YOUR SOURCE FOR CANADIAN PHOTOGRAPHY

VOLUME 26, NO. 3 / AUTUMN 2017 / $6.98

PORTFOLIO: MICHELLE VALBERG

Canadian Women How to
Photographers Create Award-
Dr. Roberta Bondar • Sophie Thibault • Lizzy Gadd Winning Images
CHRISTIAN AUTOTTE
Photo by Michelle Valberg

Fun in the Sun with

Laowa Lenses
TONY BECK
When to Photograph Wildlife
COMPLIMENTARY ISSUE • FREE COPY and more!
 Autumn 2017 3

Focal Point
BY NORM ROSEN, EDITOR | [email protected]

Autumn Adventures
As we glide into autumn, photog- This issue of PHOTO News is dedicated to the cre-
raphers across the nation will once ative skills of some of Canada’s foremost women photog-
again enjoy the opportunity to capture raphers. We are delighted to bring you a special portfolio
the spectacular displays of fall foliage section featuring the work and thoughts of Dr. Roberta
that are the distinctive characteristic of Bondar, Sophie Thibault, and Lizzy Gadd–three ladies who
Join the Canada’s signature season. represent the finest minds and most creative perspectives
conversation! We asked our creative team to pro- of their generations.
vide some tips that will help you create This special tribute to Canadian women photographers
some of the best photos ever–and they coincides with Canadian Breast Cancer Awareness Month–
facebook.com/
PhotoNewsCanada responded with a range of techniques please take a moment to think of all of the mothers, daugh-
to expand your skills and inspire you to ters, sisters and friends who have battled this challenge, and
explore new ways to view the world. join us in making a donation to the Canadian Breast Cancer
twitter.com/ Michel Roy covered the classic Foundation through the website at www.cbcf.org to sup-
PHOTONewscanada fall foliage techniques, with a few in- port research that will someday conquer this terrible disease.
genious additions to the “standard” If this is your first encounter with PHOTO News maga-
autumn images. Tony Beck shared zine, we thank you for sharing your leisure time with us.
his insights on when to photograph Please take a few minutes to visit the www.photonews.ca
wildlife, Will Prentice focused on website, where we offer a FREE subscription to PHOTO News
Tune in to our
YouTube Channel: shooting with flash modifiers and Mi- to any Canadian photo enthusiast, and provide easy access
PHOTO News chelle Valberg offered suggestions on to our digital edition archives. For a multi-media experience
Canada TV how to shoot award-winning images. from the PHOTO News team, take a look at our YouTube
With the days getting shorter, Daniel channel, PHOTO News Canada TV, where Will Prentice and
Dupont described the techniques for the TV crew explore a wide range of photo techniques.
Visit the website at
night photography. To round out the PHOTO News is dedicated to the passion for photog-
www.PHOTO News.ca
issue, Kristian Bogner offered some raphy. We encourage readers to share their favourite photos
Join the flickr® group at
tips for achieving razor-sharp images, and participate in our Reader’s Challenge and Reader’s Gal-
www.flickr.com/groups/
PHOTONewsgallery/ and Christian Autotte explored new lery projects through our PHOTO News Canada flickr™
ways to see the world through some group, www.flickr.com/groups/photonewsgallery/.
Questions or
comments? Please send
amazing new lenses. All in all, a com- It’s a great way to expand your photographic vision and keep
me an e-mail at pendium of tips ideally suited for your up with the many events and programs happening in the
[email protected] autumn adventures. world of photography.

PHOTO News ADVERTISING Subscription rates:

Volume 26, Number 3 / Autumn 2017 [email protected] FREE for photographers in Canada – available at photo
© 2017 PHOTO News Magazine, Zak Media retail shops throughout Canada, and by mail – please
Cover photo by Michelle Valberg. see the subscription page at
Bear Cave Mountain. NIKON D810, 135 mm lens, Printed in Canada • ISSN 1185-3875
www.PHOTO News.ca for FREE subscription information.
f/5.6. 1/1000 second, ISO 400. Canada Post Publications Mail Agreement
No. 40040669 U.S. and international readers are invited to read the mag-
Publisher azine on-line at www.PHOTO News.ca where you may
Jacques Dumont [email protected] Undeliverables to:
enjoy FREE access to the digital edition archives.
Photo News Magazine
Editor 22 Telson Road, Markham, ON L3R 1E5
Norm Rosen [email protected]
PHOTO News is published four times per year (Spring,
Graphic Design Summer, Autumn, Winter) by Zak Media, and   
Jean-Denis Boillat [email protected] distributed to imaging and adventure enthusiasts
throughout Canada.
Photo Editor
André Dal Pont All rights reserved. Reproduction of any material Published by
appearing­in this magazine in any form is forbidden
Contributing writers/photographers Zak Media
without prior consent of the publisher.
Dr. Wayne Lynch, Kristian Bogner, Michelle Valberg, 189 Alfred-Desrochers
Michel Roy, Michael DeFreitas, Tony Beck, SUBSCRIPTIONS – Address change Saint-Augustin, QC, Canada G3A 2T1
Christian Autotte, Daniel Dupont, Will Prentice, Visit www.PHOTO News.ca or contact : Tel: 418 871 4294 • Fax: 418 871 4295
Roberta Bondar, Sophie Thibault, Lizzy Gadd. PHOTO News Magazine
22 Telson Road • Markham, ON L3R 1E5 www.zakmedia.ca
6 PHOTO News

Contents

25
PORTFOLIO:
CANADIAN WOMEN PHOTOGRAPHERS
Dr. Roberta Bondar
Sophie Thibault
Lizzy Gadd
WAITING - (Serengeti park) Nikon D810 + Nikon 200-400mm f/4 260mm, 1/1250, f4, ISO 140.
Photo by Sophie Thibault

16 20 38
MICHEL ROY WAYNE LYNCH - DESTINATIONS SHOOTING TIPS

The Magic of Autumn Images Los Glaciares: Autumn Splendour Michael DeFreitas – Amazon Adventure–
in the Andes Jungle Fever!

TECHNIQUE 
Daniel Dupont–Night Photography
42 CANADIAN ANGLES 
Michelle Valberg–
50 FLASH 101 
Will Prentice–Taking the Mystery
58
How to create award-winning photos Out of Speedlight Modifiers

PERSPECTIVES 
Kristian Bogner–
46 IN THE FIELD 
Tony Beck –
54 EQUIPMENT 
Christian Autotte–
62
Tips for razor-sharp focus When to photograph wildlife Fun in the Sun with Laowa Lenses
8 PHOTO News
New Products

Award Winning Products

Tamron Wins Two EISA Awards
The prestigious EISA Awards, presented annually by tion 2017-2018” for the 18-400mm F/3.5-6.3 Di II VC
the European Imaging and Sound Association, have HLD (Model B028).
been announced and Tamron has won “EISA DSLR
This marks the 19th year Tamron has won an EISA
Zoom Lens 2017-2018” for the SP 150-600mm F/5-6.3
Award, and the 12th consecutive year since 2006. Tam-
Di VC USD G2 (Model A022), and “EISA Photo Innova-
ron has won a total of 22 EISA Awards since 1992.

