Photo Life - Dec2017-Jan2018@EbookzMag PDF

PROFOTO.
THE A1.
THE FUTURE.
INNOVATION
YOUR GUIDE TO EVERYTHING PHOTO
DONE RIGHT
A NON-PLANNER’S
GUIDE TO PLANNING
A PHOTO PROJECT
THE FREEDOM OF LETTING GO
PLUS
WHAT’S A PHOTOGRAPH WORTH?
AN INTERVIEW WITH COLOUR-PHOTOGRAPHY PIONEER FRED HERZOG
5 WAYS TO IMPROVE YOUR COMPOSITION
AND THE SECRET TO MOUTH-WATERING FOOD PHOTOGRAPHY

PHOTOLIFE.COM - DECEMBER/JANUARY 2018 - DISPLAY UNTIL JANUARY 31, 2018 - $6.99
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CONTENTS PHOTO LIFE DECEMBER/JANUARY 2018,
VOLUME 43, NUMBER 1
COVER PHOTO
Jody MacDonald
jodymacdonaldphotography.com
EXPOSURE
4 CONTRIBUTORS
8 EDITORIAL
12 THIS AND THAT
22 MISADVENTURES
© JODY MACDONALD IN PHOTOGRAPHY
25 THE COMMUNITY
36 28 BEHIND THE IMAGE
66 THE LIVING ROOM
VISION
WELCOMING UNCERTAINTY WISDOM, WIT AND OTHER TIDBITS
A NON-PLANNER’S GUIDE TO 30 FRED HERZOG

Herzog was one of the first pioneers of
PLANNING A PHOTO PROJECT colour photography: he started using
Why do we vigorously cling to our comfort zones, our knowns, and our set plans? Kodachrome colour slide film in 1953, at
Maybe because it makes us believe a good plan results in control of our future a time when colour photography was not
and outcomes. But does it really? taken seriously in the art world.
WITHOUT THE FRAME

34 WHAT’S A
PHOTOGRAPH WORTH?
BY DAVID DUCHEMIN
There was a time when a photograph was
worth not merely a thousand words but
also a lot of money. Cameras were large
and expensive, and the training it took to
learn to use them well was significant. But
now we’re at a place where the value of
the photograph must be found elsewhere.
36 WELCOMING UNCERTAINTY
A NON-PLANNER’S GUIDE TO
© DAVID DUCHEMIN
PLANNING A PHOTO PROJECT
48 BY JODY MACDONALD
SHOWTIME
46 DOMINANT COLOUR
5 WAYS TO IMPROVE YOUR COMPOSITION
IDEAS FOR GOING BEYOND TOOLBOX
48 5 WAYS TO IMPROVE
APERTURE AND F-STOPS YOUR COMPOSITION
If I were to make my peace with platitudes, I’d be comfortable with this one: IDEAS FOR GOING BEYOND
composition is everything. The decisions of the photographer about the elements in APERTURE AND F-STOPS
the scene ultimately make a photograph what it is. BY DAVID DUCHEMIN
DECEMBER/JANUARY 2018 PHOTOLIFE.COM 3
23 12:14 PM

CONTENTS PHOTO LIFE DECEMBER/JANUARY 2018,
VOLUME 43, NUMBER 1
TOOLBOX (CONTINUED)
54 FEARLESS
PROFOTO. THE A1. THE FUTURE.
BY PATRICK LA ROQUE
For the past five years, simplicity has
clearly been at the core of Profoto’s
vision—both from a user-experience
and a user-interface standpoint. The D2
I reviewed last year brought the B1’s
streamlined interface into the studio. The
A1 now brings this same order to the
world of small flashes.
FAQ
© PATRICK LA ROQUE
62 FOOD PHOTOGRAPHY
54 BY JEAN-FRANÇOIS LANDRY
When it comes to food, everything
is a question of taste. But when we
talk about food photography, taste
FEARLESS usually has nothing to do with it. It’s all
PROFOTO. THE A1. THE FUTURE. about appearance.
64 GADGET GUIDE
BY JEAN-FRANÇOIS LANDRY
CONTRIBUTORS Guy Langevin has worked in the
AND EDITORIAL STAFF magazine and photo industry for

many years. He has had the chance
to collaborate with and befriend
some of the best photographers
Laurence Butet-Roch fell in love David duChemin is a in the country, and you’ll rarely
with journalism through Scoop, ancouver-based photographer and
V see him without either his running
a Quebec sitcom set inside a adventurer. His bestselling books on shoes or camera. guylangevin.net
newsroom. Studying international the art of photography have been
relations at the University of British translated into a dozen languages. Jody MacDonald is no stranger
Columbia and photography at davidduchemin.com to adventure and exploration.
the School of the Photographic Having spent her formative years
Arts: Ottawa led her to become
a photographer with the Boreal
Patrick La Roque is a
s peaker, writer and professional
Curious in Saudi Arabia before sailing
around the world twice, she has
Collective, a photo editor and a photographer from Montreal. He is about who travelled to more than 90 countries
writer. lbrphoto.ca an official Fujifilm X-Photographer in search of the unknown.
and founder of the KAGE put this jodymacdonaldphotography.com
Holding a passion for the world and
an eye for the beauty it contains,
COLLECTIVE, an international
group specializing in visual
together? Jenny Montgomery is a theatre
Prince Edward Island-based Dave storytelling and documentary Here’s this director and writer who first learned
Brosha is one of Canada’s most work. laroquephoto.com, her way around a darkroom in 1998.
diverse photographic artists and kagecollective.com issue’s Photography runs in her family, so it
educators. His work covers a wide
spectrum including landscape, Jean-François Landry has been
who’s who. was probably inevitable that it would
be a part of her life.
portraiture, commercial and providing advice to photographic
adventure imagery. davebrosha.com equipment buyers in Quebec Valérie Racine has been part of
City since 1989. He also shares the Photo Life team since 2001. She
Emmanuelle Champagne his passion with amateur currently serves as publisher and
completed her studies in creative photographers through courses and marketing director. Her background
writing and later decided to pursue magazine articles. cylidd.com includes studies in art, art history
accounting and administration. She and communications, and she is
enjoys literature and all forms of art. passionate about photography.
4 DECEMBER/JANUARY 2018 PHOTOLIFE.COM

Made in Japan

e!
© Sal Cincotta
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The world is my studio
Profoto A1
We created the Profoto A1 with a round head that delivers light that’s
both natural and beautiful both on camera and off. It’s also incredibly
easy to use, with superfast recycling and a long-lasting battery, so
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made, but the creative possibilities are enormous.
Discover the world’s smallest studio light at profoto.com
19/10/2017 16:01
EXPOSURE EDITORIAL
PHOTO LIFE DECEMBER/JANUARY 2018

Volume 43, Number 1
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all is always chaotic around here, but I shouldn’t complain since chaos isn’t
Member of CITA and TIPA.
entirely bad! When everything is going so fast, you’re forced to act instinctively
because there’s no time to stop to think. I’m reminded of Mario Andretti saying,
“If everything seems under control, you’re not going fast enough.” Of course, this idea
can be taken too far, but it doesn’t hurt to remember that there’s some good that can
be found in times of instability.
In spite of that, it’s hard to let go of control. Jody MacDonald reminds us in her
We acknowledge the financial support of the Government of Canada.
article (p. 36), “Not having a plan is hard. Plans are everywhere. We are encouraged
to make plans for everything in an effort to minimize uncertainty.” Yet she adds,
“Researchers say that embracing uncertainty is essential to creativity.” I like that!
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zone. You need to do that every day. If you don’t, you basically die.”
Occasionally, we make our subscriber list available to carefully screened companies
My grandmother always used to tell me to stop thinking so much. I didn’t 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
understand why, but with time I saw that she wanted me to understand that too telephone, fax, regular mail or email.
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a letter; it’s an homage to creativity. I invite you to check it out when you’re feeling
© 2017 APEX PUBLICATIONS (2017) INC.
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can view on YouTube: https://youtu.be/VnSMIgsPj5M be reproduced or used in whole or in part without the written permission of
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And with that, I will sign off with LeWitt’s exhortation: “Just do!” Despite the care taken in reviewing editorial content, Apex Publications (2017) Inc.
cannot guarantee that all written information is complete and accurate. Consequently,
Apex Publications (2017) Inc. assumes no responsibility concerning any error and/
THE QUESTION or omission.
Have you ever completely messed up when shooting? What did you do and what
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EXPOSURE THIS AND THAT
MEMORIAL TO A SPECIES © BRENT STIRTON, SOUTH AFRICA, GRAND-TITLE WINNER 2017/WILDLIFE PHOTOGRAPHER OF THE YEAR.
THE HAIRY RAINCOAT © JOSIAH LAUNSTEIN, FINALIST 2017, 11–14 YEARS OLD/WILDLIFE PHOTOGRAPHER OF THE YEAR.
YOUNG CANADIAN RECOGNIZED IN

WILDLIFE PHOTOGRAPHER OF THE YEAR
THE 53rd annual Wildlife lberta) was recognized in the
A competition’s 100 winning images
Photographer of the Year 11- to 14-year-old category for his selected from 48 000 entries from
competition results have been image The Hairy Raincoat. A repeat 92 countries. The exhibition is on
announced. Brent Stirton (South finalist, in 2015 Launstein made his view at the Royal BC Museum in
Africa) is the grand-title winner WPY finalist debut for two images Victoria from December 8 through
for Memorial to a Species, for his submitted in the 10-years-and-under April 2, and at the Royal Ontario
image of a black rhino killed by category. Museum in Toronto from December
poachers. Daniël Nelson (The 16 through March 18. Please check
Netherlands) is the 2017 Young Organized and produced by the the museums’ websites for more
Wildlife Photographer of the Natural History Museum in London, information on the exhibitions
Year for The Good Life. Canadian the Wildlife Photographer of the and special programming.
Josiah Launstein (Pincher Creek, Year exhibition presents the annual royalbcmuseum.bc.ca, rom.on.ca

ADVERTORIAL
Olympus OM-D E-M1 Mark II and M.Zuiko 12-40mm f2.8 PRO lens; 12 mm, f/9, 1/2500 s, ISO 200. © Peter Baumgarten
MEMORIAL TO A SPECIES © BRENT STIRTON, SOUTH AFRICA, GRAND-TITLE WINNER 2017/WILDLIFE PHOTOGRAPHER OF THE YEAR.
Olympus Visionary Peter Baumgarten has been a d edicated Olympus

shooter for many decades. He says, “I purchased my first
Olympus camera at the age of twelve. When the digital age arrived,
I decided to stick with the brand. In 2013, Olympus released the
OM-D E-M1. The awards and positive reviews kept coming in, and
even though I considered moving to a larger DSLR option, I decided
to stick with Olympus, a brand that had helped me produce some
excellent imagery. I have never regretted that decision.”
A
s a landscape and nature photographer, the OM-D E-M1 Mark II, I know it can handle
Baumgarten loves how the OM-D the extreme conditions that I put it through. I
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walking through dense brush, I know that the
build quality of the OM-D line can take the He adds, “The incredible innovations Olympus
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lenses are going to have to endure. Living and exceed my photographic goals. Whether
on an island in northern Ontario also means it’s the Live Composite feature, the zero-lag Pro
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Peter Baumgarten, Photographer

