gorilla-like rubber feet grip any slim or
tube-like object. Made from 30 g of ABS plastic and TPE polymer, its a
mere 3.3 x 3.3 x 11.6 cm in size. At less than $20, it is likely to become
an essential accessoryjust like a USB cable. daymen.ca
Swiss engineers develop smarter heads.

Elinchrom turns the lighting world upside-down with two new top-of-the-line
compact flash units. The ELC Pro 500W and 1000W self-contained heads offer
revolutionary features, including a new OLED display that brilliantly shows all
functions, even displaying flash duration (as fast as 1/5000s). ELC heads also
feature lightning fast recycling times (0.6s & 1.2s), wireless control from your
phone or tablet, and 3 shooting modes: Sequential, Delayed, and Multi-Mode
that delivers a stroboscopic effect for freezing multi-action in a single frame.
The new ELC Pro heads can be purchased separately or in complete kits.
Pre-order at the following retailers:

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
s0HOTO#$s'OSSELIN0HOTO
s.EWFOUNDLAND#AMERA s0ONDS#AMERA
s,ORD0HOTO
s,ONDON$RUGS
s0HOTO3ERVICE
s6ICTORIAVILLE0HOTO
Gnigami Ltd. 2014 Pronounced ni-gah-mee
www.gnigami.ca
59
GEAR
IMAGING
PRODUCTS
REVIEW
THE LoWDoWN oN WHATS NEW
BY PETER K. BURIAN
Now that summer is here, many of us are planning vacations, and the camera manufacturers are
ready with suitable equipment for travel and even for underwater photography. The emphasis is
on great portability, very versatile built-in zooms, and incredible ruggedness in the submersible
models. Lowepro has also introduced new bags that would be ideal when travelling with only the
essentials instead of your entire system. After returning home, however, youll want to get back to
serious image-making with a high-grade tripod, a very convenient head, and perhaps an add-on
LCD thats much larger than the one on your camera. And if your budget is not tight, you might
also want to check out the new full-frame Nikon D4Sthis is definitely the ultimate camera for
versatility and excellent image quality at a great framing speed.
PENTAX 645Z
This cold-resistant, dustproof and weather-resistant
magnesium-alloy medium-format 51.4-MP camera
with a tilting 3.2 (1.04-million-dot) LCD and large
optical viewfinder, boasts oversized pixels for
superior image quality, ISO options up to 204,800
and a 3-fps drive mode. Its relatively affordable
and benefits from some K3 features and technology, such as the versatile 27-point (contrast-detect
and phase-detect) AF system, PRIME III Processor
and menu system.
Huge 43.8 x 32.8 mm sensor

Viewfinder with 98% scene coverage
Live view is available
Extremely rugged, well-sealed
Wi-Fi with optional Flucard
Full HD Movie mode
86,000 pixel metering
Dual memory card slots
USB 3.0 support
13 lenses available
$9000 (list) ricoh-imaging.ca
NIKON D4S
Featuring changes based on feedback from D4
owners, this 16.2-MP full-frame, well-sealed
magnesium-alloy DSLR (with huge pixels for
superb image quality) includes the best of its
predecessor and gains new benefits. These include
higher ISO levels, a new processor for greater
speed and quality, an improved sensor, AF and
video mode, longer battery life (3020 shots), and
slots for CF and XQD cards.
ISO equivalent to 409,600

11 fps drive with AF and AE
New Small Raw option
30% faster EXPEED 4 processor
New 5-point Group AF function
AF Lock-on technology
3.2 (921,000-dot) LCD
1080/60p video at 42 Mbps
Uncompressed HDMI output
$7000 (street) nikon.ca
SONY ALPHA 77 II
This 24-MP model gains valuable benefits including an improved sensor, viewfinder and White
Magic (1.23-million-dot) LCD, plus a much faster
processor. The 79-point AF with 15 cross-type
points has advanced Lock On AF for superior tracking AF. New features include versatile Wi-Fi with
NFC, extra picture effects, ISO up to 25,600, Auto
Object Framing, smart digital zoom functions and
an Extra Fine JPEG option.
Magnesium-alloy chassis
3 tilt/swivel LCD
11 customizable buttons
Multi interface hot shoe
Greater burst depth
More noise-reduction options
Video to 1080p60 AVCHD 2.0
Omits GPS and 3D options
$1200, body only; $1850, with DT 16-50 mm f/2.8 SSM lens (list) sony.ca
60
JUNE/JULY 2014
GEAR PHOTO LIFE
NIKON 1 V3
Targeting serious photo enthusiasts, this 18.4-MP CSC
model with a tilting 3 (1.04-million-dot) touch screen
omits a viewfinder but offers new benefits. To provide
maximum resolution, the 1 CMOS sensor does not
have an anti-aliasing filter; the processor minimizes
moir. Amenities include on-chip phase-detection AF
with 171 points and high-speed drive. The V3 can
shoot full resolution JPEGs at 20 fps with Continuous
AF or 60 fps with Single Shot AF.
DSLR-style analogue controls