EISA DSLR Zoom Lens Award EISA Photo Innovation Award

2017-2018 2017-2018

In the award citation, the EISA Award Jury described the Tamron SP The second of Tamron’s awards, the “EISA PHOTO INNOVATION
150-600 lens as follows: "The second generation (hence ’G2’) of 2017-2018” was presented for the 18-400mm F/3.5-6.3 Di II VC
Tamron’s SP 150-600mm F/5-6.3 Di VC USD ultra-telephoto zoom HLD (Model B028). This lens is the world’s first ultra-telephoto all-in-
lens makes an attractive lens even better. The speed and accuracy one zoom lens for APS-C DSLR cameras to achieve a focal length
of the autofocus system have been improved, as has the effective- range of 18-400mm and a 22.2x zoom ratio
ness of the built-in VC (Vibration Compensation) system. A ’Flex This is the first time Tamron has won an EISA Award in the Photo
Zoom Lock’ mechanism keeps the lens barrel fixed at any chosen Innovation category.
focal length. The Fluorine Coating and Moisture-Resistant Construc-
tion make the lens less vulnerable to dirt, dust and moisture. The The EISA Jury described the lens as follows: "The Tamron 18-400mm
optional TAP-in Console allows the owner to easily update the firm- F/3.5-6.3 Di II VC HLD challenges our preconceptions about what we
ware as well as customize features including fine adjustments to can expect from a super zoom lens. In addition to offering the broadest
the autofocus and Vibration Compensation." zoom range of any interchangeable lens in the world, at 22.2x, it also in-
cludes an effective image stabilization system to improve sharpness at
Tamron Model A022 also received the 2017 TIPA Award for BEST lower shutter speeds, and weather resistant seals to allow users to keep
DSLR Telephoto Zoom Lens.
shooting even in adverse weather conditions. Although especially suited
to travel, safari and sports photographers, the Tamron 18-400mm
F/3.5-6.3 Di II VC HLD will also appeal to any photographer looking for a
single lens solution to cover all their shooting needs."

Vanguard Announces VEO 2 Tripod Series

The original VEO Tripod series received rave reviews worldwide, and Features of the VEO 2 series tripods include:
now Vanguard is innovating and refining the product line. The VEO 2 • Minimum size, super light, industry leading performance.
series tripods, available in eight models and sizes, including 5 alu- • Innovative and unique rapid column rotation for compact size and
minium leg sizes and 3 carbon fibre leg models are compact, stylish instant set up.
• Intuitive quarter-turn Advanced Twist locking mechanisms.
and feature packed, making them your “best passport” for travel
• 3 leg angles (20°, 45°, 80°) and low-angle adaptor (included) for
photography.
creative shots.
• Your choice of ballhead with or without friction control or 2-way
panhead.
• All-weather tripod bag with shoulder strap is included with each
tripod.
• Arca-swiss type Quick Shoe (VEO 2 QS 60S) fitted with D-ring
screw.
• All-weather soft TPU handle on one leg to provide unbeatable grip.
• Magnesium Canopy, Rapid Column Rotation for compact size and
For more information please visit www.vanguardworld.ca instant set up.
 Autumn 2017 9

Metz mecastudio Studio Lights

Whether it’s portraits, product photos or artistic still life
images, it is the light that makes the photograph. Metz
TL Studio Lights are the perfect solution for professional
results in studio. Metz BL Studio Lights are ideal for the
enthusiast photographer and those on a budget.
Available in 300ws and 600ws versions, Metz TL lights
feature metal housings for durability, fan-cooling for over-
heating protection and an easy-to-read intuitive touch-
screen for controls. BL lights (available in 200ws and
400ws) are compact and easy-to-use, featuring 6 buttons
and a large LED display on the back.
Metz mecastudio lights are available in complete kits, in-
cluding carry case, light stands and light modifiers. There
is a comprehensive range of softboxes, umbrellas and re-
flectors to shape your light. All mecastudio lights feature
a standard Bowens S-mount, so they will work perfectly
with any existing Bowens light modifiers.
For more information please visit www.metzflash.ca

Shopping for protection

for your camera gear?
We provide fast
online insurance
for photographers.

/2
Free quotes in 60 seconds.

ow 1
Find out more now.

Front r
For a limited time get $50
off when you use code:
photo$50 off

ad
hps://photographer.frontrowinsurance.com
10 PHOTO News
Editor’s Choice

NEW! Tamron 24-70mm F/2.8 G2 Zoom

Tamron’s world famous SP 24-70mm F/2.8 lens, winner of the 2012-2013
EISA Award, among many accolades, has been updated to produce even
more impressive performance.
The "next generation" SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for
full-frame DSLR cameras delivers ultra-high image quality and superb per-
formance even in backlit scenes. The lens features new Dual MPU (Micro
Processing Units) to provide rapid autofocus with improved accuracy and
the highest vibration compensation performance of any lens in its class
(CIPA level of 5 stops).
Optical construction (17 elements in 12 groups) uses 2 XR elements, 3 LD
elements, 3 GM (Glass-Molded aspherical) and one hybrid aspherical lens
element. Specialized, high quality glass materials assure superior colour
reproduction and greater sharpness. Tamron’s exclusive nanotechnology-
based eBAND Coating substantially curbs the ghosting and flare that are
prone to occur in backlit photography.
The 24-70mm G2 lens is now available for Canon and Nikon mount cameras.
For more information please visit www.tamron.ca
“Photography is to seize and interpret every special
moment and emotion, light creates the atmosphere.
My style is rich with changes and texture, so it’s critical
that my prints also convey my style and expression.
ILFORD Galerie papers deliver on this promise and
more.”

MAGGIE SUNG
ILFORD Master
IL

STEP UP
FROM THE
ORDINARY.
PANA SONIC LUMIX GH5

Step into the Future

of Photography
Always looking to the future, in 2014 Panasonic introduced the DMC-GH4, which realized 4K 30p
video recording for the first time in the industry. At the same time, Panasonic proposed a new
and unique method of photography called ’4K PHOTO’ which allowed users to capture fleeting
photographic moments that even the eyes could not catch, by using super-fast 4K resolution
video frames at 30 fps that could be saved as high-quality 8 MP photos right in camera.

But the story doesn’t stop there. Panasonic

has always been driven to innovate and to
“Create a New Photo Culture in the Digital
Era.” The Lumix GH5 is the embodiment of
that slogan. Allowing users to shoot at 60
fps continuously was unheard of, until now.
No longer do you need to be worried about
missing a crucial moment. You now have
several options to harness the power of 4K to
capture stills – 18MP at 30fps continuous, or
8MP at a whopping 60 fps. With blazing fast
speed and responsiveness–the GH5 is not just
a new camera, it is a new way of shooting.
The GH5 is not only quick but intuitive too. A
new motion algorithm has been incorporated
Photographers will love the high speed burst rate of 12 fps, even in full manual
to ensure moving subjects are tracked
mode. And with a RAW buffer of 100 shots, you can shoot to your heart’s
smoothly. While 225 AF points enable the
content without slowing down. Dual SD card slots allow you to load up on
user to achieve pinpoint focus. A joystick has
memory to keep the images flowing.
been added to the back of the camera for quick
focus changes while using the viewfinder. The Lumix GH5 is the future of photography.
14 PHOTO News

Congratulations to the winners of the PHOTO News “Colour!” Challenge, and to all
of the readers who participated in the contest thread at our flickr® group at www.
flickr.com/groups/PHOTONewsgallery/ .
Our winning photographer will receive a special prize – a Lumix DMC ZS100S from
Panasonic Canada, our PHOTO News Challenge sponsor for 2017.
You could be the winner of the next PHOTO News Challenge and have your photo
published in the Winter issue – for more information please see page 66.

Winner

House of Colours
Buddy Miles from Hamilton,
Ontario used a Nikon D90
and kit lens at 22mm, f/8,
1/250 second, ISO 200
to photograph this house.
"When you go exploring in the
Niagara region you often find
all the colour you can handle."

Wood Duck
Eduardo Baena of Surrey, BC, captured this image
of a wood duck with a Nikon D7000 and a Nikon
70-300mm lens, shooting at 300 mm, 1/320
second, f/6.3, ISO 200. "Wood ducks are usually shy,
making them somewhat difficult to photograph. I felt
very lucky when this one perched on a fence for a
few seconds, allowing me to take a couple of shots
before it flew away."
 Autumn 2017 15

Kaiwo Maru at Twilight

Harris Hui of Richmond BC took this shot with a
Nikon D300 and 17mm lens, shooting at f/13,
1.3 seconds, ISO 500. "I set up my tripod and
composed this photo of the tall ship Kaiwo Maru,
which was visiting Steveston for the Ship to Shore
King of the Sea Festival. I like the way the ship's
lights and the reflection work in the evening light."