Peter Baumgarten is a professional photographer and educator living on Manitoulin Hear more from other photographers
Island in northern Ontario. He regularly leads photography workshops and travels across
North America as an Olympus Visionary providing seminars on landscape, wildlife and
who have made the switch to the
astrophotography. His work has been published in numerous magazines in both Canada and Olympus OM-D system at
the U.S. and has been recognized for excellence on a number of photography websites. getolympus.com/neverlookback

© GABOR SZILASI, OPENING OF THE CLAUDE TOUSIGNANT EXHIBITION AT THE GALERIE SHERBROOKE, MONTREAL, MAY 1969, GELATIN-SILVER PRINT (2017), COLLECTION OF THE ARTIST.
GABOR SZILASI FROM December 7 to April 8, approximately forty of Gabor Szilasi’s images will be on
THE ART WORLD view at the McCord Museum in Montreal. These mostly unpublished documentary photos
of the Montreal art scene will be exhibited chronologically to highlight the sweeping social
IN MONTREAL, change during these years. Video interviews with people who experienced the Montreal
1960–1980 arts scene of the era will also accompany the exhibition. musee-mccord.qc.ca/en
PROFOTO ACADEMY
MANITOBA PROFOTO has launched Profoto Academy to offer online
PHOTO EVENTS video instruction on light. Each course offers several videos,
COMING UP quizzes to test your progress, a final assignment, personal
feedback, and Profoto certification. The catalogue currently
includes Fashion Photography With Lindsay Adler, Professional
ON April 28, Paul Zizka Portraits With Hannah Couzens, Family Portraits With Sandy
will be leading an all-day Puc, and Wedding Photography With Yervant; more courses will
photo presentation in be added in the future. profoto.com/ca/academy
Winnipeg, Manitoba.
Zizka will share on the
following topics: The
Power of the Human
Element in Landscape
Photography, Field
Workflow, Adventure
Photography and
Shooting Stars. Early bird
registration is available
© LINDSAY ADLER
through January 31.
© PAUL ZIZKA
manitobaphotoevents.ca

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WORLD PHOTOGRAPHY ORGANISATION and Zeiss are accepting entries for the third annual Zeiss Photography Award.
Photographers are invited to submit a series of five to ten images for the theme Seeing Beyond: Untold Stories. The competition is
open until February 6. worldphoto.org
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FEAST FOR THE EYES

THE STORY OF FOOD IN PHOTOGRAPHY
FRONT
by Susan Bright, Aperture, $77, 304 pages, hard cover
TOWARDS
ENEMY
STARTING in the 1840s and proceeding chronologically through the
decades up until our current “foodie”
and “Instagramified” times, Feast for the
Eyes: The Story of Food in Photography
is a comprehensive history of food
by Louie Palu,Yoffy Press, $62, 60 pages,
photography. Whether food photos were cardboard slipcase
originally created as art or cookbook
imagery (or both), author Susan Bright
proposes that “photographs about food
are rarely just about food.” F eaturing
work by Edward Weston, Stephen Shore,
Susan Meiselas, Cindy Sherman, Martin
Parr, Laura Letinsky, Heidi S wanson and
many other prominent p hotographers,
the images in this b eautiful tome
reveal a lot about our culture, values,
aspirations, identity, humour and

more. If you enjoy food photography
and want to learn more about its
evolution, Feast for the Eyes will certainly give you something to chew on.
ICELAND WITH DAVE BROSHA,

PAUL ZIZKA AND MAG HOOD
THERE is still time to book a spot on an Iceland photo tour with
Dave Brosha, Paul Zizka and Mag Hood! Portraits In High Places: The
Iceland Chronicles (February 7-11) explores environmental portraiture
in the stunning landscape of southeastern Iceland, and The Iceland
Sagas (February 14-18) focuses on outdoor landscape photography.
The Iceland Chronicles: goo.gl/yw26eL
The Iceland Sagas: goo.gl/DEms4A
T
HOW do we choose to see the world? Who controls
what we see and don’t see? Louie Palu’s Front
Towards Enemy is a deconstructed photo book that
s
asks us to consider how we receive news and who
controls the message. After much reflection on what
happens to his images after he makes him, Palu
decided to create this unique collection. Including
60 photographs that he took in Afghanistan
from 2006 to 2010, the “kit” is comprised of an
accordion-fold image set, soldier portrait cards, a
P
newsprint publication and a staple-bound zine. Why
such an atypical approach? Palu wants to invite the Th
viewer to actively participate and engage with these de
images of war. By circumventing the traditional ea
news platforms and giving the content directly to ba
© DAVE BROSHA
the viewer, the viewer is able to take on the role of on

editor and curator. There are even instructions on
how to create your own pop-up exhibition! Di
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THIS AND THAT EXPOSURE
DECK THE FRED HERZOG

MODERN COLOR
WALLS
FROM November 30 through December 23, Newzones
in Calgary is presenting Deck the Walls. Featuring small-
by Fred Herzog
Hatje Cantz, $45, 319 pages, hard cover
and medium-sized artwork for sale, the show includes GORGEOUS and thoughtfully
SEE
P. 30!
photo-based work by Stuart McCall, Dianne Bos, John planned from cover to cover,
Folsom and Joshua Jensen-Nagle. newzones.com Fred Herzog: Modern Color
showcases the legendary
Vancouver photographer’s
© JOSHUA JENSEN-NAGLE, SUMMERS IN TEL AVIV, 2017, ED/7, PHOTOGRAPH FACE-MOUNTED TO PLEXI, 30 X 31.5 IN.
colour and black-and-white

images. The most complete
collection of Herzog’s
photography to date, Modern
Color would be a beautiful
addition to any photo-book
collection—and it’s an absolute
necessity for any admirer of
Herzog’s work.
LD
STEPHEN SHORE
SELECTED WORKS 1973-1981
photography by Stephen Shore
texts and image selections by 15 contributors
Aperture, $108, 272 pages, hard cover
STEPHEN SHORE: SELECTED WORKS
1973-1981 is an appealingly designed
large-format book that’s best lifted with
both hands (30.5 x 38.1 cm/12 x 15 in.).
Though its format and cover pack a big
punch, what’s inside surpassed all my
expectations. A 15-person international
team of photographers, curators, authors
and cultural figures were each asked
to select 10 images from Shore’s vast
Uncommon Places archive. Featuring
mostly previously unpublished photographs,
the resulting photo book is a fascinating, multifaceted
look at this celebrated artist. I loved studying the large
images and reading each contributor’s reflections on
Stephen Shore’s work—a wonderful discovery!
-28 3:52 PM Photo_life_18-01.indd 21 2017-11-02 12:20 PM

EXPOSURE MISADVENTURES IN PHOTOGRAPHY
MISADVENTURES those 90 seconds. I had brought in

all my equipment, including studio
lights, light stands, modifiers,
INTPHOTOGRAPHY
cameras and lenses. I’d carefully
set everything up and then did
what all photographers worth their
salt would do: I tested.
H E R O Y A L S I tested everything, multiple times.
BY DAVE BROSHA The angle of light. My camera
settings. I even had 10 hotel
One of my most memorable assignments was being the workers take 10 minutes out of
their day to come and sit in the
official photographer for the Duke and Duchess of Cambridge seats that would later be filled
during their three-day visit to northern Canada in 2011. It was a by the Royal Highnesses and the
dignitaries. Everything was perfect.
pretty high-profile task—and one that I was excited to shoot. It’s
not every day that you get to document two of the most famous Fast forward to 20 minutes
before they were due to arrive.
people in the world. Again, I tested everything. Again,
everything was perfect.
I
handle stress pretty well and be done in a secure hotel meeting
never really let the pressure room on the evening of their Then I hear Prince William and
of any assignment get to me, arrival from the airport. Their first Kate arrive. A cheer goes up.
but this assignment started out order of business was to meet the I’ve been instructed to go down
E
with one of the most stressful dignitaries and then sit down, with the hallway to take some frames
moments of my entire career in me directing, to pose for a group of them greeting hotel guests as
photography. Unfortunately I don’t portrait. I knew I’d only have they arrive in the lobby. I scurry
have permission to about 90 seconds for my image. down the hall and catch my first
My first task was to take a formal share the formal glimpse of them. I fire off 40 or
portrait of William and Kate with portrait, but I dug up Earlier that day, I had spent a 50 frames and then return to the
a number of dignitaries. It was to a couple candids. couple of hours setting up for meeting room. I
h
They arrive behind me in the r
room and shake hands with t
the small crowd of dignitaries. I t
wait at the end of the line until a
it’s time to direct them to their l
assigned chairs, and then, gulp,
tell them the process. “
g
My voice cracks, but I get it a
out. I tell them all that I plan on w
taking about ten images total. g
I want to keep it way less than a
90 seconds. I figure I can have w
the photograph I need in less t
than 30. c
I put my camera up to my eye, I

compose, and fire. And fire. And k
fire. By frame four I get the sick g
CANON EOS 5D MARK II, 200 MM, F/4.5, 1/400 S, ISO 200. © DAVE BROSHA
feeling that something’s wrong.

I’m not seeing the telltale flash of I
light out of the corner of my eye. B
s
My flash is not going off. My heart c
sinks.
I
The very last thing I want to B
be doing, now—now, of all b
times—is to troubleshoot. I have
90 seconds. This is one of the I
biggest moments of my career to m
date. And I feel absolutely sick to m
my stomach. l

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“If you’ll excuse me, I’m just what are the chances that ten
going to take a look at the images people will have given me
and make sure I captured one perfect expressions, with no one
with no one blinking,” I tell the blinking? My heart’s pounding. I
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EXPOSURE THE COMMUNITY
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THE COMMUNITY EXPOSURE
NEITHER HERE
Dang, thinking back to when he
decided to use photography to
NOR THERE
get a better sense of self.
His first instinct was to take a

BY LAURENCE BUTET-ROCH trip to the land of his ancestors
NAM PHI DANG CONSIDERS CULTURAL HYBRIDITY THROUGH IMAGES to examine what his life would
have been like had his parents
never left home. Though he had
Having grown up in Canada with Vietnamese parents, visited it every other year or so
throughout his childhood, Dang
Nam Phi Dang took to photography to learn more about his had never thought twice about
roots, connect with his peers and share what it feels like to be a how he perceived it, let alone felt
R
the need to document it. “Most of
part of two different cultures. what I knew about the country
was negative since it was mostly
“A
Canadian is a hyphen,” healthy sense of pride in my centred around the Vietnam War.
once said the novelist culture. Growing up, part of It’s what Western entertainment
Joy Kogawa, who was me wanted to be white. I was and history books zeroed in on.
born in Vancouver to Japanese tired of some of the customs I And, it was the background of
parents. I first encountered the was made to uphold at home, my mother’s experiences, some
quote in the book Faking Death: of being mocked, of teachers of which she shared with me. She
Canadian Art Photography and not being able to pronounce would tell me about having to run
the Canadian Imagination, my name, of people equating from city to city, trying to escape
which seeks to identify defining all Asians or yelling obnoxious, the bombings, or listening to
features of images made by the insulting slurs, and so on,” says ABBA and the Bee Gees in secret
country’s photographers. Author,
art theorist, curator and professor
Penny Cousineau-Levine briefly
addresses the role cultural
hybridity plays in creating a
distinct national visual identity
and then moves on to focus on
other matters. Yet, this is the part
that has stuck with me the most
and that I come back to, time and
time again, when I look at the
work of my contemporaries. Nam
Phi Dang’s latest exploration of
his Vietnamese roots is but one
striking example.
Much like fellow photographer