All-metal chassis
Built-in Wi-Fi
Phase- and contrast-detect AF
DSLR-style features and controls
Optional 2.36-million-dot viewfinder
Video at 1080/60p
Uses MicroSD cards
$900, body; $1300, with viewnder, Grip and 10-30 mm VR PD (street) nikon.ca
PANASONIC LUMIX DMC-GM1

Incredibly small and lightweight for a camera
with the large Micro Four Thirds sensor, the
16-MP GM1 comes with a very compact
retractable, stabilized aspherical/ED Leica
Vario DC 12032 Mega OIS lens. Theres no
viewfinder, but it features a fixed 3 (1.036million-dot) touch-screen LCD; Wi-Fi; built-in
flash; focus peaking in MF mode; and a full
range of modes, functions and overrides.
All-metal body (173 g)

Versatile contrast-detect AF
Improved dynamic range and noise
reduction
4 fps drive with continuous AF
DLSR-style modes, overrides
22 special-effect filters
Full HD Movie mode
$800, with 12-32 mm f/3.5-5.6 lens (street) panasonic.ca
SONY ALPHA 7S
Resembling the current a7R, this 12-MP CSC
model offers most of the same features plus some
valuable extras. The most noteworthy is the ability
to output (16:9) 4K video at up to 30p (via HDMI)
to an external recorder device. The focal-length
crop when shooting video is 1.1x. Support for
S-Log2 gamma will provide incredible dynamic
range in videos, while the huge pixels will produce
very wide dynamic range in still photography.
Full-frame sensor
Wi-Fi with Near Field Communication
(NFC)
25-point contrast-detect AF
Mic and headphone ports
Accepts XLR mic with adapter
AVCHD and XAVC S video
Conventional Full HD movies
Available later this summer
$TBA sony.ca
CANON POWERSHOT D30

This rugged 12-MP camera, with a 3 (461,000-dot)
PureColor II LCD and stabilized 28-140 mm equivalent f/3-4.8 lens, is waterproof to an impressive 25 m,
temperature-resistant from -10 C to 40 C, and
shockproof to 2 m. Features include a versatile GPS
system with many options, ISO options from 100 to
3200, a versatile AF system, macro focus to 1 cm,
and a new Sunlight LCD mode, which boasts improved
screen visibility in bright conditions.
Submersible to 25 m
Improved LCD
P, M and many Auto modes
1.9 fps drive at 12 MP
Intelligent image stabilizer
Offers the essential overrides
Extremely close focus for macro
Full HD video
$350 (street) canon.ca
CANON POWERSHOT G1 X MARK II

The latest in the very popular G series targeting
photo enthusiasts, this 12.8-MP Mark II model
omits the small optical viewfinder but features a
large 1.5 sensor, a hot shoe, many analogue
controls, a tilting 3 (1.04-million-dot) touchscreen LCD and a new 24-120 mm equivalent
f/2.0-3.9 zoom. The Digic 6 processor provides
great speed and image quality. The new Intelligent
IS system offers effective stabilization, while autofocus speed and low-light AF have been improved.
EOS-style features & controls

Close focusing to 5 cm
Improved lens and controls
5.2 fps drive speed
Fast 31-point AF
Built-in Wi-Fi with NFC
Full HD video, stereo sound
Optional electronic viewfinder
$800 (street) canon.ca
PHOTO LIFE GEAR
JUNE/JULY 2014
61
FUJIFILM FINEPIX XP70