Poppy
Andre Lagace of Ottawa, Ontario, took this
photo with a Canon T3i and EF-S 18-55mm lens
at 55mm, f/16, 3.2 seconds, ISO 100. "I spotted
this poppy soon after it lost its petals. A south
facing window on an overcast day provided the
soft light that revealed the beauty normally
hidden in the centre of the flower."

Colours of Lunenburg
Denis Bresolin of Thunder Bay, Ontario,
captured this image with his Canon EOS
5D Mark III and Tamron SP 90mm f/2.8,
shooting at 1/60 second, f/11, ISO 200. "I
arose early to shoot in the morning light in
Lunenburg, Nova Scotia, so I could capture
the sunrise reflecting off the buildings - this
really made the colours pop!"
16 PHOTO News

Special Feature
BY MICHEL ROY

The Magic of Autumn

Autumn images are always a challenge, but the magic of a spectacular fall foliage
photo is not the result of a technical trick or a function of a pro-level camera or lens…
successful autumn images are the reward you reap after careful planning.

Prime time for autumn photography

goes by super-fast. Depending on where
you live, the peak time for fall foliage
may only be 8-12 days, so be ready to
capture the beauty of colours before the
wind blows all the leaves from the trees
and you must hang up your camera and
grab a rake!
Obviously, the key to super shots
is to find a location where the land-
scape it is filled with leaves in full fall
colours. You can scout the prospective
areas in advance, then plan to return
to capture the best light. In most cases,
early morning light or the few minutes
before sunset will produce winning
images. If you shoot in daytime, use a
polarizer to get enriched blue sky and
eliminate unwanted reflections.

Autumn pictures often capture

magnificent colours, but a good
photographer will look for a great
composition, I waited 20 minutes
for a car to drive down this lonely
road - but it was worth the wait!
Canon EOS 5D Mark III,200 mm at
f/9, 1/160 second, ISO 200.

Bio
Michel Roy, from Quebec City, is the
owner of Digital Direct Photos and Videos,
specializing in a full range of photography
and video from corporate assignments to
weddings. For a visual adventure, visit the
website at www.digitaldirect.ca.
 Autumn 2017 17

I first shot this tree with a wide-angle lens, then I switched to a

zoom lens to achieve a compression effect. Canon EOS 5D Mark III,
70-200mm zoom at 70 mm, f/10, 1/125 second, ISO 100.

Autumn is, in my opinion, the best time to be creative. It is

the time to use all the magic you have at your fingertips – a
variety of lens focal lengths and apertures, the full range of
shutter speeds, the fleeting effects of light and shadows that
you can chase by changing your viewing direction. Don’t
be shy – try shooting silhouettes, reflections on water, water
drops, and mist. Look for the magic of textures, try a little
macro photography, and take portraits of your children pos-
ing in the piles of fallen leaves, just having fun. Don’t limit your
subject matter at this time of year – visit a zoo or a farm to take
animal pictures, photos of old barns, and other environmental
elements that lend themselves to autumn images with impact.
Always look for water to capture the magic of reflections–
this is good advice for all seasons but especially at this time of
year. If you want to capture amazing reflections from lakes or
rivers, do not use a circular polarizer because this will elim-
inate the reflections you are trying to capture.
There is no time like autumn to use your creative mind
to take amazing photographs. Invest in an ND filter to reduce
camera speed so you can slow down the shutter for images of
water flowing through an autumn landscape.
Autumn is the best time of the year to try new techniques–
even abstract images can be cool.
If you photograph your kids, animals, or any important
subject, you can open your lens to f/2.8 or use a zoom lens to
capture great bokeh with the magnificent autumn colours in
the background.
18 PHOTO News
Michel Roy | Special Feature

Water, leaves, rocks, and colours: I don’t

think you can make a better autumn
photo than when you use an ND filter to
take a long exposure on a tripod.
 Autumn 2017 19

This scene presented a nice HDR oppor-

tunity, but with the wind blowing the
leaves the frames would never be aligned.
So I used one RAW image and made a
pseudo HDR image with Photomatix.

HDR photography is a great technique for fall photos, but

keep in mind that different exposures may not align perfectly
in the postprocessing stage because the leaves move in the
wind. For HDR autumn photos I prefer to use a single RAW file
and work on it in Photoshop or Lightroom.
Often, the most amazing pictures you take will look even
better if you push the saturation and the vibrancy a bit in post
processing. Try it – you’ll like it!
The best tips I can offer for autumn magic are to plan
ahead, choose the ideal location, wait for the best photo
opportunity, and be there at sunrise or sunset. Bring a tri-
pod, a polarizer, ND filters, a range of lenses, and have lots of
fun! Try some crazy angles, be creative, and don’t miss the
chance to capture the magic of autumn!

Using a wide aperture

setting to blur the
background is a
wonderful idea.
Marc-Olivier and Rocky When shooting autumn scenery, try to integrate elements from differ-
never looked so good! ent distances, this will give your image a 3D effect.
20 PHOTO News

Photo Destination
BY WAYNE LYNCH

Los Glaciares:
Autumn Splendour
in the Andes
Autumn is that splendid season when the comforting
greens of summer are traded for a few delicious weeks
of fiery flamboyance. In temperate latitudes around the
world, forests react to the shortening hours of daylight
that foretell the coming of winter. Albert Camus, the
French philosopher, perhaps said it best: “autumn is a
second spring when every leaf is a flower.”

Bio
Wayne admits that the autumn forests of
Argentina were a delightful surprise but the
120-km winds from the Andes were his
greatest challenge. You can view more of
his work at www.waynelynch.ca Fitzroy Massif, Los Glaciares National Park, Argentina
 Autumn 2017 21

Here in Canada there are many locations where

autumn colour is on full display, amply compensat-
ing us for the long leafless months of winter that
follow.

Canadian Hotspots for Autumn Colour

• Gros Morne National Park, Newfoundland
• Cabot trail, Nova Scotia
• Bay of Fundy Coastline, New Brunswick
• Eastern Townships, Quebec
• Algonquin Provincial Park, Ontario
• Rocky Mountains, Alberta
• Tundra Barrenlands, NWT