Marta Iwanek (covered in the
August/September issue), Dang
began to focus more of his
attention on his heritage after his
grandmother passed away. The
23-year-old photographer realized
then just how much he relied
on the stories and memories of
older family members to connect
with and craft the Vietnamese
portion of his identity—and how
precarious such dependence was.
What would happen when they
too eventually disappear? Which
traditions, teachings or insights
would he be able to embody and
pass on to future generations?
“It became increasingly important

for me to look critically at my
© NAM PHI DANG
own upbringing: to acknowledge

the good and the bad of it,
to accept it, and to develop a

EXPOSURE THE COMMUNITY
because the Communist regime

wouldn’t allow it,” he explains.
His parents eventually fled the
country in 1989, by boat. Once in
the Philippines, his mother made
requests for asylum in several
countries, including Canada.
While waiting for her status to
be determined, Dang was born.
Since he had a tumour that the
local health services couldn’t
treat, he was admitted and flown The country
to SickKids hospital in Toronto.
He and his family were thus given
didn’t look
a path to Canadian citizenship. like the one
In Vietnam, looking for scenes
Dang had
that evoked the country he found envisioned;
in his mom’s old albums and
journals, he had to come to terms
it felt like
with just how much had changed. somewhere
“I went there curious of and
fascinated by the local culture.
else. And yet,
My mom had told me about how at the same
© NAM PHI DANG

strong expressions of a unique
Vietnamese identity had been
time, it felt
when she lived there, especially familiar.
in response to colonizing forces— b
France, the United States—that l
tried to quell it. I expected that b
to still be true. But it wasn’t the e
case. Nowadays, millennials there
seemed to be more interested B
in us, than in their own history,” w
remarks Dang. Case in point:
one of his photos taken in a
garden where people go and pay
to take pictures shows a group
standing on a platform around
an apple tree. “It felt so strange
to me because they’re not native
to Vietnam. Here was a set built
for the sake of pretending to be
somewhere else.”
These last two words make up

the title of the resulting series and
convey the many tensions the
photos allude to, including how
those who navigate between two
cultures often feel like they stand
just outside of the circle. They’re
neither fully from here nor there,
but always from “somewhere
else.” The images also explore
how reality can differ from what
the mind conjures from memories.
The country didn’t look like the
one Dang had envisioned; it felt
like somewhere else. And yet, at
the same time, it felt familiar. “My
immediate response was that I
© NAM PHI DANG
hadn’t really left my own home

and what I was seeing wasn’t
anything alien, as I imagined it to

THE COMMUNITY EXPOSURE
a nswered. Dang’s portraits of

them are a testament to the
diversity of the community. His
subjects—a rapper, a writer,
Back home an entrepreneur, a financier,
in Canada, an architect, a designer and
others—told him about the
he wondered importance of language and
whether food; about how leaving
the family home created a
others felt disconnect; about the many
a similar ways their culture shaped
their work ethic, personality
bewilderment traits and values; about feeling
and how they embarrassed by how little they
knew about their cultural history;
reconciled about wanting to hear from
themselves elders so those teachings can be
passed on to future generations;
with their dual and so on. “I found answers to
identity. my own questions and doubt
through others,” confesses Dang.
The artist also discovered a
sense of community, which he
© NAM PHI DANG
© NAM PHI DANG
now understands as “a group

of people, a safe place to speak
about feelings and experiences
without fear of being questioned
be. I was surrounded by the same felt a similar bewilderment or being made fun of, and
lifestyle and society I had always and how they reconciled knowing that everyone in
been living in—just somewhere themselves with their dual it shares those feelings and
else,” he reflects. identity. Dang put out a call on experiences. Now, at least, I
Facebook and through friends know that I’m not the only one
Back home in Canada, he for other second-generation that feels confused, and that it’s
wondered whether others Vietnamese-Canadians. Many okay to feel this way.”
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VISION BEHIND THE IMAGE
GERALD LIVIN
I passed through this spot without seeing anything of photographic interest
since the harsh light had reduced the concrete to a flat, shapeless mass. Yet a
glance back revealed shadows so imposing they completely transformed the
setting. The shapes, lines and subject matter were now visible. Click.

Originally from Belgium, Gerald Livin is based in Montreal. A s elf-taught
photographer, he began his career in fashion photography and has
created visuals for fashion and advertising campaigns in Europe and
internationally. He immigrated to Montreal in 2013 and continues to pursue
his photography on the two continents. In 2012, Livin decided to focus
solely on his personal artistic work. geraldlivin.com
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Vistek_PhotoLife_DecJan_2018_third.indd 1 2017-10-23 3:18 PM

VISION WISDOM, WIT AND OTHER TIDBITS
EXCERPTS FROM OUR INTERVIEW WITH FIRST CAMERA?
FRED HERZOG
My first camera was a Kodak
Retina 1, which I knew about from
my dad who worked at Kodak
during the war. I had to collect the
money for it, and that was not easy.
If I’d had more money, I would
Fred Herzog has spent over 50 years documenting the have bought a Retina 2 because it
people and places of his adopted home city of Vancouver. had a rangefinder, but the Retina 1
did not. I used it to take pictures
Originally from Germany, Herzog immigrated to Canada in like CPR Pier and Marine Building,
1952 and settled in Vancouver the following year. He spent which was taken from a moving
E
ship on which I worked.
most of his career working as a medical photographer, but
in his free time he has faithfully and consistently documented WHAT DID YOU WANT
TO BE WHEN YOU
the downtown neighbourhoods of Vancouver. Herzog was GREW UP?
one of the first pioneers of colour photography: he started I had no plans. My dad would
have wanted me to be an
using Kodachrome colour slide film in 1953,1 at a time when engineer, but my parents both
colour photography was not taken seriously in the art world. died before I was old enough to
make decisions. My mother died
Despite the vast archive of slides he created over the years, when I was 10, and my father
Herzog’s work was relatively unknown until digital technology died when I was 13. So it all
turned out completely different.
made it possible to affordably scan and print slides. Over the
last decade or so, the artist has been receiving widespread WHY PHOTOGRAPHY
AS A CAREER?
recognition for his work, including being named as a finalist I bought my first camera in
for the 2012 Scotiabank Photography Award. Germany when I was 21 years
old because all my friends had
1
HERZOG, FRED. MODERN COLOR. (BERLIN: HATJE CANTZ, 2017), P. 19.
BLACK MAN PENDER, 1958, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017

BLACK MAN PENDER, 1958, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
Photo_life_18-01.indd 31
DECEMBER/JANUARY 2018 PHOTOLIFE.COM
HASTINGS AT COLUMBIA 2, 1958, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
31
2017-11-02 12:20 PM
32
Photo_life_18-01.indd 32
CROSSING POWELL 2, 1984, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
DECEMBER/JANUARY 2018 PHOTOLIFE.COM
2017-11-02 12:20 PM
c ameras, and I wanted one too. The FAVOURITE CAMERA-AND-
following year I moved to Canada LENS COMBINATION?
and made a friend in Toronto who For street photography I use
taught me medical photography, cameras that are small and
so I learned those skills and that pocketable, like a small Leica C,
began my career as a medical for instance.
photographer in Vancouver.
PHOTO TOOLS YOU COULD
MOST ADMIRED NOT DO WITHOUT?
PHOTOGRAPHER? I have 10 digital cameras, half
There are two—one is Walker of them are for photographing
Evans, the other is Robert Frank. nature and animals, and the
They are somewhat differentiated, others are for doing street
but those two are the ones I photography. The Leica C is very
considered important because of good for street photography. I
their style. Robert Frank did black have a through-the-lens Olympus
and white, and so did Walker camera and it’s high quality, but
Evans. I chose colour, for which it’s a bit of a dog to carry around.
there was no example at the time.
CURRENT FAVOURITE
The evolution
THE “PHOTO
THAT GOT AWAY”?
PHOTO (OF YOUR OWN)?
I think there are two favourites—
of the perfect
Oh, there were too many to recall! both are group pictures of
people. One is of a group of everyday bag.
FAVOURITE CITY young people in car in North
TO PHOTOGRAPH? Vancouver (North Vancouver
Oh, Vancouver. It is the place Youths, 1958). That was taken Tenba’s Messenger DNA was
where I live and where I first many years before I was known. meticulously designed to provide
started seeing odd things. The other one was taken at the year-round, all-weather, rugged
PNE [Pacific National Exhibition]
FAVOURITE MEAL? of gamblers. When you have a performance. At the same time,
My favourite meal is pizza from group of, say, six people or so thanks to its removable insert, the
that place on Commercial Drive— and they don’t notice you, that, Messenger bag converts from a
Marcello. for me, is an achievement.
stylish camera bag to a vacation,
gym or office bag. It’s a multi-
CARNIVAL, 1960, ARCHIVAL PIGMENT PRINT, COURTESY OF EQUINOX GALLERY, VANCOUVER, © FRED HERZOG, 2017
purpose bag with nearly infinite

uses. It’s also super convenient,
allowing you to access gear from
the top without opening the flap.
And for added security, the front
flap fasteners slide to open,
making it difficult for anyone other
than you to open the bag. The
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Tenba products are available at

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FRED HERZOG: MODERN COLOR

See page 21 for more information on Herzog’s most recent book,
Fred Herzog: Modern Color! www.gnigami.ca


VISION WITHOUT THE FRAME
WHAT’S A PHOTOGRAPH
WORTH?
There was a time when a photograph was worth not merely
BY DAVID duCHEMIN
because I hear it in the voices