Fujifilm makes a series of very rugged
cameras, including this affordable 16.4-MP
model with a stabilized 28-140 mm equivalent
f/3.9-4.9 zoom, 2.7 (460,000-dot) LCD and
Wi-Fi. Its waterproof to 10 m, shockproof to
1.5 m, and freezeproof to -10 C. Benefits
include 10 special-effect filters, High Dynamic
Range and easy-to-use 360 Motion Panorama
mode. The Underwater modes produce
pleasing colour, contrast and sharpness.
Auto Scene Recognition mode

Special Underwater modes
Many Scene modes
10 fps drive speed
Versatile autofocus system
Full HD video
Sports action video mode
Basic movie edit options
$220 (street) fujifilm.ca
NIKON COOLPIX S810C

This compact 16-MP white camera features a
stabilized 25-300 mm lens and a huge 3.7
(1.2-million-dot) touch-screen LCD. It includes
many Auto modes, such as Easy Panorama. Wi-Fi
connectivity with the Android 4.2.2 Jelly Bean
operating system allows for Web surfing, reading
emails, installing apps, etc. Attach headphones,
and you can use the camera as a mobile media
player.
Built-in GPS
24x digital zoom feature
Access to many apps via Wi-Fi
Versatile AF system
Uses MicroSD cards
Essential overrides
Full HD 1080/60p videos
$370 (list) nikon.ca
OLYMPUS STYLUS SH-1

Resembling a PEN camera but equipped with a
built-in 25-600 mm equivalent f/3-6.9 lens, the
16-MP SH-1 employs a five-axis image stabilizer when
shooting photos and videos. The body with its textured
synthetic leather, brushed aluminum accents and
ergonomic grip is full-featured. It includes Wi-Fi, a 3
(460,000-dot) touch-screen LCD, electronic level
gauge, Panorama mode, 11 Art Filters and more.
24x optical zoom

ISO 125-6400
Versatile AF system
11.5 fps drive at 16 MP
P, M and many Auto modes
Image modification in Playback
mode
Full HD 60p video
$400 (list) olympuscanada.com
OLYMPUS TOUGH TG-3

This new 16-MP flagship of the Tough line is
equipped with a stabilized 25-100 mm equivalent
f/2-4.9 lens, a 3 (460,000-dot) LCD, a Fast AF
system, GPS and Wi-Fi. It employs the same
TruePic VII processor as the OM-D cameras. The
TG-3 is waterproof to 15 m, shockproof to 2.1 m,
crushproof to 100 kg and freezeproof to -10C.
The new focus-stacking feature can provide photos
with incredibly great depth of field.
Many special-effect options

Depth gauge and compass
Variable Macro; high magnification
P and many Auto and Panorama
modes
Five-axis image stabilization
Full HD video
Simplified Wi-Fi connectivity
5 fps drive at 16 MP
$350 (street) olympuscanada.com
NIKON 1 NIKKOR VR 70-300 MM F/4.5-5.6

Quite compact (62-mm filter size) and lightweight
(550 g) with 189-810 mm equivalent focal lengths,
this lens is useful for sports or wildlife photography
with any of the Nikon 1 cameras. The built-in VR stabilizer helps compensate for camera shakeessential
with such a powerful telephoto. Its the first in the
1 Nikkor series to feature low-refractive-index/lowdispersion Super ED Glass, and it also benefits from
Nano Crystal Coating to minimize flare and ghosting.
One large Super ED element

16 elements in total
Circular diaphragm aperture
Vibration Reduction system
Close focus to 1.6 m at 300 mm
Lens hood is included
Barrel retracts when not in use
Optional tripod collar
$1100 (street) nikon.ca
62
JUNE/JULY 2014
GEAR PHOTO LIFE
NIKON AF-S DX 18-300 MM F/3.5-6.3G ED VR

A companion to the similar Nikon f/3.5-5.6
lens, this 27-450 mm equivalent zoom is 30%
lighter (550 g). It includes three aspherical
and three ED glass elements to compensate for
aberrations and distortion. Its equipped with
the latest VR stabilizer, which can provide a
four-stop benefit in camera-shake compensation, and the fast, quiet Silent Wave focus
motor.
Superior optical formula