Many photographers may not realize that a similar

autumn spectacle occurs in the forests of southern
Argentina and Chile, amidst the fierce winds that
drain the flanks of the lofty Andes. One destination
where you can experience this visual delight is in
Argentina’s Los Glaciares National Park, where the
slopes of the mountain park ignite in flaming dis-
plays of red, orange and yellow.
In North America, it is aspens, birches, maples
and others that add colour to the forests, but in
South America it is mainly the southern beeches, a
family of trees that are found only here and in Aus-
tralia and New Zealand. The southern beeches are
a 200-million-year-old reminder that at one time
South America, Australia and New Zealand were
connected; part of Gondwana, the ancient super-
continent that eventually split apart.
22 PHOTO News
Wayne Lynch | Photo Destination
I went to Argentina in April, when autumn colour in the ful on cloudy rainy days because they
Southern Hemisphere was likely to be at its peak. Autumn can dramatically reduce the reflections
colour is at its best everywhere when the days are dry, warm from wet vegetation, rain-soaked rocks,
and sunny and the nights are crisp and cool. Early frost can and the surface of streams and lakes.
prematurely kill the leaves before they reach their peak of By reducing the glare from the water,
colour, and strong winds can strip a tree depriving us of the it makes the subject appear clearer and
full autumn potential. Naturally, after travelling 12,000 kilo- the colours more saturated.
metres and enduring more than 18 hours cramped in air-
planes, I worried about these weather conditions, but I had #3 Concentrate on Composition -
absolutely no control over any of it. Fortunately, lady luck Not Just Colour
chose to smile on me and the southern beeches did not dis- There is no question that capturing
appoint. vibrant colour is the primary motiv-
In the mid-1800s, the American romantic poet William ator for many of us in autumn land-
Cullen Bryant wrote: “Autumn, the year’s last loveliest smile.” scape photography, but beware - a
Here are six photo tips to help you get the best that a smiling photograph that has only colour but
autumn has to offer: lacks foreground interest or a strong
composition will fail no matter how
#1 Hope for Cloudy Days brilliant the colours are. This ten-
There is nothing more cleansing to the human spirit than dency is hard to overcome since the
walking through an autumn forest ablaze with colour on a colours of autumn are so emotional-
sunny, blue-sky day. The photographs taken on such outings, ly stimulating. One would think that
however, can sometimes be disappointing because of glare colour alone should be able to carry a
and harsh shadows. Colours are actually richer on overcast photograph, but it rarely can. I am no
days. If the sky is clear, try photographing with backlight, and different than others, and I often get
focus your efforts during early morning and late afternoon seduced into taking a photograph just
when the light is softer and warmer. because of the intense colour. Later,
One of the downsides of a cloudy day can be a white, un- when I review the images, I can see
interesting sky which is distracting in a photograph. My rule how empty it is if I have not given any
of thumb is “sky bright, shoot tight”, and keep the sky as a nar- consideration to the composition. To
row sliver. avoid making this mistake, before you
take the picture imagine the scene as
#2 A Polarizer Adds Pizazz a black and white photograph. Will it
Most of us have used a polarizing filter at one time or another still have strength if the colour is re-
to darken a blue sky and reduce haze. They are equally help- moved? If it doesn’t, work harder to
improve the composition.
Magellanic Woodpecker (Male)
#4 The Wonder of Water
Adding water to an autumn land-
scape can enhance the scene tremen-
dously. Reflections along a lakeshore
are a good example, especially early
in the morning when there is often
less wind. Flowing rivers and water-
falls can also add great interest to
an autumn scene. By using an ex-
tremely slow shutter speed, with the
camera on a tripod, flowing water
is transformed into liquid glass and
creates a strong sense of motion. To
produce this effect, try using shutter
speeds ranging from a few seconds
to several minutes.
With many of today’s digital cam-
eras it may be a challenge to use a
slow enough shutter speed to gener-
ate the effect even when you use the
camera’s lowest ISO setting and stop
down your lens to its smallest aper-
ture. That’s when you need the help of
a neutral density filter that reduces the
amount of light entering the camera
by two, three, four or more stops.
 Autumn 2017 23

#5 Take Along a Tripod

No one likes to tote around a heavy tri-
pod, but besides helping to create sharp
photographs under low light conditions,
it can be critical in carefully evaluating
a composition. In autumn landscape
photography the subject is not likely
to quickly disappear, so there is time
for careful analysis. With your camera
securely anchored to a sturdy tripod it
is easier to make subtle shifts up and
down, left and right, to strengthen a
composition. As well, you can method-
ically search in the viewfinder for such
common photo flaws as clipped edges,
distracting highlights, and merges
where the subject blends with uninten-
tional elements in the background.

#6 Creative Close-ups
In your autumn photography, resist lim-
iting yourself to grand sweeping land-
scapes; there is plenty of opportunity for
macro photography as well. In fact, some-
times a creative close-up can be more ef-
fective in capturing the feeling of autumn. Andean Condor

Chorrillo del Salto, Los Glaciares National Park

24 ADVERTORIAL

BY RICK HUNTER

Travelling Light!
MY OLYMPUS STORY
I have been a photo enthusiast all my life, covered the perfect combination of quality,
starting out as a child with a Kodak Brownie portability, and versatility. I sold all of my bulky
Starflash, and moving up to a rangefinder DSLR gear and switched to Olympus, and
and an SLR in my teens and college years. this has rekindled my love for photography!
I learned the basic techniques, developed With the OM-D system I travel light, and I had to move quickly to capture this bear fishing in
the river. Wearing hip waders to let me get closer
my own film, and printed my work in my I don’t have to wrestle with the bulky gear to my subject, I used my OM-D E-M1 with zoom
darkroom–I photographed everything in that weighs down so many pros and photo at 170mm, and shot at f/7.1, 1/1250 second, ISO
sight, and loved every image. enthusiasts. I can easily hand-hold the 800. My second OM-D E-M1 was slung at my side,
ready for a wide-angle shot – but the bear didn’t
camera with a long telephoto lens, and the hang around for a second take!
After completing a Ph.D. in chemistry, a friend
electronic viewfinder is a pleasure to use,
and I started a company building analytical The Olympus Micro-Four-Thirds gear is
especially in difficult lighting conditions,
instruments. We did well enough for me to light and compact, and with greater than
retire early, and I was happy to once again 5-stops of image stabilization I no longer
devote all of my attention to photography. have to carry or use a tripod, even when I
Like so many avid photographers, I bought shoot at slow shutter speeds.
a full-frame DSLR system. My travelling kit My kit, with two or three OM-D E-M1 Mark II
included several pro camera bodies, lenses bodies and all of these lenses weighs about
from ultra-wide to super telephoto, and all the same as a full-frame DSLR with a long tel-
the accessories that would fit in several bags. ephoto lens and tripod with a gimbal head. My
This was the equipment I thought I needed to Olympus kit gives me a 35mm full-frame field-
capture the best in nature and wildlife images. of-view equivalence of 24mm wide-angle
A few years ago, I realized that my DSLR to 840mm super-telephoto with outstand-
system was weighing me down. I was car- ing resolution and sharpness, and that’s why I
rying more than 50 pounds of gear–and switched to Olympus, and I’ll never look back!
more bulk than I could fit into the overhead Hear more from other photographers who
Snow monkey (Macaca fuscata) near Nagano,
storage bins on most aircraft. Japan, OM-D E-M1, M.Zuiko ED 40-150mm F2.8 have made the switch to the Olympus
It was time to find a better way to enjoy my PRO + MC-14 teleconverter OM-D system at
life as a globetrotting photographer. getolympus.com/neverlookback
when I can glance at the real-time histo-
I researched many alternatives and con- gram and adjust exposure without taking
sulted with several pros who had explored my eye off the subject. The system build
the new wave of smaller, lighter, camera quality is outstanding. The M.Zuiko lenses
systems. I checked out the Olympus OM-D are fast and sharp, and the focus peaking
cameras because I had always heard that and manual focus clutches on the M.Zuiko
the M.Zuiko lenses were superb. It was a Pro lenses are ideal for fast critical focus-
revelation... I knew right away that I had dis- ing–just what you need for macro work and
Juvenile leopard (Panthera pardus), Chitabe,
scenes with complex components.
Botswana, OM-D E-M1, M.Zuiko ED 40-150mm I generally travel with two or three OM-D
F2.8 PRO + MC-14 teleconverter
E-M1 Mark II bodies and a range of PRO
lenses including the 7-14mm f2.8 PRO, 12-
100mm f4 IS PRO, 40-150mm f2.8 PRO,
300mm f4 IS PRO, and the MC-14 telecon-
verter. When the assignment calls for close-
up work, I include the 30mm f3.5 macro,
25mm f1.2 PRO, and 12-40mm f2.8 PRO
lenses, along with the FL-900R flash or STF-
8 macro flash. For daily use, my "go-to" lens
is the 40-150mm f2.8 PRO, often in con-
junction with the 1.4x teleconverter.
 Autumn 2017 25

Canadian
Women Photographers
This issue of PHOTO News is dedicated to the creativity of Canada’s women photographers,
whose vision and perspective bring a world of inspiration to the nation, and the world.
Our three photographers selected for this special section span a wide range of talents and achievements.
Photo courtesy of NASA