of students who are quick to
a thousand words but also a lot of money. Cameras were dismiss themselves as “real”
large and expensive, and the training it took to learn to use them photographers because they don’t
do it for a living. The question
well, much less process those images, was significant. People “Are you a photographer?” is
hired photographers the same way I would hire an underwater often answered with some
version of “Not really, I’m just a
welder—as a decision based almost entirely on the fact that they hobbyist,” as if doing something
know what to do and I do not. for the sheer love of it is either
shameful or prevents you from
S
lowly artistic considerations easier to overcome, there is a creating something every bit as
crept in. And slowly the
It’s not a vast freedom in pursuing the good as what the photographer
mechanics and techniques of perfect artistic and creative aspects of the up the street makes because it
this craft became more and more craft—aspects that have always pays the bills. It’s hard not to
accessible: large-format cameras
comparison, been there but required much be discouraged on their behalf
gave way to medium-format, but let’s more time to achieve. Some will because it seems like a line
which, in turn, led to smaller see this as the dumbing down of got drawn in the sand at some
35-mm cameras and—fast forward
remember a craft; I see it as an opportunity point, a line that very clearly
only a couple of generations— that Olympic to finally transcend the craft and implied that money legitimizes
now everyone has a camera get more directly to making art. art, and nothing could be further
phone and is making thousands
athletes have That doesn’t mean craft isn’t from the truth. It’s not a perfect
of photographs a year. The value never been, important—of course it is. It comparison, but let’s remember
in what a photographer makes is means that craft is subservient that Olympic athletes have never
now rarely found only in the fact
by definition, to vision, interpretation, been, by definition, professional
that it’s hard to make. In fact, with professional storytelling, and, ultimately, the athletes. History is full of artists
billions of photographs being viewer experience. And that is of every stripe who would never,
made every year, most of them
athletes. exactly where the value will except perhaps in their own
capably exposed and reasonably be found—and is being found. minds, be called professionals—
in focus, it’s safe to say we’re well When photographers no longer not, that is, if the prerequisite is
past the point where the scarce sell (merely) their expertise but making money from their work
commodity, and therefore the also an experience, it will not within their lifetime.
valuable one, is either having be the most technically capable
access to complicated gear or in demand. It will be the one I believe these developments
being able to use it. Though most able to tell a compelling are beautiful because they bring
there will always be specialized story or create a unique visual great freedom. For photographers
areas where this is not the case, While there are still experience. And the amateur for keen to combine their craft
in the broadest of terms, we’re cases where specialty whom money is not the primary with commerce, it means the
at a place where the value of knowledge brings concern, if a concern at all, will opportunity to base their work
the photograph must be found value to what we find new ways of sharing that on a business model that values
elsewhere. do, like underwater experience with wider audiences vision, the willingness to express
photography, the that were once only accessible to an opinion, and the authenticity
There are two far-reaching and, value in our images professionals through traditional and courage to do things
I think, beautiful implications is increasingly found channels. consistent with their identity.
of this development, hard as it in their power to tell It allows them to be a brand,
will be—and is—for those who a story or create a This brings me to the second not a commodity—and that’s
cling to old-school thinking and visual experience, implication of these ideas, and powerful. For the amateur, these
business models that are taking blurring the lines that is the long-overdue blurring blurred lines mean opportunities
on water faster than they can be between amateur of lines between amateur and to share work in new ways and
bailed out. The first lies in the and professional professional. There’s an awkward to be valued and respected for
fact that with so many of the and creating great and deeply held belief that being the work created without being
technical obstacles to making opportunities (and a professional photographer is labelled based on how we earn
compelling images now much challenges) for both. a badge of honour. I know this our money.

NIKON D800, 15 MM, F/22, 1/500 S, ISO 800. © DAVID DUCHEMIN

VISION PROFILE
WELCOMING
UNCERTAINTY
A NON-PLANNER’S GUIDE TO PLANNING A PHOTO PROJECT
BY JODY MACDONALD
8 a.m., Andaman Islands, off the southern coast of India. Sweat,

dew, condensation dripping from every surface, the sun is relentless.
I thought a simple bathing suit would be more than enough, but it
looks like I’m going to need fins too. Now I’m waist deep with frequent
plunges to test my gear underwater. Will I be able to keep up with
him while he swims? Is the housing leaking? Who knew you could feel
the sand bed shake when an elephant steps into the surf?

PROFILE VISION
CANON EOS-1D X, 24 MM, F/6.3, 1/640 S, ISO 400. © JODY MACDONALD

VISION PROFILE
LEICA X-U, 23 MM, F/8, 1/500 S, ISO 100. © JODY MACDONALD
Y
et here he was, Rajan, her about the story. Next thing in control of our future and
plunging deeper into I knew, I was photographing outcomes. But does it really?
the sea until he was it for the BBC, and, to this day,
weightless—all 10 tons of him, it has been my most popular My experiences have taught me
floating. The last surviving story. While I did not plan this that plans rarely work because
salt-water-swimming elephant on project, I was ready to expect they greatly underestimate the
earth, and I was capturing him the unexpected. Living aboard a complexities of life and the role
in all his majesty…swimming. sailboat for a decade taught me that uncertainty and randomness
Head and trunk under water, that the best laid plans….often play. I believe that if we can
tremendous legs stroking. In the get shot to hell. Rajan taught me make time and mental space
image, which ended up launching that often when plans get shot for exploration and play while
my photography career, Rajan to hell, something incredible can allowing the future to unfold
truly appears to be smiling. I come out of it. As long as you are without attempting to control
did not plan for this. In fact I prepared to be unprepared. it, our approach to planning
didn’t plan any of it. I was sailing can be far more successful. Too
through the islands and had Not having a plan is hard. often, we waste energy and
known from doing some research Plans are everywhere. We are time harnessing and managing
that the swimming elephant I had Living aboard encouraged to make plans that unpredictability. Maybe
seen in a Hollywood movie was
supposed to be living on one
a sailboat for everything in an effort
to minimize uncertainty. Yet,
the solution is not to become
stricter with our plans, but rather
of the islands. I got the captain for a decade researchers say that embracing to let go of them as much as
to drop me off for a couple of
weeks to see what information I
taught me that uncertainty is essential to
creativity. So why do we
possible. While I’ve applied
this non-planning approach
could find. Less than a week later, the best laid vigorously cling to our comfort to all aspects of my life, I find
I had not only found Rajan but
had also met a producer for the
plans….often zones, our knowns, and our set
plans? Maybe because it makes
it particularly valuable when
I’m travelling and working on
BBC on the island and had told get shot to hell. us believe a good plan results photography projects. Here is

CANON EOS 5D MARK II, 155 MM, F/5.6, 1/1000 S, ISO 400. © JODY MACDONALD

VISION PROFILE
LEICA X-U, 23 MM, F/5.6, 1/500 S, ISO 100. © JODY MACDONALD
my non-planning approach to you will probably not take the track down local newspaper stories
planning a photography project. time to really get out there and for your destination areas will be
photograph as frequently as a huge help in getting a grasp of
CHOOSING YOUR PROJECT you need to. I often find my what is happening. You’re looking
I think many photographers projects by travelling and seeing to get different sides of the story
choose and plan projects because what is happening in the world and to create a mental image of
of a preconceived outcome of or by following stories that I’m what it will be like on the ground.
success, money or fame. The interested in and paying attention Try to find images that have been
problem with having plans and to how they make me feel when I taken where you are going. What
expectations is that they lure us think about them. Following your does the geography look like? Are
into living for a fairy-tale ending curiosity instead of choosing a some areas more visually appealing
rather than trying to enjoy the project for money, in my opinion, than others? If so, this can be a
present. Photography is about usually leads to better, more great starting point for your project.
capturing the NOW. Plans take us fulfilling work.
out of the moment and thrust us Not having a Use social media to your advantage.
DO THE RESEARCH
head first down the slippery slope
of seeing the world as we hope
plan is hard. The research is where “planning”
I will often contact someone who
has worked in the area on another
it will be, rather than the way it Plans are is actually necessary. You need project and ask if they used a fixer
is. Plans can hinder our ability
to cover a photography project
everywhere. to do some research and have a
thorough understanding of the
or if they know of someone I could
hire. Local contacts are key and
thoroughly and objectively. We are subject and areas you want to will get you into the thick of things
Whether you are a planner or

encouraged photograph in order to build a
foundation of knowledge, however
much faster than if you are on your
own. If, for some reason, I can’t find
not, it’s important to choose a to make plans accurate or inaccurate it may be. a fixer before I leave, I go anyway
project that you are passionate
about. Your excitement will be
for everything If you have chosen a project that
hasn’t been done much, then
and start asking people (often
expats) who live in the area and
the driving force through the in an effort finding information online can might be a good resource for what
adversity you will undoubtedly
experience. If you’re not
to minimize be challenging, but that is a good
thing. That means the content is
I want to photograph. This was the
case for my Bajau Sea Gypsy story.
passionate about your project, uncertainty. more “unique.” Using the Internet to I asked the local dive operators

PHOTO LIFE VISION
LEICA X-U, 23 MM, F/8, 1/500 S, ISO 100. © JODY MACDONALD
whom I could talk to locally. I met ositives far outweigh the

p I don’t particularly know where
a few people, and, in no time, I negatives. If you become friends I’m going. I put great value in the
ended up finding a great fixer who with your fears, they have very unpredictability of getting lost and
was a Bajau Sea Gypsy himself. little power. This frees my mind what I find in the unexpected
from thinking about them and places. I think one of the most
STEP INTO THE UNKNOWN allows me to move on to focus on valuable skills of a photographer
You need to take the leap, plain what’s in front of me. And, before on assignment is to have not only
and simple. This may be the most I know it, I’m doing it. Steve Jobs an improvisational flexibility toward
critical step in the “non-planning” said it beautifully, “Remembering the objective of the assignment but
process, not only for working on that you are going to die is the also a willingness to change the
a photography project but also best way I know to avoid the trap assignment itself, if need be. If we
for making a living out of doing of thinking you have something strictly adhere to a predetermined
something you’re passionate
about. As Hunter S. Thompson
to lose. You are already naked.
There is no reason not to follow
A plan, plan with a rigid focus on any one
goal, opportunities are likely to
says, “Buy the ticket, take the your heart.” especially a be smothered. Flexibility leads me
ride.” You need to buy the plane
ticket and go. Don’t wait for the THE IMPORTANCE
very focused down many unexpected roads, and
I relish the thought of maybe not
perfect opportunity. There will OF GETTING LOST one, narrows knowing where I am and where
never be one. Start taking action
with the resources you have
Plans often result in missed
opportunity. John C. Parkin
down the I am going to end up. Forcing
myself into the present keeps me
available. said, “A plan, especially a very possibilities curious and keeps my eyes fresh.
A helpful question I often ask

focused one, narrows down the
possibilities of the future to just
of the future to By not having a plan or a set of
expectations, I am more open
myself (which comes from the a couple of things; things that just a couple of to the flow and where the story
Stoic philosophy) is “What does
my worst-case scenario look
either go to plan, or they don’t.”
An essential part of non-planning
things; things might take me. Photographers
with a stricter plan might stop
like—how big would the loss for a photography project is that either go after they have successfully made
be if I failed?” The worst-case
scenarios never seem that bad
being open to opportunities
that present themselves—and
to plan, or they that one image they imagined and
potentially miss out on a greater
to me, and almost always the oftentimes that happens when don’t. story unfolding before them.

VISION PHOTO LIFE

PHOTO LIFE VISION

VISION PROFILE
TRUSTING YOUR GUT when to pursue opportunities to leave without hesitation and know
When you are wandering into get the photos or cover the story as that it’s okay to change paths and
unplanned locations, you need to best you can. While being aware explore alternative avenues. The
trust your gut. My experience has of what my gut is telling me, I’m same applies to situations where
taught me to listen to this voice very open to the opportunities that people simply do not want their
seriously. Your instincts can help present themselves to me. If I ever photograph taken or you are not
keep you safe and let you know feel like something isn’t right, I will welcome. Respect that and move
6 STEPS FOR EMBRACING NON-PLANNING

1. QUESTION YOUR THOUGHTS 4. SAY “YES!”
Take notice of negative self-talk. Don’t rationalize away your Try to be more spontaneous. The next time something comes
discomfort. When you’re trying to talk yourself out of why you up unexpectedly and you want to do it but haven’t had time to
shouldn’t do something, stop and ask why. It usually has to do think about all the reasons you shouldn’t do it, say yes and see
with fear, so ask yourself, “Why am I afraid of this, and why am I what happens.
avoiding it?” Then ask, “What is the worst thing that can happen?”
5. PUSH YOURSELF
2. SEEK SUPPORT Try to gravitate toward things that make you uncomfortable. When
Find a mentor or friend who encourages you to try new you become more comfortable with things that make you feel
things and pursue ideas. I think being around these people is uncomfortable, you will fear them less, gain more confidence in
important because they help you realize that it isn’t that big of yourself, and become more willing to embrace uncertainty. That
a deal to take chances and push yourself to live outside your will inevitably lead to you planning less.
comfort zone.
6. CONSIDER YOUR MOTIVATION
3. RECONSIDER Stop chasing plans. Try to notice when you’re planning
When you take a chance and something doesn’t go right, pause something way ahead of time and ask why you are doing it. Is
and ask yourself, “Is this that bad?” and “What am I learning it to make you feel more comfortable? Is it necessary? Then stop
from this situation?” Odds are you will stop seeing it as a and see what happens. I think you will be pleasantly surprised
negative experience and more of a positive one. by the outcome.