Circular-diaphragm aperture
Very portable
67-mm filter size
Internal-focusing mechanism
Focuses to 48 cm
Max. magnification 0.32x
$880 (list) nikon.ca
SONY FE 70-200 MM F/4 G OSS

Ideal for the full-frame Sony a7/a7R but suitable
for other Sony compact-system cameras too, this
is a very rugged, dust- and moisture-resistant
pro-grade 840 g zoom. It has a built-in stabilizer
motor with a special panning mode. Its
equipped with a removable tripod-mounting
collar, a new AF system using dual linear motors
for fast autofocus, as well as two ED and three
aspherical elements for fine image quality.
Superior optical formula

Nano AR multi-coating
Tripod collar and hood included
Circular-diaphragm aperture
Stabilizer with panning mode
3 focus-hold buttons
Max. magnification 0.13x
$1600 (list) sony.ca
Traveler
The new standard
now with Arca-Swiss
compatible plates.
LIFETIME WARRANTY
www.gitzo.ca
DESIGNED AND MANUFACTURED IN ITALY
Available at the following Canadian retailers: BROADWAY CAMERA | HENRYS | LOZEAU | THE CAMERA STORE | VISTEK
To find other Gitzo retailers near you, visit www.gentec-intl.com/where-to-buy
Gitzo tripods are distributed in Canada exclusively by Gentec International, one of Canadas 50 Best Managed Companies www.gentec-intl.com
PHOTO LIFE GEAR
JUNE/JULY 2014
63
2014-05-08 1:26 PM
COTTON CARRIER CARRY-LITE BELT SYSTEM

Designed to reduce strain on the neck and
shoulders, this kit features the companys
patented locking system with camera hub.
Attach the hub to the tripod mount in the
cameras base, and it slides into the holster
and is securely attached; rotate the camera
90 degrees to remove it. A tether keeps the
equipment attached to the shoulder strap or
the D-ring on the waist belt.
Adjustable shoulder strap

Heavy-duty padded waist belt
Fits 20-54 waist sizes
Removable side holster
Belt accepts second holster
Hand strap is included
Lifetime warranty
T
C
S
$100 (street) cottoncarrier.com
LOWEPRO PASSPORT SERIES

The soft-sided Backpack, Messenger and Sling
III cases each feature an impact-resistant and
removable camera insert, internal zipped
pockets, and storage for a 13 computer in a
CradleFit pocket with floating-foam construction
to suspend and protect the device. Each type of
case has its own benefits too, such as the
Messengers front organizer pocket under the
flap and adjustable shoulder strap with
removable pad.
Mesh zippered pockets

Suitable for compact DSLR kit
Backpack: 2 bottle pockets
Sling III: expandable compartment
Discreet styling
Protective computer pocket
$65, $70 and $65, respectively (list) daymen.ca
GITZO MOUNTAINEER
Gitzo has updated these premium-grade
tripods, using Carbon eXact tubes with denser
material for maximum rigidity and tubes of
larger diameter, particularly in the lower leg
sections. New G-lock Ultra twist locks offer
better ergonomics and minimize the amount
of grit that can enter. The centre column can
be removed, and the Ground Level Set
enables low-level operation.
Superior carbon fibre

Thicker tubes for greater rigidity
Ground-level operation
More rigid metal components
Hook for hanging weight
Improved leg angle selectors
Available in Series 0 to 3
$650 to $1300, depending on series and size (list) gentec-intl.com
MANFROTTO MHXPRO-3W
This three-way pan/tilt head with quick release
has handles that can be extended for adjustments and then retracted when youre ready to
shoot. Separate knobs control the friction of
the front-to-back and side-to-side tilt while
three bubble levels make it easy to ensure that
the camera is level on all axes. A quick-release
plate and a 1/4-20 camera-mounting screw
are included in the kit.
Aluminum body
Load capacity of 8 kg
RC2 Quick Release
Handles can be retracted
3 bubble levels
2 tension-control knobs
Compact and lightweight (1 kg)
3.07-million-dot display
Very large 5.6 screen
Excellent display quality
Lightweight (0.3 kg)
Many software features
Audio monitoring and playback
HDMI/Composite Input signal
$180 (list) gentec-intl.com
LUMAHAWK LMM-PRO400
This is one of five new LCD HD camera monitor
models in sizes up to eight inches and of
various resolutions for use with the many
cameras or camcorders equipped with an HDMI
port. Its designed to mount in the hot shoe or
to a tripod or light stand. This 5.6 model
offers 1280 x 800 resolution, 350 cd/m2
brightness and a 500:1 contrast ratio. The kit
includes a folding hood, HDMI cable, battery
plate, shoe mount adapter and AC adapter.
$530 (street) nadel.ca
64
JUNE/JULY 2014
GEAR PHOTO LIFE
Carve out a new career in
PROFESSIONAL
PHOTOGRAPHY
THE
CONTACT
SHEET
CANADAS BUYING GUIDE