Canada’s first woman and the world’s Sophie Thibault, journalist and tele- Elizabeth “Lizzy” Gadd, is a 24-
first neurologist in space (Discovery vision host, holds a BA in psychology year old Vancouver area photographer
STS-42, 1992), Dr. Roberta Bondar and a certificate in information and who first earned fame ten years ago
is globally recognized for her pioneer- journalism from the Université de for her hauntingly beautiful landscape
ing space medicine research. She is Montréal. Her career began in 1988 self-portraits. She describes her magic-
an acclaimed photographer of the en- when she joined TVA. In 2002, Ms Thi- al interpretations of scene and mood as
vironment and author of four best-sell- bault became the first woman in North fairytale-esque, dreamy, peaceful and
ing photo essay books. Her fine art America to anchor a major television full of wanderlust. Lizzy combines her
images are in private, corporate and network newscast - TVA’s 22 Hours. eye for exquisite composition with the
institutional collections in Canada and Over the years, she has won 9 trophies mastery of remote control self-portrait
abroad. Dr. Bondar co-founded The at the gala Métrostar and Artis as a per- technique - a skill that has brought her
Roberta Bondar Foundation, a not-for- sonality of the Year (2003) and best work to the attention of media world-
profit charitable organization to con- host of a news program. wide.
nect us to the natural environment. Her community activities are far-­ PHOTO News first presented Lizzy’s
Dr. Bondar holds the NASA Space ranging, including tireless efforts as work in a portfolio section in the
Medal, was inducted into the Can- spokesperson for the Multiple Sclerosis ­Autumn 2014 issue. Today, we will
adian Medical Hall of Fame, the Inter- Society of Canada’s Journey of Hope. show you some of her latest work, as
national Women’s Forum Hall of Fame, Sophie’s photo activities naturally her skills continue to develop with
is appointed to the Order of Canada and lead her to support causes (Zoo Miller, every new assignment.
the Order of Ontario and has received Pierre-de Saurel Animal Centre) and to
many honorary doctorates from North volunteer with various organizations:
American universities. In 2003 TIME the Quebec Union for the rehabilitation
magazine named her among North of birds of prey, the D’Youville wildlife
America’s best explorers. In 2011, Dr. Refuge and the popular Museum of
Bondar received her own star on Can- Photography in Drummondville.
ada’s Walk of Fame. A recipient of numerous awards and
awards, including the Order of Merit for
Broadcasting, awarded by the Can-
adian Association of Broadcasters, So-
phie Thibault has been decorated with
the title of Chevalier de l’Ordre de la
Pleiade du Québec, presented by the
National Assembly.
26 PHOTO News

Photo courtesy of NASA

Dr. Roberta Bondar
Captions for the
photographs are
based on the book
Passionate Vision–
Discovering Canada’s
National Parks, by
Roberta L. Bondar,
published by Douglas
and McIntyre,
Vancouver 1992; and
The Roberta Bondar
Foundation Travel-
ling Exhibitions.

To have seen Canada from space while listening to our National Anthem elevated my view of our
country. It was not just the altitude of 300 kms and the immense pride of representing Canada as
an international pioneer. The space perspective filled me with wonder as I saw intricate patterns
unknown from the surface of Earth of the land and waters of Canada. My training prepared me
to capture them from space while my soul resolved to explore them from the ground. The space
perspective of oblique’s and broad horizons continues to influence my view of the planet.
The Roberta Bondar Foundation, the repository of my images of the natural environment, partners
with NGO’s, educational institutions, corporations, art galleries, science centres, and various levels
of government to connect us to the natural world. The cross-generational travelling exhibitions that
feature biodiversity, and the signature photographic program, the Bondar Challenge, have reached
hundreds of thousands of individuals who embrace a new view of life on Earth. (www.therbf.org)
My exploration of the natural world and love of flight favours my aerial photography of the
environment, especially avian habitats, while my ground-based images concentrate on migratory
activities of species such as the endangered Whooping Crane and the long distant migrant, the
Arctic Tern, both of whom breed in Canada in special environments. This photography gives us
a foothold from which to explore our ethical responsibility of minimizing our impact on other life
forms—that they may continue to live and to make us wonder.

Snowy Beech, Ontario

Breaking the duotone image of white and black,
Red Maple Leaves, Canada copper beech leaves from the fall season still
One misty fall morning, this Sugar Maple’s red leaves ex- cling to dark branches that crisscross the winter
ploded against its black trunk and branches in celebration sky. Fresh snow, soon to fall, delineates each
of Canada. Although the maple leaf had been incorporated branch that flows out from the trunk across the
in crests and emblems from the mid 1880’s, the maple white sky. Separation of branches is crisp to the
tree was not officially recognized as Canada’s aboreal far right lower corner. Tripod mounted Linhof
emblem until 1996. Tripod mounted Linhof 613 panoramic 613 panoramic camera, Fuji Velvia film.
camera, Fuji Velvia film. © Dr. R.L. Bondar © Dr. R.L. Bondar
 Autumn 2017 27

Medicine Lake, Jasper

National Park, Alberta
A silver stream of
water cuts across the
empty bed of Medicine
Lake in winter. The
summer water from
the Maligne River fills
the lakebed and later
drains away through
sinkholes into an
underground karst
system extending
twenty kilometers
down the valley. Tripod
mounted Linhof 4x5
Master Technika view
camera, BetterLight
scanning back.
Copyright Dr. R.L. Bondar
28 PHOTO News
Canadian Women Photographers | Dr. Roberta Bondar

Bison on Salt Flats,

Wood Buffalo National Park, Alberta
From a helicopter, I spotted a herd of bison
with their calves, travelling across the
sweeping patterns of the Salt Plains. Saline
waters forced to the surface evaporate
leaving behind salt deposits of over a meter
in height. This provides the bison with a diet
of much-needed minerals and forage. Aerial
image, Hasselblad 205FCC, Fuji Velvia film.
© Dr. R.L. Bondar

Red Outlet, Prince Edward Island National Park, PEI.

The red water flowing across this sandy streambed
created patterns that reminded me of the sand dunes of
the vast red Sahara Desert as seen from space. Water and
wind continually sculpture sand, albeit on different scales.
Tripod mounted Hasselblad 205FCC, Fuji Velvia film.
 © Dr. R.L. Bondar
 Autumn 2017 29

Peace Athabasca
Delta, Wood Buffalo
National Park, Alberta
One of the largest
inland freshwater
deltas in the world,
the Peace Athabasca
Delta is formed by the
convergence of the
Peace, Athabasca and
Birch Rivers. This aerial
helicopter view reveals
a vast wetland of lush
greenery and fresh
water in Canada’s
largest National Park,
not overflown by the
International Space
Station. Aerial image,
Hasselblad 205FCC,
Fuji Velvia film.
© Dr. R.L. Bondar

Saskatchewan River
Crossing, Banff Na-
tional Park, Alberta
Sunset at the North
Saskatchewan River
during a clearing storm
make clouds and
mountains reflect
both force and beauty.
Trees crowd together
to watch the play of
light on the sweeping
surface of the river.
Tripod mounted Has-
selblad 205FCC, Fuji
Velvia film.
© Dr. R.L. Bondar

Mt Logan and Half Moon, Kluane National Park and Reserve, Yukon
Mount Logan is Canada’s highest mountain at 5959 metres and the
world’s greatest in girth. On the eve of the 30th anniversary of the
Apollo 11 landing, I was shooting from the Earth to the Moon with the
same camera type as the astronauts were shooting, from the Moon
to the Earth. Aerial image, unpressurized helicopter, Hasselblad
205FCC, Fuji Velvia film. © Dr. R.L. Bondar
30 PHOTO News