All New G3
A NOTE FOR THE TYPE As Harness System
I
f you’re a planner you might strongly disagree with this article, but I
recommend you try some of these non-planning tactics to see what
happens. I suspect whether it’s good or bad, it will end up being
one of the most memorable learning experiences of your life.
on. Opportunities to take great years, returning to them regularly.

photographs are around every Like any creative endeavour, at
corner. Recently when I was in some point you may need to say it’s
Mauritania, I was photographing finished, but my advice would be to
a small group of men for my do that when it feels right for you.
Leica assignment, and they started
behaving very oddly and the LESS IS MORE
energy in the room and comradery Over-planning often means
between us changed. My gut bringing too much gear, worrying
started telling me to leave. I gave an that you’ll miss the perfect shot
excuse and got out of there as fast because you didn’t bring the right
as I could. I will never regret that lens. Instead, try to get the photos
decision. Nothing is worth risking with the lens (or few lenses)
your personal safety, and there will you have with you. If you are
always be other ways to cover a carrying too much, you will miss
story or subject. I moved on and opportunities. Equipment will slow
found a group of kids playing in you down. If I had photographed
an old, abandoned house and took Rajan with more than one camera
one of my favourite photographs or had to change lenses, I would
from that trip. have missed a majority of the
photographs because he only
PATIENCE AND swam for 10 minutes. The other
PERSISTENCE thing I love about only carrying
Every good non-planning project one or two lenses with me is that
should have an open-ended time it forces me to think more about
frame, yet we don’t always have the photographs I want to take and
that luxury. But if you want to how I’m going to achieve them
photograph a project or story and with the limited lenses that I have.
do it well, you will need time and I believe this makes me a better,
patience. For the first few days of more thoughtful photographer.
any assignment, I simply observe
the people and places without my As a photographer, and in life, I
camera. I try to make connections still feel like I don’t know what
and take notes of the things I think I’m doing, but my experiences
are visually interesting because have taught me that uncertainty
soon enough I will become is the key. Uncertainty is
accustomed to my surroundings, where opportunities happen.
and my perceptions of what is new Non-planning keeps me challenged,
Our all new G3 Camera harness for
and interesting will shift. I call this curious, humble and fulfilled one or two cameras is more ergonomic
initial way of seeing a place having by what I achieve—and this far than ever. A comfortable and secure
“fresh eyes.” I take a ton of notes outweighs the higher risk of failure carrying system that keeps your
during this important, fleeting time that might come with such an
so I can refer to them as I become approach. All we can hope is that hands free, and equipment safe.
more acquainted with the area. we fail better than the time before
and that we don’t succumb to the Go everywhere.
Slowing down is essential to
documenting a story intimately
fear of the unknown. As author Neil
Gaiman said in a commencement
Be ready.
and accurately. You need to speech, “I hope that in this year to
try to immerse yourself in your come, you make mistakes. Because
surroundings and its people to a if you are making mistakes, then
point where they are comfortable you are making new things,
with you being there and behave trying new things, learning, living,
as they normally would. Be patient. pushing yourself, changing yourself,
The longer you can spend working changing your world. You’re doing
on a project, the better it will likely
be. Many photojournalists and
things you’ve never done before,
and more importantly, you’re
cottoncarrier.com
photographers work on projects for Doing Something.”

VISION SHOWTIME - DOMINANT COLOUR
WINNER Carl Gustaw, Mississauga, Ont.
Robert Mcgee, Goulais River, Ont. Richard Keshen, Toronto, Ont.

SHOWTIME - DOMINANT COLOUR VISION
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Ken Kolotyluk, Vancouver, B.C. Clifford Chan-Yan, Vancouver, B.C.
SHOWTIME
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Fences January 15, 2018 April/May 2018
Vacation March 15, 2018 June/July 2018
Pollution May 15, 2018 August/September 2018
Decisive Moments July 15, 2018 October/November 2018

5
TOOLBOX
WAYS TO
IMPROVE YOUR
COMPOSITION
IDEAS FOR GOING BEYOND APERTURE AND F-STOPS
BY DAVID duCHEMIN
In this craft that’s so heavy with

technology, it’s the skill least dependent
on technology that is most responsible
for creating more powerful photographs.
We’ve come to talk about photographs EVERYTHING IS A
in such craft-heavy terms that a “good COMPOSITIONAL
photograph” is often merely sharp and
well exposed, satisfying perhaps the DECISION
Think beyond the framing
mind of the craftsman but not the soul of
THE WAY we think matters and because we too often
the viewer. think of composition only in terms of where we put
T
he human experience of the photograph is so much things in the frame—and that’s a big part of it—we miss
more than the pursuit of perfection: Is it sharp? Is the bigger picture, which is this: every choice we make
it well exposed? Even these things, depending on is compositional. The choice of a wider aperture is
the intent of the photographers themselves, can get in compositional because it changes what shapes are in the
the way—what to one person is perfectly well exposed scene. Tighten the aperture, and background elements
is, to another, three stops underexposed. And for those become stronger shapes requiring different choices about
chasing the poetry of the photograph, it’s easy to lean in how to arrange them. Slow the shutter and elements
the direction of other crutches and say pithy things like blur, creating new choices about balance or tension.
“the light is everything” or “it’s all about the moment.” I’ve Underexpose relative to what the camera expects of you
probably said both. But the thing is, as important as light and shadows become graphic elements with greater visual
and moment are, it’s what we do with them and how we mass, which forces us to make decisions about where
put them into the photograph that gives them their best we put them. It’s all composition, and every decision to
expression and offers us something to respond to in the do one thing changes the visual design of the image.
final photograph. Accepting this is the first step. Too often we see our
decisions as merely technical—they are also aesthetic.
If I were to make my peace with platitudes, I’d be comfortable
with this one: composition is everything. The decisions of the
photographer about the elements in the scene ultimately make
a photograph what it is. Of course, this too is an oversimplifi-
cation, but it’s a good one, if only to make my point. For years
I’ve been saying the vision of the photographer is primary,
and it is. Sort of. But still, it’s also true that you can have all the
vision in the world and not have a way to express it, just as The choice to underexpose and use what seems like an
you can have the best light, the most extraordinary moment unnecessarily tight aperture came from my desire to make
and still make decisions that don’t give those things their best an image about shape and colour—not the details of the
expression in the image. So if composition is everything, how leopard, which would have forced me to wash out the
can we hone those skills? Here are five ways I think we can sky and make an image that was way too busy. The tight
learn and sharpen our compositional skills to make images aperture was needed to make the sun a tight, well-defined
that better express our vision or intent. ball. At f/8, it would have been fuzzy around the edges.

FUJI X-T1, 250 MM, F/22, 1/500 S, ISO 800. © DAVID DUCHEMIN
n
e
e
e
t
d
.

V
C
E
o
T
e
H
b
t
l
i
m
i
m
i
m
FUJI X-T2, 400 MM, F/5.6, 1/125 S, ISO 4000. © DAVID DUCHEMIN

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VISUAL MASS THINK FLAT

Consider each element Lines, shape, tone and colour
EVERY element in the scene exerts a certain amount of pull A photograph is a two-dimensional thing, but we think
on the eye and that determines how we read a photograph. and see in three dimensions. We also think in terms of
This should prompt us to ask questions like: Where does the subjects—trees, people, horses, etc.—but the camera
eye go first? What path does the eye take through the frame? doesn’t see that way. A photograph has no trees, people
How do these elements and my placement of them affect the or horses in it. There are only lines, shapes, tones and
balance and tension in the photograph? And are the answers colours, and those things represent trees and people
to these questions what I need them to be for this image to and horses. It is up to us to give those real-life things
look and feel the way I want, or for it to say the things I want their best expression in the flattened image. After all,
it to say? By making one element much larger in a frame, I we know it’s a horse, but do others? Of course they do!
might create a beautiful sense of balance, but I also might Not so fast. Any given photograph of a horse could be
imply something I don’t want to imply by giving that element made from countless different angles, against countless
more prominence. After all, if the balance is perfect but the possible backgrounds, at equally countless moments.
image isn’t about that large element in the foreground, why And all of those have the possibility of that horse looking
make it draw so much attention? very horse-like or like an indecipherable blob. I’ve
photographed zebras that don’t look at all like animals,
I liked this image (near much less like zebras, because the moment was all wrong,
left) a lot, but the bright and the resulting gesture was weak or made them look
triangle in the top left like one blobby zebra with two heads. It’s our job to give a
corner has enough subject its best two-dimensional expression.
visual mass to pull my
eye away from the heart
of the photograph. The Below is a rather extreme example—I don’t know any
visual mass in the final photographers who would make the small image their final
frame (far left) pulls my select—but we often settle for gestures that are less than
eye to the heart of the the best expression of our subjects. Waiting for a better
image and creates the moment always pays off. I continually ask myself, “Could
right balance. there be a stronger expression of this subject?”
FUJI X-T2, 800 MM, F/18, 1/2000 S, ISO 800. © DAVID DUCHEMIN

TOOLBOX
FUJI XT-2, 400 MM, F/5.6, 1/125 S, ISO 4000. © DAVID DUCHEMIN
SIMPLIFY STUDY PHOTOS

AND ISOLATE NOT CAMERAS
Make an impact Learn from the masters
ONE of the things I often say to my students is that I get I KNOW, you probably want me just to tell you to use the
what their image is about but that it has no impact. Per- rule of thirds, but that so-called rule has made more lazy
haps the choice of moment was weaker than it might have photographers than Auto-Everything Mode and Instagram fi lters
been or the way the light was used didn’t grab me the way together. Shortcuts aren’t making better photographers. The
it could. But more often it’s simply including too much one thing I believe will help you improve your photographs
in the frame. A photograph can only do so much. It can more than all the tips and tricks out there: study photographs.
only contain so much. With every element you include, Forget the camera manuals and camera-store catalogues.
you make demands on my attention. I assume you meant Some of us know the specs of the latest lenses better than we
to include it, so I read it looking for meaning. The more understand how to create contrast, balance and depth in an
elements you include, the more elements with any visual image. Buy a book of photographs by Elliott Erwitt, Vincent
mass at all, the less impact you give to the thing your Munier, Josef Koudelka or Annie Leibovitz and really study
photograph is about. That doesn’t mean you should crop the images. What makes them work? What decisions did the
everything else out. Sometimes your image is not only photographer make? How did the photographer use lines, light
about people but also about their context, so context must and moment? How did the artist achieve balance or tension?
be included. But if it doesn’t add to the story or the visual What contrasts are present in the scene?
design of the image, consider removing it.
There is so much more to composing an image than
Often it’s hard to know what to isolate, never mind how. In merely putting our subject on an imaginary grid of thirds.
the case above, the oxpecker bird framed between the horns But we can’t make stronger photographs without learning
of the Cape buffalo drew me in, so all my efforts went into the basics and understanding what makes a captivating
eliminating everything I could that was not that story. I got photograph and why. The fundamentals of visual design are
as far as eliminating the eyes of the Cape buffalo, but that our craft. Beginning to think about them; to ask questions
was one step too far. I lost something emotional in the story, about them; and to consider ideas like visual mass, the
so I included them. Eliminating everything that is not the isolation of elements, or a subject’s best expression is a
story (with a longer lens and wider aperture in this case) powerful step forward in making photographs that are
tightens compositions and creates greater impact. closer to looking and feeling the way we hope.