TO EVERYTHING PHOTO
ON NEWSSTANDS NOW!
LIKE PHOTO LIFE

FACEBOOK.COM/PHOTOLIFEMAG
WWW.NIC.BC.CA
Photo: Brett Morrison, NIC Pro Photo graduate
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.
www.nic.bc.ca/finearts
or call 1-800-715-0914
photolife.com
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
2014-05-08 1:26 PM
CLOSE-UP
PHOTO
TALKS
A GREAT WAY To GET
A FRESH PERSPECTIVE
BY GUY LANGEVIN
Ive got a ritual with my good friend, photographer Dale Wilson. On Friday
afternoons when time allows, we turn on Skype, crack open a Guinness, and
video chat while sipping our dark beverage, him in Nova Scotia, me in Quebec.
ike two friends sitting in the local pub, the conversation goes in every direction, but most of
the time, we talk about photography. Well cover a new talent that got our attention, what we
shot that week, the state of photography in 2014 and so on.
Hey Dale, the other day I had an opportunity to shoot for the Orchestre Symphonique de Qubec.
Is that so?
Yup, it was kind of cool. I followed the conductor during the rehearsal, and then I shot the
concert from the wings. Flashes were not allowed, of course; even the AF-assist light had to be
turned off. Im happy with the results, but I really wish I had had that 50-200 mm f/2.8 lens Ive
been wanting.
Guy, you know what I think about equipment. Do your best with what youve got and never
forget that the best tool for a photographer is right behind the camera.
Yeah, I know. I ended up shooting most of the time with my 100-mm f/2.8 macro lens. It turned
out fine, and I learned a lot. Next time it should be even better. Let me send a few low-res photos
your way so you can have a look.
Hey, not bad, Guy! I particularly like that portrait against the brick wall. What was your set-up?
All natural light! It was at the end of the day, and we were getting ready to head over to the
symphony office. We were still in the theatre, but behind me were large wall-to-wall windows
separated by a column every ten feet or so. The sun was just starting to set.
Well, Guy, youve got to remember that location. What you have here is a perfect example of
Rembrandt lighting. You know, like the lighting in the artwork of the seventeenth-century Dutch
artist. Thats the kind of lighting we try to recreate in a studio. See how the face is lit on one side,
and theres a triangle of light on the far cheek?
Well, thanks, Dale! I was particularly fond of this one too.
Hey! Ive got a small digital massage that I do to my portraits in Photoshop. Want to try it?
Your image is the perfect candidate.
Of course! What is it? Now Im curious
66
GUY LANGEVIN
Here is Dales secret

Photoshop recipe to
give a little extra oomph
to your portrait shots
(shared with his
permission, of course).
Create a black-andwhite layer, adjusting
the sliders to taste.
(Duplicate Layer.
Image > Adjustments >
Black and White)
Set the layers Blending
mode (in the Layer
window or Layer >
Layer Style) to Soft
Light.
Adjust opacity and/or
Fill to get the right
tonal range.
Experimenting with this
technique will add
more depth to the final
image.
JUNE/JULY 2014
Vistek_Ph
Photo courtesy of Shauna & Gareth Roughley, featured in Visteks Photo Gallery.
Mother Nature gets a facelift.