Sophie Thibault

Photography arrived very early in my life, long before I made a career in front of
the lens. Of course, this job as a journalist, where I have been working with images
for almost 30 years, has influenced my visual perspective. But I have always been
the "Kodak kid" upside down, fascinated by the great power of the image that out-
shines the passage of time by forever fixing moments of eternity which surrounds
the ephemeral... as Cartier-Bresson observed: "Photography is a cleaver that in eter-
nity seizes the dazzling moment".
In my twenties, in the film era, I took a photography course at the university. I had
my little black and white darkroom at home. With the advent of digital photography
my passion for the image was reborn through the viewfinder of a Nikon D3100 that
I received as a gift in 2012. I pursued a full spectrum of images and studied tutorials
and online classes to find true happiness as a photographer: macro, wildlife, and
landscape images quickly became my hobby as photography became a devouring
passion. Magazines opened their pages to my work, I published a photo book, and
presented exhibitions in Montreal, Laval, Quebec and Baie St-Paul.
I developed an interest in the volatile after a providential tête-à-tête with a chicka-
dee: the call of nature manifested itself in all its intensity! Once a night owl, I became
an early riser to explore the troubling light of the dawn, quietly chasing the loon as
the wind rustled, sometimes coming back with a trophy in the form of a pixelated
gray owl. Photography has changed my life: I see the world now in colours, in con-
trasts, and in white balance! It allows me to add to the joys of life: to immerse myself
in nature, to discover the parks of Quebec and the customs of its fauna, to contem-
plate the beauty of the World (my revenge on the bad news that is my daily bread!).
My camera lets me take a fresh look at life, to be perpetually on the lookout for the
most beautiful light, and to hone my ornithological knowledge. When I follow a con-
templative visual concept, I feel like I have won the lottery!
It was in this spirit that I decided, in 2016, to combine my interests and fulfill a
long-term dream: to go to Africa on a photo safari. I took weeks to build up my equip-
ment, carefully choosing the bodies, the lenses, and the gadgets needed for such an
adventure. Nikon Canada lent me a 200-400mm f/4 zoom which I dared not dream
of, and I spent 10 days in a dream world in front of breathtaking flora and fauna. It
was a journey like a return to human origins, a truly transformational adventure

The old elephant (Ndutu)

Aging or injured animals die alone on the
Savannah. This old elephant was going
inevitably to his fate...
Nikon D810 with Nikon 200-400mm f/4
at 340mm, 1/400 second, f/4, ISO 400.
 Autumn 2017 31

Stripes (Tarangire Park)

I deliberately chose a large opening and
focused on the Zebra at the center of the
image. The gaze of the animal is imprisoned
in the bars formed by the stripes of the herd.
Nikon D500 with Nikon 200-400mm f/4 at
400mm, 1/800 second, f/4.5, ISO 450.
32 PHOTO News
Canadian Women Photographers | Sophie Thibault

Hunting (Serengeti Park)

My most beautiful hunting tro-
phy, even if the image is cruel.
The ruthless law of the jungle:
survival of the fittest. A mother
showed her young how to hunt
Lioness (Serengeti Park) gazelle. I love freezing such a
A gaze that freezes the blood and fleeting moment.
fascinates the viewer. This lioness Nikon D810 with Nikon
was resting under a tree where she 200-400mm f/4 at 200mm,
stopped to eat. I cropped strongly to 1/2000 second, f/4, ISO 360.
accentuate her majestic face.
Nikon D500 with Nikon 70-200mm
f/2.8 at 180mm, 1/500 second, f/5,
ISO 160.

Wildebeest in the sunrise (Serengeti Park)

Our last sunrise in Tanzania, with wildebeest
in the foreground. I love taking photos into the
rising Sun and capturing silhouettes.
Nikon D810 with Nikon 200-400mm f/4 at
400mm, 1/320 second, f/9, ISO 500.
 Autumn 2017 33

Family (Serengeti Park)

Nothing is more touching and graceful than a family of giraffes moving silently in the Savannah.
Nikon D810 with Nikon 200-400mm f/4 at 270mm, 1/640 second, f/6.3, ISO100.
To view more images by Sophie Thibault,
please visit the website at
www.sophiethibault.ca

Dependency (Lake Manyara)

Mama Baboon and her offspring. I opted
here for a tight framing that accentuates the
Beauty and the beast (Lake Manyara) relationship of extreme dependence between
This beautiful red-headed barbican was resting on the skull of a Buffalo. I clicked at just the right two baboons.
time, using a shutter speed that captured the movement of the wings. Nikon D500 with Nikon 70-200mm f/2.8 at
Nikon D500 with Nikon 70-200mm f2.8 at 95mm, 1/1000 second, f/3.2, ISO 100. 122mm, 1/400 second, f/5, ISO 250
34 PHOTO News

Lizzy Gadd

Some thoughts on how

photography has impacted
my life and love for Canada…
I grew up around Vancouver, BC, and I have always loved the
surrounding nature and landscapes, but I soon developed an
even deeper appreciation for the land when I started photog-
raphy about 10 years ago at the age of 14. After experimenting
with lots of different photographic styles over the years, in
2010 I fell into this niche of combining portraiture (usual-
ly self-portraits) with landscapes, portraying positive and
peaceful human interaction with nature and creating images
that showcase the emotions I feel out there, such as awestruck
wonder, calmness and the peace that I find in solitude.
Setting up my camera on a tripod and using a remote
controlled shutter release, I find that shooting self-por-
traits in these landscapes is a therapeutic experience for
me, drawing me in and deepening my love for the beauty
that this country has to offer.
To this day, I love travelling and documenting the dif-
ferent places of beauty around the world (Iceland being
one of my favourites), but I am endlessly grateful for my
roots in Canada, and I will always call this incredible
country my home.

“Take It In”
A self-portrait and part of my ongoing Red Dress series (started
in 2014), which is described as: “The red dress series is a sym-
bolization of my wish to live wholeheartedly. It’s a reminder to
myself to let go of fear and doubt, to embrace who I am, and
especially to focus on a life lived in gentle love, gratitude and
absolute wonder of the world and everything in it.”
This image was taken with the mountains across from
Fjallsarlon Glacier Lagoon in Iceland. One of the most magical
moments of my life, watching the sun create this beautiful soft
golden light across the stunning landscape as it slowly dipped
down behind the mountains. A stitched panorama taken with a
Canon 60D and 50mm f/1.8 lens.
 Autumn 2017 35

“Dreamer”
A self-portrait taken near the peak of
Golden Ears in B.C. Seeing this mountain
every day from my backyard, it holds a
very special place in my heart, making
me feel at home. Taken with a Sony a7R II
and Zeiss 16-35mm f/4 lens.
36 PHOTO News
Canadian Women Photographers | Lizzy Gadd

“The Encircling
Embrace”
A self-portrait taken
at about 2:am in
northern Iceland.
This was the first
night I had ever seen
the Aurora dancing
through the sky so
strongly. I was ab-
solutely blown away
by the beauty.
Taken with a Sony
a7R II and Zeiss
16-35mm f/4 lens.

“Woodland Magic”
A Red Dress series self-portrait taken in
my favourite mossy forest in Golden Ears
Provincial Park, B.C. I love going to this place in
the morning when the mist floats through the
woods while the sun rises, creating beautiful
sunbeams.
Taken with a Sony a7s and Zeiss 16-35mm
f/4 lens.

“Free Falling”
One of the Red
Dress series, taken
at Skogafoss in
Iceland. Feeling the
sheer power of this
waterfall made me
just want to laugh
and dance.
Taken with a Canon
60D and 50mm
f/1.4 lens.
 Autumn 2017 37

“Light Pours Down” “Wonderment”

Another one of the Red Dress series taken at Gljufararfoss waterfall in A long exposure self-portrait at Godafoss waterfall
Iceland. The mist from the waterfall filled up the whole cave, making it in Iceland. Part of the Red Dress series.
feel like a giant shower. I was soaked instantly, but it was worth it! Taken with a Sony a7R II with Zeiss 16-35mm f/4
Taken with a Sony a7R II and Zeiss 16-35mm f/4 lens. lens.