TOOLBOX
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TOOLBOX
IFEARLESS PROFOTO. THE A1. THE FUTURE.

BY PATRICK LA ROQUE
FUJIFILM X-PRO2, 56 MM, F/1.2, 1/450 S, ISO 200. © PATRICK LA ROQUE

FUJIFILM X-PRO2, 60 MM, F/11, 1/250 S, ISO 200. © PATRICK LA ROQUE

TOOLBOX
S
FRAME #1 “We have a surprise for you...” It’s early morning speedlights—and photographers
in Stockholm and we’ve assembled in the hotel lobby, over flocked. The A1 promises a
similar sea change at a more
a hundred photographers and journalists from all corners of intimate level: on-camera flash.
the globe. The hotel itself is a statement: brand-spanking new, But after using it for a couple of
weeks, the story I see is much
gorgeous...bikes and kayaks hanging from wooden ceilings, a broader. For one, the Profoto
William Blake book sitting on a shelf. Every detail designed, A1 is a full-fledged citizen in
the company’s ecosystem, able
chosen and deliberate. Guy Langevin and I have been here since to act as both commander or
yesterday and we’re still jet lagged, reeling from a 36-hour day. slave when paired with other
Air-powered strobes (Profoto’s
Little sleep but much excitement for what lies ahead. wireless protocol). But more
importantly, its entire design
PHOTO QUEST 2017 IS The crowd finally gets its first from top to bottom pushes the
ABOUT TO BEGIN. official look at the Profoto A1. envelope yet again.
We get on a boat, and the mystery
remains. No one knows where NEW HORIZONS For the past five years, simplicity
we’re headed or what’s about to be In 2014, the B1 profoundly has clearly been at the core
revealed. Eventually we dock at a changed the landscape for of Profoto’s vision—both
studio overlooking the harbour and Profoto (and the entire industry): from a user-experience and a
step into a makeshift presentation a powerful self-contained strobe, T-Minus. Founder user-interface standpoint. The D2
hall. There’s a countdown, a live it brought TTL and HSS into Conny Dufgran I reviewed last year brought the
stream...the lights dim and the big territories that had previously minutes before the B1’s streamlined interface into
screen explodes with images. been the sole domain of official launch. the studio. The A1 now brings
FUJIFILM X-PRO2, 60 MM, F/11, 1/250 S, ISO 200. © PATRICK LA ROQUE

TOOLBOX
this same order to the world of (Seriously, I have PDF manuals

light offers new possibilities. In
small flashes, and, at the risk of stored on my iPhone for every a nutshell, it’s not about guide
hyperbole, I feel this needs to be flash I own, even those I’ve had numbers. Where speedlights
said: I have never used a simpler, What all this for years.) are all about intensity, the A1
better-designed flash, period. is about light shaping. This is a
amounts to is But the A1’s design isn’t just very different core philosophy,
The menu system spans two a small strobe about interface: it’s about quality an approach that embraces
ridiculously simple screens...and of light and performance. image creation beyond technical
there’s nothing missing, nothing
that, for all its Marketing speak? Well, it specs. Is this the most powerful
hidden. The round head also innovations, certainly could be, but...no. That small flash available? No, it isn’t.
acts as a zoom ring—just like a round head—especially when Not in terms of raw power. But
lens. This feels so natural you
feels instantly paired with the included Dome it ups the game in ways that
immediately have to wonder obvious and Diffuser—creates the sort of light are likely to matter to a lot of
why it’s never been done before. falloff that is normally achieved photographers—battery life and
There’s a physical switch on the
familiar. A either through modifiers or a refresh rate, for instance.
side to toggle between TTL and strobe for much larger strobe. And because
Manual modes. There’s an LED of this falloff, it’s possible to For Lanny and Erika Mann of
modeling light that also zooms
which you feather the light, essentially Two Mann Studios—Canadian
and can be used as a light source. don’t need using the edges of the strobe the photographers we met during
What all this amounts to is a small same way we would a softbox. this trip that also tested the
strobe that, for all its innovations,
a cheat Don’t get me wrong: it’s still product—this meant shooting
feels instantly obvious and sheet—a first a small light source, this isn’t over 7000 images at a wedding
familiar. A strobe for which you going to replace an Octa, but party, on a single battery, without
don’t need a cheat sheet—a
as far as I’m up close—even used on-camera a misfire. That’s insane and
first as far as I’m concerned. concerned. (anathema to a lot of us)—this well beyond what the company
WEDDING PLANNER. FUJIFILM X100F, 23 MM, F/8, 1/1600 S, ISO 400. © PATRICK LA ROQUE

TOOLBOX
romises on paper. Combine

p But there’s a larger goal as well: Hedebark in the small, beautifully
this with TTL, HSS, remote many photographers attending designed company cafeteria (ahead
triggering...and this becomes a this event aren’t flash shooters, of the more formal interview we’ve
small powerhouse. and this is obviously deliberate. If scheduled). I have to stop for a
all goes well, the A1 will become moment—this is definitely not
I have to admit to having doubts a gateway drug into the mysteries the “elder statesman” business I
at first, but real world use of of light control. I see a lot of eyes had imagined.
this strobe is an eye-opener. opening as the hours pass...
And Photo Quest is all about personal epiphanies. We pick up our conversation in his
hands-on use... office a few hours later. At some
Guy is attending the workshops, point during the interview, the
FRAME #2 but I’ve decided to step back and topic turns to the new iPhone’s
All guests get an A1. It’s like remain in the shadows. I want to Portrait Lighting mode: “I think it’s
a party where it’s everyone’s capture the spirit of the day. It’s fantastic! This is the best thing to
birthday. I see a group of all so fascinating. ever happen to our market!”
photographers, minutes into Is this the
opening their packages, taking FRAME #3 SQUARE ONE.
high-speed, burst-mode selfies— On Day Two we hop on a bus,
most powerful THE UNKNOWN.
the strobe not skipping a beat. headed for Profoto HQ. It’s a small flash There’s a fury in Anders
Big smiles. There’s an entire day beautiful day—turns out the sun Hedebark’s eye but it isn’t
of themed workshops planned— does shine in Sweden after all.
available? malevolent: it’s the mark of a
the Outdoor Quest, the Character No, it isn’t. man possessed. Hedebark has
Quest, the Moment Quest—each After a presentation and question been with Profoto for over twenty
one meant to highlight what the period, Guy and I find ourselves
Not in terms years, and it’s obvious from his
product can achieve. casually chatting with CEO Anders of raw power. very first words that he cares
THE CEO ADDRESSING GUESTS. FUJIFILM X-PRO2, 35 MM, F/3.2, 1/125 S, ISO 640. © PATRICK LA ROQUE

TOOLBOX
impressive but also comforting: During the course of the A1’s

it means risk, innovation and design, a lot of different parts
craftsmanship can, in fact, pay off had to come into play, just as
when done right. with any product: the hardware
informs the software, one detail
We circle back to Apple’s recent may affect another, etc. It’s an
Portrait Lighting announcement, iterative process. Eventually you
something that could easily get to a point where it all comes
scare the bejeezus out of anyone together as intended. Except
making a living in photography, when it doesn’t. On a quick tour
let alone lighting gear. But he with the engineers, we learn how
remains undaunted: “People after years of work, a working
will end up demanding a better prototype had been produced
quality of light. They’ll be used to that was to be the Golden Master.
a new standard. But they’ll also It was done. Everything was
ask more of photographers. In the functional, all the elements were
end, they’ll want better images.” in place, and the machine was
“Would you eventually be open ready to roll. But the company
FUJIFILM X-PRO2, 35 MM, F/3.6, 1/125 S, ISO 500. © PATRICK LA ROQUE to virtualization?” I ask. He says, discovered a flaw. The light
“Why not? The great thing about falloff—the entire purpose of
deeply about the company, its A brief history of the change is that you don’t know the round-head design—wasn’t
mission and its people. A1 project. what’s ahead...it’s not about the right. Some of the edges were
size of a company, it’s about too jagged. So the company
“We fight a lot on details, but it’s being on your toes.” scrapped it. The engineers went
totally open. We fight about the back to square one and came up
purpose of our products. Who is There are two ways to confront with an entirely different head/
it for? You can’t do something for change: you either hide from it lens assembly...and this time
everyone because you then do or you embrace it. We all like they did get it right. But this
something for no one.” to think we’d do the latter, but added six months to product
it’s never that easy. It may mean development—an eternity in tech
In an industry that is increasingly destroying the house we’ve built time. Change is hard—but it’s
cutthroat, Profoto is growing. The so painstakingly, or shifting our usually worth it.
company grew 70% in China last outlook in ways we’d never
year, where its most aggressive thought possible. It may also mean “We need to step outside of our
competition originates. That’s going back to the drawing board... comfort zone.” Hedebark adds,
TECHNICAL INFORMATION
A1 FEATURES
• Round head with soft, smooth and natural light falloff.
• AirTTL and HSS for a beautiful professional image, fast.
• Smart magnetic click-on mount for A1 Light Shaping Tools.
• 5 dedicated A1 Light Shaping Tools available.
• LED modeling light integrated to the head.
• Air Remote built in.
• Rechargeable and exchangeable Li-Ion battery.
• 1.2 s recycling time.
• TTL/MAN switch.
• Built-in motor-zoom with hand control.
• Autofocus (AF) assist.
• Large Hi-Res display.
• Support for Canon, Nikon and later for Sony.
SPECIFICATION SUMMARY
Max energy: 76Ws
Energy range: 9 f-stops (2.0-10)
Energy range HSS: 9 f-stops (2.0-10)
Modeling light type: LED
Battery capacity: Up to 350 full power flashes/
Battery charging time: Up to 80 minutes
Weight: 560 g (1.2 lb.)