Thanks to the full-frame Canon EOS 6D, Mother Nature
has never looked better. Landscapes, panoramas,
horizons they all look strikingly beautiful.
Its the 6Ds large sensor that makes the difference,
producing an image quality that is undeniably superior.
And along with high resolution, low noise, colour
fidelity, and built-in GPS, the full-frame 6D is an ideal
DSLR for nature and landscape photographers.
for capturing fast movement. And like all Canon

video-capable DSLRs, the 6D can utilize the full
range of Canon EF lenses legendary in the world
of filmmaking.
And now for the clincher. The surprisingly affordable
6D means full-frame isnt just for the pros anymore.
See Mother Nature like youve never seen her before.
Get your hands on a Canon 6D at Vistek.
And heres something else to consider. If youve made

the move to video, the 6D produces stunning Full
HD video and can record 720p HD at 60fps great
PHOTO | VIDEO | DIGITAL | SALES | RENTALS | SERVICE
4 /2/. 4 / s - ) 33) 33!5'! s / 44!7! s #! ,' ! 29 s % $ -/. 4 /.
Vistek_PhotoLife_JuneJuly_2014_Full.indd 1
V I STEK . C A
2014-05-01 10:45 AM
forever is
in the details
Forever starts somewhere. The more
you can capture, the more youll
have to cherish in the forever to come.
Thats why the size of your cameras
sensor matters so much. No stolen
glance, faint blush or slightest touch
will ever be missed.
PH
OT
LAR
HY
PU
AP
PO
Introducing the Sony 7R

Extraordinary sensor size. Ultra compact body.
OGR
www.sony.ca
Sony and
are registered trademarks of Sony Corporation.

Photo Life (2014.06-07)

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 (2014.06-07)

Uploaded by

Copyright:

Available Formats

cPL_JULY14.

qxp_Photo Life Jan 2005 2014-05-08 10:17 AM Page 1

YOUR GUIDE TO EVERYTHING PHOTO

FUJIFILM X-T1 & SONY 6000

GET GREAT PHOTOS

RAW VS. JPEG

CLOUD COMPUTING SEE WHAT IT CAN DO FOR YOUR PHOTOGRAPHY

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:17 AM Page 2

Photo: Garry Black

Ideal for portraits

30mm F1.4 DC HSM

35mm F1.4 DG HSM

50mm F1.4 DG HSM

85mm F1.4 EX DG HSM

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

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:17 AM Page 3

26 Showtime Travel Memories

34 Photo 101 Reducing the Number of Pixels

36 FAQ Raw vs. JPEG: Which is Best?

38 In Pursuit of the Roadrunner

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:18 AM Page 4

48 The 24th TIPA Awards

52 Review LaserSoft Imagings PrinTao 8

54 Review Fujifilm X-T1

56 Review Sony a6000

60 Imaging Products Review

PHOTO LIFE JUNE/JULY 2014

CONTRIBUTORS AND EDITORIAL STAFF

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

PHOTO LIFE is indexed in Canadian Magazine by Micromedia

David duChemin is a Vancouver-based photographer and adventurer. His bestselling

has been providing advice to photographic equipment buyers

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

Occasionally, we make our subscriber list available to carefully

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:18 AM Page 5

You stake out a vantage point 800 feet high.

EPSON Stylus Pro 3880 $1,320*

EPSON Stylus Photo R2880 $649.99*

Exhibition-quality prints from 13 to 17 wide

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:18 AM Page 6

n this issue we have an article by David duChemin that addresses an aspect of

Interview with fashion photographer and model Renee Robyn

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:18 AM Page 7

The Pro Sling Strap

2013 | JOBY is distributed by DayMen Canada - daymen.ca

Includes Camera Tether

Pro Sling Strap

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:18 AM Page 8

YOUR VIEW . WHATS ON . IN FOCUS . BOOK REVIEWS

A READERS OPINION OF THE NIKON DF

IN RESPONSE TO WORLDWIDE PINHOLE

RE: DALE WILSONS BLOG POST EVEN ANSEL

Perhaps it is time to create a term to be used when referring to

FROM WINNERS OF THE WORLD WE LIVE IN 2013

LIKE PHOTO LIFE

The Nikon D7100, when focusing is crucial.

PL_JULY14.qxp_Photo Life Jan 2005 2014-05-08 10:18 AM Page 10

WILLIAM IVOR CASTLE/LIBRARY AND ARCHIVES CANADA

CARL ZIMMERMAN/COURTESY OF STEPHEN BULGER GALLERY

July 26 - August 10, 2014

THE GREAT WAR

Speakers Night - Friday, August 1st, 6:30 pm - 8:30 pm

Visit ClicPhotoShow.ca for entry info, hours,

From June 27 through November 16,