“Mystical Waters”
A self-portrait in the early morning fog at one of the
most magical Joffre Lakes in BC, Canada.
Taken with a Sony a7R II with Zeiss 16-35mm f/4 lens.
38 PHOTO News

Technique
BY MICHAEL DEFREITAS

AMAZON ADVENTURE...

Jungle Fever!
The Amazon brings true meaning to the word adventure and offers an
abundance of unique photo opportunities

The late afternoon sky geared up for

another spectacular tropical sunset
as we glided slowly up a small feeder
stream of the Rio Negro. The over-
hanging jungle engulfed us, making
it easy to spot wildlife. Amazon king-
fishers darted back and forth across
the water, and the calls of squawking
blue and gold macaws and raucous
howler monkeys echoed through the
surrounding jungle.
Shooting from a moving boat is
challenging–especially in lower light
conditions, but with few roads, they are
the region’s transport of choice. In these
shooting conditions I use a 70mm-
200mm zoom lens and preset my
Fishermen at
speed to 1/60 second and ISO to 400.
sunset on the I always use a small beanbag when I
Amazon River. use part of the boat to brace my lens or
Nikon D2X 1/50 camera. It helps to dampen the vibra-
second, f/12, tion from the boat engine.
ISO 100.
 Autumn 2017 39

Blue and Gold Macaw,

Amazon, Brazil.

As we slowly motored around a bend in the river our guide

pointed to a blue and gold macaw perched on a branch. I com-
posed my shot so the bird’s tail formed a leading line to its head,
and got off a few shots before it flew away. A few minutes later a
pod of six pink river dolphins approached the boat and I quick-
ly grabbed my other camera with its 24-70mm lens and shot
handheld at 1/60 second. I was able to capture about 20 frames
before they swam off. I managed to get a few sharp images.
On the way back to our mother ship, Iberostar’s Grand Ama-
zon, we came across a couple of fishermen in a dugout canoe.
I used the low sun and its reflection on the water as backlight
and placed the men in the bottom left third of the frame. My 70-
200mm zoom lens allowed me to easily compose the scene.
Since I was handholding my camera, I used a higher shutter
speed of 1/400 second to minimize camera shake.
Besides wildlife, the region offers a fascinating culture and
indigenous people. During our rainforest adventures we met
dozens of native people, like the young Amerindian girl pad-
dling her dugout canoe. I asked our guide to swing the boat a
bit so I could use the sun to sidelight her and include some of
the background to place her in her environment. I used a bit of
40 PHOTO News

Young native girl paddling canoe.

Amazon, Brazil.

Black spider
fill flash to help light her face and shot Nestled in the center of the jungle, Manaus, the capital of monkey,
at 1/125 second and f/8 with my 24mm- Brazil’s Amazonas state, is a fascinating town located at the Amazon, Brazil.
70mm zoom lens. confluence of the Solimões and Negro rivers where they join to
The Amazon people are beautiful, form the Amazon River. It’s the cultural hub for the region and
friendly and very accommodating, but its Renaissance inspired opera house, built in 1896, seems out
that doesn’t mean you can just jam a of place with the surrounding jungle. After documenting the
camera in their face. If you don’t speak elaborate interior and grand dual staircase, I used the swirl-
Portuguese just smile at them, point to ing mosaic tile patterns of the adjoining square to accentuate
your camera and then at them. They its grandness. I placed my camera with wide-angle zoom on
usually nod their head. Since most have the ground and shot at f/22 for maximum depth-of-field.
dark skin and brown eyes it is best to Across town, overlooking the river, is the Adolpho Lisboa
use a bit of fill flash to add a twinkle of Municipal market with its fish and produce vendors. The bags
light to their eyes. I typically use aper- of spices and the agreeable vendors made interesting subjects
ture priority set at f/5.6, then set my and a wide-angle lens gave me the ability to shoot without
flash to manual and f/2 so it doesn’t bringing the camera up to my face–this is less intimidating
overpower the ambient light. for your subjects. I used fill-flash, an ISO of 400 and slower
On our rainforest wildlife viewing shutter speeds of 1/30 -1/60 second. I shortened my camera
hikes I also kept a lookout for natural
plant patterns and other details. I shot
clumps of variegated leaves and the in- PRO TIPS MORE AMAZON SHOOTING TECHNIQUES
tricate patterns on an owl butterfly wing.
I opted to use a tripod and slow shutter
speed to get the depth-of-field and sharp- • When hiking in the rainforest travel as light as you can. The heat and humidity
will take its toll on you.
ness instead of a higher ISO to reduce
• When shooting from a boat don’t brace your camera.
digital noise. I used a remote shutter re- • Use a bit of fill flash to add some catch-light to an animal’s eyes.
lease for my 2 – 3 second exposures, but • Manaus is a fairly safe place, but never leave your equipment unattended and
if you don’t have a remote release your never hand your camera to a stranger and ask them to take your picture. One
camera’s self timer will work too. of my travelling partners did and the guy ran off with their camera.
• If you get condensation in your lens, put it in a zip lock bag and send it in for
repair/cleaning when you get home. Don’t try to fix it yourself.
 Autumn 2017 41
Michael DeFreitas | Technique

Red chili peppers on a

barn door in New Mexico.
NIKON D2X, 50 mm, f/4,
1/125 second, ISO 100.

Hiking in the Amazon rainforest, Brazil. Nikon Owl butterfly with eye spots on wing, Amazon, Brazil. Nikon D2X, 35mm lens,
D2X, f/4.2, 1/200 second, ISO 100. 1/15 second, f/7.6, ISO 200.

strap so I could firmly press the camera

against my chest to reduce shake.

CAUTION: The Amazon is hot and

humid while most rooms and cabins
are air-conditioned. This combination
can quickly ruin your camera equip-
ment if you are not careful. After each
day of shooting I placed my cameras
inside garbage bags and removed as
much air as possible before taking
them into the air-conditioned room or
cabin and I waited a couple hours until
the cameras reached room temper-
ature before removing them from the
bags. Each morning I re-bagged the
cameras in my room and placed them Wild pink river dolphin, Rio Negro, Amazon, Brazil.
on my outside balcony to acclimatize
before removing them from the bags. A
few of my travelling companions didn’t
follow this procedure and fogged up the
inside of their lenses. GEAR UP!
The Amazon is breathtaking and my
adventure ended all too quickly. However, Most pro cameras now sport a small handy pop-up flash. Although it may work
each time I view my images they remind well for a short normal lens, it doesn’t sit high enough above the camera to
me of that memorable adventure. avoid “lens shadow” when using longer or wide angle lenses. I highly recom-
mend getting a detachable speedlight that sits higher on the camera body and
has a much wider coverage. Metz makes an array of speedlights like the 44AF-2
or 36AF-5 ($160-$300 range) that work well with any camera body.
42 PHOTO News

SPECIAL FEATURE | PHOTO TECHNIQUE

BY DANIEL DUPONT

Night Photography
I discovered the genre of night photography while I was studying at Cégep de Matane
in 1988. At that time, I often used a 4 x 5 view camera to make long exposures of more
than four minutes. Over the years, I refined my shooting techniques, and images that
were once rather difficult became far more accessible thanks to the advances of the
digital camera technology.