TOOLBOX
“You need to do that every day. If of the many individuals whose

you don’t, you basically die.” lifeblood flows through their
limbs. They rise, mature and,
GIANTS most likely, get set in their ways.
On several occasions since Eventually the world order
we returned, I’ve questioned seems perfectly balanced, and
my overall impression. Had I any change becomes an assault,
been sucked into some kind of something to fight against in
Jobsian Reality Distortion Field? an effort to maintain the status
Because, yes, objectivity does quo. Power as a monolith.
get harder once you’ve looked Profoto turns fifty in 2018, and,
people in the eye and felt the in all these years, its name has
passion behind their words. remained synonymous with very
We met engineers, managers high-end, sophisticated lighting
and marketing folks up and gear. For many of us, in fact, the
down the Profoto ladder. In brand itself is iconic. A portrait of
every single case, their love founder Conny Dufgran by Annie
of the work was palpable. I Leibovitz, hanging in an office
could’ve feigned detachment corridor, speaks volumes. There’s FUJIFILM X-PRO2, 35 MM, F/2, 1/210 S, ISO 200. © PATRICK LA ROQUE
with this article, but instead I a gravitas to this brand that we

chose to share my experience, traditionally associate with a Light modifiers istory. A giant. Instead, I
h
as genuinely as possible. And certain rigidity...conservatism become light fixtures discovered a band of pirates:
I can’t deny being impressed. even. Such is life, usually. in the company eyes wide open, ready to
Objectively impressed. cafeteria. take on whatever the future
I came to Sweden expecting to holds. A giant in name, but an
Corporations are just like us— gaze at a sprawling, immutable underdog at heart. Proud, excited
human, in the end. A collection monument to photographic and fearless.
ONA is a purveyor of fine

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TOOLBOX FAQ
FOOD
perfectly on the surface. A nice
dark coffee often has a layer of oil
on its surface, which doesn’t look
that appealing in photos. Replace
the coffee with a carbonated cola
PHOTOGRAPHY
(Coke, Pepsi, RC, etc.) that’s gone
flat or with slightly diluted soy
sauce. To recreate the bubbles
from being freshly brewed, you
BY JEAN-FRANÇOIS LANDRY can add a few soap bubbles
around the circumference with
When it comes to food, everything is a question of taste. But an eyedropper. The frothed milk
of cappuccinos can be recreated
when we talk about food photography, taste usually has nothing with foam soap dispensers.
to do with it. It’s all about appearance. Always? No. In recent years, And to keep soda fizzy, add
effervescent tablets (e.g.,
there’s been a growing trend toward realism—a sort of “organic” Alka-Seltzer). If you want a bottle
photography that presents the truth, the whole truth, and nothing of beer to look icy-cold, start by
spraying a thin layer of aerosol
but the truth. And that’s admirable. In publicity, though, the truth is deodorant, and then use a mix of
often pushed aside in favour of artifice. Photogenic subjects are Scotchgard and glycerin for the
beads of condensation.
preferred over delicious ones because, after all, no one has to
eat the food at the end of a photo shoot. This might traumatize the FRESHNESS
The freshly cut slice of cake from
purists, but, whatever, the truth had to come out someday… an hour ago is starting to get
dry under the lights? A shot of
hairspray should bring back the
LIQUIDS pancakes, you can spray them “freshly cut” look.
Did you know that most of time, with Scotchgard Fabric Protector
the maple syrup being poured before you drizzle the faux THE FRUIT OF
over waffles, pancakes, crepes syrup. Milk makes cereal soggy, YOUR LABOUR
and French toast is actually motor and even the 3.25-percent kind Fruit is difficult to work with—you
oil? Yep, Pennzoil 10W-30. The somehow seems too transparent have to keep it looking fresh.
colour is about the same, and, in photos, but don’t fret! You can Aerosol deodorant is great for
since it’s a little thicker, the oil replace the milk with white glue helping grapes or other fruit stay
stays in place better. To keep (Elmer’s seems to be the most shiny and attractive. Is the colour
the oil from soaking into the popular), and the flakes will stay of your strawberry a little uneven?
FUJIFILM X-T2, 32 MM, F/2.8, 1/20 S, ISO 200. © JEAN-FRANÇOIS LANDRY

Cook the surface with a

blowtorch for just two minutes
or less. Apply grill marks with
wooden skewers and shoe
polish (Kiwi, brown). Quickly
blanch the asparagus, wrap it in
prosciutto, and broil in the oven
for a couple of minutes at 500 °F.

TOOLBOX FAQ
FUJIFILM X-T2, 60 MM, F/22, 4 S, ISO 200. © JEAN-FRANÇOIS LANDRY

Use some lipstick to fix it; just
chose a tube that gives you the
colour you need! When it comes
to vegetables, they are rarely
cooked and are instead blanched
(briefly boiled then plunged
into ice water). This brings out
their colour. Add a thin coat of
hairspray to make them look
especially beautiful.
Do you see the
difference in these WATER EFFECTS
two images? For the Glycerin applied with a brush (flat,
one at the top of the Filbert, hake, contour, etc.) makes
page, I sprayed the seafood look like it was just fished
grapes with hairspray out of the ocean. When glycerin is
(L’Oréal Paris, Studio sprayed on fruit and vegetables, the
Line Design 24H droplets make them look freshly
Finishing Spray) to washed. And since glycerin doesn’t
bring out the shine evaporate quickly, the droplets
and saturation of will stay in place for a whole
the colours. photo shoot.

FAQ TOOLBOX
BUT NOW made of acrylic, a clear plastic

that won’t lose its shape or dilute
Eyeliner can also do the job. And
if you want your ground beef to
I KNOW the colour of a “drink” as they
melt. On eBay, you can buy 20 for
look nice and juicy, just spray it
with some WD-40.
IT’S ALL $10. To create the illusion of a
piping-hot baked potato taken BETTY CROCKER
FAKE! right out of the oven, soak several
cotton balls in water, microwave
Mashed potatoes are often used
for cannelloni filling, a slice of
Y es, I know. I told you. It’s like

in movies: none of it’s real,
but the important thing is that we
them a few seconds, and place
them right behind the potato.
It’ll look like steam is coming
pie, or a chicken thigh—just use
the pastry bag to inject it under
the skin. Adjust its placement to
choose to suspend our disbelief. from the potato. A soaked-and- your liking and then you’re done!
microwaved tampon will also
do the trick, as well as incense THE GOAL OF PERFECTION
HOT AND COLD that’s carefully fanned so that the I won’t tell you about hours spent
Ice cream, which tends to melt smoke is in the right area. selecting a hamburger bun with
under lights, is often replaced by If you want the perfect shape and colour,
instant mashed potatoes or cookie MEAT or about using tweezers to glue
dough, since they both have The meat in photographs is rarely
your ground sesame seeds in places with some
the same texture. A mixture of cooked. Sirloin steaks, T-bone beef to look missing. Fruit and vegetables are
shortening, powdered sugar and steaks, ribs and more are grilled best chosen with a discerning eye.
corn syrup can also be used as on the surface using a blowtorch,
nice and juicy, If you ever see someone spending
ice cream. Shaving cream usually and BBQ-style marks are made just spray it a morning choosing a tuber, a
replaces whipped cream because using wooden skewers coated bit of fresh ginger, a tomato or
with some
it’s more stable and easy to shape. with dark brown shoe polish. an artichoke, you’ll know that it’s
Ice cubes are rarely real; they’re (This works for vegetables too.) WD-40. probably a photographer!
Introducing the Nikon D850 DSLR.

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When Nikon introduced the D800 and D800E,
it set a new benchmark for DSLR image quality
and super high resolution photography that approached
medium format. Now, five years later, Nikon proudly introduces
the next evolution in high resolution DSLRs, a camera that
allows photographers to capture fast action in 45.7 megapixels
of brilliant resolution. With remarkable advancements across
the board—sensor design, autofocus, dynamic range,
sensitivity, Speedlight control, battery life, shutter and mirror
drive mechanisms, Silent Photography in Live-View mode,
focus shift capability and more—this is quite possibly the most
impressive, well-rounded DSLR yet.
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TOOLBOX
ES-2 FILM-DIGITIZING ADAPTER SET BY NIKON

Bringing the past to the present
The ES-2 adapter makes it possible to “digitalize” 35-mm film
negatives and slides using a D850 and a micro NIKKOR lens.
Why the D850 specifically? It has a menu option to automatically
inverse the colours before saving the JPEG on the memory
card, so no post-production software is needed! It’s a learning
curve of…zero! (Of course, it’s possible to use other Nikon
cameras, but for negatives, you’d have to inverse the
colours manually in post-processing software like
GIMP or Photoshop.) You just need to find a reliable,
neutral, uniform source of light for the ES-2. According
to Nikon, depending on the quality of the lens and the
resolution of the sensor (the D850’s sensor is 45.7 MP), it’s
possible to enlarge the file up to A1 format, or 594 x 841 mm
(23.4 x 33.1 in.). You can buy the adapter separately or invest
in the c omplete kit, which includes the FH-4 Strip Film Holder,
the FH-5 Slide Mount Holder and two adapter rings (52 and
62 mm), for about $200. nikon.ca
GADGET GUIDE WHAT YOU NEVER KNEW YOU NEEDED

BY JEAN-FRANÇOIS LANDRY
Is a gadget always useful? Definitely. But sometimes it’s useful for

something other than what it was designed to do. A gadget can provoke
envy (“Look what I bought!”), or it can demonstrate our social status (“Yes,
I bought myself that!”), trendiness (“It’s the latest version.”), or preference
for doing things differently (“To do that, I use this!”). Sometimes it brings
two people together (“Wait, you have one too?!”) or separates them
forever due to differing opinions (“That thing is completely useless!”). A
gadget can play a lot of roles in our life, including object of our affection!
MY PASSPORT WIRELESS PRO HARD DRIVE BY WESTERN DIGITAL

A traveller’s passport
Finally, there’s a wireless external hard drive (10 hours of battery life) with a large storage
capacity (up to 4 TB). You can empty your memory cards onto it, thanks to an internal
SD card reader (SD/SDHC/SDXC), and transmit them via its own built-in Wi-Fi network
(802.11ac) to a tablet, smartphone, smart TV or computer! It’s even possible to recharge
your electronic gadgets using the 3.0 USB port. (It has a 6400-mAh power bank!) All my
dreams have been fulfilled! You can access its interface through the My Cloud mobile app
on a smart device. It can be formatted for exFAT, NTFS, FAT32, and HFS+, according to
your needs. Small (only 126 x 126 x 24 mm, or 5 x 5 x 0.9 in.) and light (446 g, or 0.98 lb.),
it finally has everything you could hope for, including the price! It’ll cost you US$150 for
1 TB, US$171 for 2 TB, US$184 for 3 TB, or US$220 for 4 TB. wdc.com

CINEMORPH FILTERS BY VID-ATLANTIC
A matter of style
The cinematic aspect ratio is generally 2.39:1 (called “CinemaScope” or just
“Scope”). When shooting video on a digital camera—since the sensor is often
3:2 format (Sony A7, Canon EOS 5D Mark IV) or 4:3 format (Panasonic GH5)—
the image needs to be cropped on the top and
bottom to keep the cinematic ratio. This
results in a major loss of image quality,
though, since you are only using
a small portion of the sensor.
In order to optimally use
the sensor’s surface area,
the industry came up with
anamorphic lenses, which Shoot without
distort the image vertically
by stretching it toward the the Shake.
top and bottom. The image
The elegant and ergonomically
is later adjusted to its normal
size in post-production. These designed Zhiyun-Tech Crane,
anamorphic lenses add a particular which can rotate on any of the
charm to images: long, linear, hori- 3 axis a full 360 degrees, allows
zontal coloured reflections (called “lens you to shoot silky smooth scenes.
flare”—see J.J. Abrams’ Star Trek Into Darkness)
Compatible with most mirrorless
and vertical waterfall bokeh. It’s an effect that’s hard to create in post-production,
and it’s this project that Vid-Atlantic tackled. The CineMorph filter creates the cameras and some DSLRs (lens
anamorphic look (lens flare and bokeh) without distorting the image. For APS-C dependent), the Crane is ideal for
sensors, 45-mm-or-longer, fast (between f/.95 and f/2.8) fixed focal lenses are a variety of uses, including real-
recommended, while for full frame, 55-mm-or-longer lenses are suggested. estate videos, wedding videos,
Available in 58-mm format (with a 52-mm adapter ring) and 77-mm format (with
travel films, and more.
a 72-mm adapter ring), you can order them with glass (to have the full effect) or
with just the oval cover (for only the bokeh effect). For the glass version, you can
choose the colour of lens flare—Neutral, Cool Blue, Warm Red, Teal Turquoise or
Pink Fuchsia—with prices varying between US$69 and US$84. vid-atlantic.com
AIRPORT TAKEOFF V2.0 BY THINKTANK

A hybrid approach
It has everything you need in a camera bag: you can
carry two bodies, assorted lenses (including
a 400 mm f/8, mounted), accessories
and gadgets. There’s even a separate
compartment for a 15-inch laptop and Get the Smooth-Q
a 10-inch tablet. It has everything
you need in a rolling travel bag.
for your Smartphone!
Durable and water-repellent, it has This Smooth-Q stabilizer, true to
a rain cover, retractable handle,
its name, allows you to shoot
quiet wheels and lockable zippers.
And it also has everything you smooth professional-looking
need in a backpack. There are footage with your smartphone.
integrated backpack straps and Even includes face-tracking,
back-panel padding so you can panoramic, and time-lapse modes.
carry it comfortably on your back,
which is, unfortunately, usually hard to
find in a rolling bag! A reasonable size and
weight—35.5 x 53 x 22 cm (14 x 21 x 8 in.)
and 4.4 kg (9.7 lb.), the Airport TakeOff
V2.0 is a promising hybrid bag that’s sure
to deliver when it comes to toughness and The Visual Technology People
versatility, for US$370.
thinktankphoto.com
TORONTO • MISSISSAUGA • OTTAWA
CALGARY • EDMONTON • VISTEK.CA


I
THELIVING
Amsterdam. The architecture. The To the living room of my father or
history. The canals. my mother. Anywhere else, for one
TRACEY RAFFERTY HECTOR
ROOM
hour, doesn’t seem enough time,
but I’ve spent a lifetime knowing
and loving these two human
beings and an hour to photograph
them would be tremendously
The Socotra archipelago: a set meaningful. Having said this,
of isolated islands off the coast and not seeing teleportation
of Yemen with an incredible technology in the next couple
Take a seat and join the chit-chat! assortment of plant and animal years, it’s clear I need to book
life found nowhere else on some flights again.
Earth. An hour of shooting can DAVID DUCHEMIN
Lhasa, as I have always wanted to go a long way in such an alien
go there. environment...and teleportation
CHARLES BECKER makes it really easy to bring a lot
of gear!
MARIUS MASALAR
Antarctica!
KAREN CHAPPELL
Home. Cumberland Island.

JODY MANSBRIDGE STEVEN MELTZER I would have to go with Antarctica
as well. Such an expensive
undertaking, that will have to
remain in my dreams.
IF YOU COULD TELEPORT BARRY MOON
YOURSELF TO ANYWHERE IN After giving this some thought,
THE WORLD FOR ONE HOUR

I have chosen Berlin, and
specifically in 1948-49 during the
Berlin Blockade.
TO MAKE IMAGES, WHERE Why: Post-WWII Berlin must have

been a horrific and yet inspiring
WOULD YOU GO AND WHY? place to photograph. The Allied

bombings left the city largely in
ruins. No doubt we have all seen
the pictures. The Berlin Blockade
Byzantium (later called I would teleport myself to the was also a very important time
onstantinople, and now known
C ntarctic Peninsula. I’ve been to
A for Berlin as the Allied powers
as Istanbul), for its history as a the Antarctic several times, but flew 200 000 flights that year
place of cultural convergence and over the next few decades I think providing West Berliners with up
for its architecture! we’re going to see some dramatic to nearly 9000 tons of supplies
JEAN-FRANCOIS LANDRY increases in exploration, fishing each day.
and even resource extraction
on that continent. Plus, there’s Most importantly: My mother,
Kenilworth Castle, near Warwick, already so much there being Patrice E. O’Farrell (her maiden
England, to walk in the footsteps threatened by climate change. All name), was employed by the U.S.
of Frederick Scott Archer. The of this could benefit from being Army Corp of Engineers at the
desire would be to shake his hand talked about with photography. time and flew into Berlin during
and express a global thank you SAM EDMONDS the Blockade. I recall her stories
for providing us with the first of being there on the invitation of
practical means of photography in an American army colonel.
1851. Photography would remain
“wet” until the introduction of To have a picture of her
digital photography at least Scotland. alking through the rubble
w
125 years later. Archer—a JACKIE DAWN and reconstruction at this
photography pioneer. hugely important moment in
DALE WILSON the immediate post-war Europe
would be amazing. Thanks for the
Iceland, because it’s very cool! No impetus to this wonderful image I P
South Georgia/Antarctica. pun intended. now have in my head.
RHONI SPEED CHRIS GOLDSMITH GRÉGOIRE M. CREVIER
T
Photo_life_18-01.indd 66 2017-11-02 12:20 PM Vistek_Ph

IV the pro in you
Can a camera transform you into a more confident, more professional
shooter? Believe it. The faster, stronger, more powerful Canon EOS 5D
Mark IV is the one you’ve been waiting for. Even better, there’s one
waiting for you at Vistek.
PHOTO | VIDEO | DIGITAL | SALES | RENTALS | SERVICE The Visual Technology People
T ORON T O • M I SSI SSAUGA • O TTAWA • CA LG A RY • E D MON T ON V I STEK . C A
Vistek_PhotoLife_DecJan_2018_Full-Canon.indd
Photo_life_18-01.indd 67 1 2017-11-02
2017-10-23 12:20
3:17 PM
I AM SPREADING CREATIVITY
I AM THE NEW D5600. Creativity runs through every frame, every angle and every
detail in me. I make sharing happen automatically and effortlessly using Bluetooth® and
the Nikon SnapBridge app. The sharp, high-quality images transfer as you take them to your
compatible smart devices*. My optical viewfinder, vari-angle screen and AF with 39 focus
points encourage you to keep shooting and sharing. Play around with my enriching filters and
jaw-dropping time-lapse movies. The wide selection of NIKKOR lenses will help you elevate
your creations even further. I AM SPREADING CREATIVITY. nikon.ca
* This camera’s built-in Bluetooth® capability can only be used with compatible smart devices. The Nikon SnapBridge application
must be installed on the device before it can be used with this camera. For compatibility and to download the SnapBridge
application, please visit Google Play® and App Store. The BLUETOOTH® word mark and logos are registered trademarks owned
by Bluetooth SIG, Inc. and Google Play® is a trademark of Google Inc.

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PROFOTO.

AND THE SECRET TO MOUTH-WATERING FOOD PHOTOGRAPHY

Photo_life_18-01.indd 1 2017-11-02 12:19 PM

Photo_life_18-01.indd 2 2017-11-02 12:19 PM

A NON-PLANNER’S GUIDE TO 30 FRED HERZOG

WITHOUT THE FRAME

PLANNING A PHOTO PROJECT

DECEMBER/JANUARY 2018 PHOTOLIFE.COM 3

Photo_life_18-01.indd 3 2017-11-02 12:20 PM

CONTRIBUTORS Guy Langevin has worked in the

AND EDITORIAL STAFF magazine and photo ­industry for

4 DECEMBER/JANUARY 2018 PHOTOLIFE.COM

Photo_life_18-01.indd 4 2017-11-02 12:20 PM

Photo_life_18-01.indd 5 2017-11-02 12:20 PM

CA-Profoto-A1-Rooftop-DPS-419.1X276.225-V2.indd All Pages

Discover the world’s smallest studio light at profoto.com

PHOTO LIFE DECEMBER/JANUARY 2018

“Guy, you should talk about chaos in your next ADMINISTRATION

­editorial,” suggested Valérie as she took in the state of Valérie Racine........................vracine@photolife.com

Publications Mail - Agreement No.: 40010196 C

Photo_life_18-01.indd 8 2017-11-02 12:20 PM

Canon’s EOS M5 mirrorless camera puts DSLR technology like

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Photo_life_18-01.indd 10 2017-11-02 12:20 PM

Photo_life_18-01.indd 11 2017-11-02 12:20 PM

YOUNG CANADIAN RECOGNIZED IN

12 DECEMBER/JANUARY 2018 PHOTOLIFE.COM

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Olympus Visionary Peter Baumgarten has been a d ­ edicated ­Olympus

Peter Baumgarten, Photographer

Photo_life_18-01.indd 13 2017-11-02 12:20 PM

14 DECEMBER/JANUARY 2018 PHOTOLIFE.COM

Photo_life_18-01.indd 14 2017-11-02 12:20 PM

‘Best Photo Lab Worldwide’

Fill your walls with picture-perfect memories.

Photo_life_18-01.indd 15 2017-11-02 12:20 PM

NEW MICRO FOUR THIRD

ZEISS PHOTOGRAPHY AWARD

© KEVIN FAINGNAERT, BELGIUM, 1ST PLACE, ZEISS PHOTOGRAPHY AWARD 2017.

16 DECEMBER/JANUARY 2018 PHOTOLIFE.COM

REMEMBERED FOR HER HARD DRIVE.

PRINT YOUR LEGACY.

Epson PrintLegacy Monica PhotoLife Ad.indd 1 2017-10-23 3:54 PM

FEAST FOR THE EYES

ICELAND WITH DAVE BROSHA,

the viewer, the viewer is able to take on the role of on

18 DECEMBER/JANUARY 2018 PHOTOLIFE.COM

Discover more at profoto.com

CA-FR-Profoto-A1-In-Hand-A4-V2.indd 1 19/10/2017 16:10

SUBSCRIPTIONS RECEIVED BETWEEN OCTOBER 1, 2017, AND JANUARY 31, 2018

DECK THE FRED HERZOG

­colour and black-and-white

DECEMBER/JANUARY 2018 PHOTOLIFE.COM 21

-28 3:52 PM Photo_life_18-01.indd 21 2017-11-02 12:20 PM

MISADVENTURES those 90 seconds. I had brought in

I put my camera up to my eye, I

feeling that something’s wrong.

22 DECEMBER/JANUARY 2018 PHOTOLIFE.COM

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Reflectors, Softboxes, Grids, and Gels

DECEMBER/JANUARY 2018 PHOTOLIFE.COM 23

Photo_life_18-01.indd 23 2017-11-02 12:20 PM

THE PHOTO LIFE

AND EDITORIAL STAFF magazine and photo industry for

editorial,” suggested Valérie as she took in the state of Valérie Racine........................vracine@photolife.com

Olympus Visionary Peter Baumgarten has been a d edicated Olympus

colour and black-and-white

own upbringing: to acknowledge

a nswered. Dang’s portraits of

now understands as “a group

because I hear it in the voices

whom I could talk to locally. I met ositives far outweigh the