Techniques the medium gray areas, if present in your composition, and

There are two popular techniques for the right side of the histogram represents the highlights. In
capturing night images. The first is to general, I recommend that the histogram curves do not touch
select a high ISO value (1600) in order either right or left extremes of the chart, but, in night photog-
to work with a hand-held camera at raphy, it is normal and acceptable that the curves reach the
relatively fast shutter speeds and large ends of the graph.
aperture settings. The second approach
is to select a low ISO value (100) and The choice of tripod head is important in
use a tripod to create long exposures order to get the stability necessary for
at long shutter speeds and apertures in your night shots. I use the Vanguard BBH-
the mid range for your lens. 200 head which is compatible with the
ARCA Swiss system. Two levers make
Hand-held Technique it possible to control the movements.
The first technique is very convenient The smallest controls the lateral

Bio
when travelling, especially when you movements, while the larger knob locks
don’t have a lot of time to create images the ball joint. This head is strong enough
to support a pro body with a 24-70 mm
or if you don’t have a tripod with you.
f/2.8 lens.
After selecting a high ISO value (1600),
use a large aperture (f/2.8 or f/4) and
choose a speed greater than the focal
Daniel Dupont is
a professional length of your lens – this will allow you Tripod Technique
photographer spe- to use an exposure combination that For the second technique, a tripod is highly recommended,
cializing in nature will produce properly lit images with although you could use a clamp or any device that allows you
photos. He has minimal camera shake. It is often use- to keep the camera rock-steady for long exposures. Select a
taught photog-
raphy at a CEGEP in ful to enable image stabilization for the low ISO value (100), use a low-light aperture (f/16 or f/22)
Quebec for nearly best results when shooting at relatively and choose a shutter speed that will produce the correct
25 years. slow shutter speeds. exposure. Confirm the exposure by reading the histogram–
The author of Confirm the exposure by read- which could also show several marked points. From my per-
seven books,
ing the histogram. Depending on the spective, I prefer to use a tripod for night photography as it
including three
technical books, he brightness of the scene, it is not unusual allows me to be more creative with lens and shutter settings
has hosted many for the graph to show two or three sharp as well as composition.
workshops in North points. The first one on the left will rep- The selection of a low ISO value also reduces the pres-
America and South resent the dark parts of the scene, the ence of digital noise. However, it is possible to select the
Africa. To view
more of Daniel’s center of the histogram corresponds to “Noise reduction” function in the exposure setting menu.
work, please visit
www.danieldupont.ca
 Autumn 2017 43

Exposure Modes
Regardless of the type of photog-
raphy, I always use manual expos-
ure mode. For night photos, it be-
comes even more important. If you
choose a semi-automatic mode as a
priority–either aperture or shutter
preferred, the camera’s meter will
be influenced by the available light
in your scene. If, during an expos-
ure, a car enters the frame, its head-
lights will influence the duration of
the exposure. You may have a lot of
difficulty getting an overall night
scene properly exposed.
On the other hand, if you work
The tripod allowed me to set a small aperture for greater depth of field. If I had shot hand- in manual mode, you can deter-
held, even with an aperture of f/2.8, the image of Niagara Falls and the wet foreground could mine the correct exposure for the
not have both been sharp. The artistic rendering of the photo would have been much less
scene and set your camera accord-
interesting. 70-200 mm f/2.8 II @ 200 mm; 5 seconds, f/22, ISO 100, Vanguard Alta Pro 283 CT
tripod, BBH-200 head, remote control and level.
ingly. Let’s say that the duration of
the exposure should be 15 seconds.
If the headlights of a car enter the
When recording night photos utilizing the camera’s noise frame during the exposure, the
reduction mode, the images will be processed in the camera camera will not automatically com-
to decrease the noise. Do not be dismayed if the processing pensate for the added light, and the
time seems to be as long as the duration of the exposure. I overall image will appear to be
rarely activate this function unless I really need it to handle properly exposed. If you use a flash
difficult subjects. to brighten a portion of the scene,
the duration of the manual expos-
ure will not be affected.

Aperture Selection
I prefer to use an aperture of f/16 or
f/22 in order to get greater depth of
field. This setting permits the use of
long shutter speeds to achieve more
artistic images. Despite the slight
loss of optical quality at these lens
openings, the creation of spectral
rays around light sources often re-
sults in a more artistic rendering of
the scene.
Using an aperture of f/2.8, f/4
or f/5.6, light sources will create a
mass of light rather than a defined
pinpoint. If you use an aperture of
f/8, the optical quality from your
lens may be optimal, but the artistic
rendering be much less spectacular.
The use of a small aperture (f/16) offers
a greater depth of field, and allows
you to create rays around the lights
that would have been absent with an
aperture between f/2.8 and f/5.6. 24-70
mm f/2.8 II @ 24 mm; 8 seconds, f/16,
ISO 100, Vanguard Alta Pro 283 CT tripod,
BBH-200 head, remote control and level.
44 PHOTO News
Daniel Dupont | Photo Technique

Shutter Speed Settings Adding Light

I select the shutter speed to balance the The use of the hot-shoe or “Cobra” type external flash allows
exposure of the scene. I prefer to use you to add light to a scene in order to add detail to a dark area.
a fixed speed, usually between 1 and It also allows for a more artistic rendering of the photo. In or-
30 seconds, rather than the indefinite der for the results to be most effective, we often aim the flash at
speed available by selecting B (bulb). a surface that offers a certain reflectivity, such as snow.
This “B” allows exposures as long as After adjusting the three exposure parameters (aperture,
desired, but in order to have control speed and ISO value) so that the scene is well exposed, take
over the images, I prefer to limit myself a sample photo without flash. Then, while holding the flash
to a maximum of 30 seconds. With too in your hand, make a test image by triggering the flash five
long an exposure time, images could
become overexposed masses of light.

I selected the automatic white balance in order to balance the

different sources of light. Depending on the scene, I sometimes
use the Kelvin white balance, and I select the white balance
depending on the image shown on the rear LCD screen of my
camera. Higher Kelvin white balance levels produce hotter
(reddish) colours, the lower settings produce cooler (bluish)
colours. 24-70mm f/2.8 II at 67mm; 30 seconds, f/18, ISO 100,
Vanguard Alta Pro 283 CT tripod with BBH-200 head, remote
control and level.

White Balance
In night photography, it is common for
scenes to be illuminated by light sources
with different colour temperatures. To
get a better result, I select the automatic
white balance. When converting the
photos, I adjust the white balance by
using the Kelvin, which allow a more After adjusting the exposure, I used a flash to illuminate the snow on
precise rendering of the colours. the ramparts. I positioned the zoom head of the flash to the 35-mm
setting so that the various flashes are properly superimposed and
RAW or JPEG the lighting is uniform. I carried out several tests, and even with 25
I always use RAW mode to get max- flashes the light did not seem to be quite sufficient – so this photo
was made by triggering the flash 35 times.
imum resolution, as well as better col-
I moved around the scene while triggering the flash order to
our rendition. The ability to adjust the properly illuminate the whole building. It is important not to trigger
white balance during post-processing the flash in the direction of the camera you might risk creating stars
is also a determining factor. in the photo. 17-40 mm f/4 @ 23 mm; 30 seconds, f/16, ISO 100,
Vanguard Alta Pro 283 CT, TBH-100 head, remote control and level.
 Autumn 2017 45

times during a long exposure by repeatedly pressing the

“Flash Test” button. Note the number of the photo and the
number of times you triggered your flash.
If the scene is not bright enough, take another photo by
doubling the number of times you trigger the flash. Remem-
ber to note the number of the photo and the number of flashes.
Retest until the result is right for you. For better control, adjust
the zoom head of the flash to 35 mm and use it in the TTL mode
(even if it is not controlled by the camera) at power level 0.

Taking Pictures
The idea is to arrive at your photo location before the sunset in
order to determine the ideal spot to position your tripod. With
a little bit of luck, you could discover some spectacular photo
opportunities.

The Blue Hour

The blue hour is definitely the best time to make night
photographs. With the sky still partially illuminated, it re-
mains bluish and adds an artistic rendering to the images.
This period lasts only a few minutes. You will need to be
efficient and manage the exposure to get the most out of the
photo opportunity.

I made this picture in Newfoundland last June. I was there on a

workshop trip and we decided to take night photos of the Port
of Bonavista. I arrived there a few minutes before sunset and
I noticed the artistic rendering of the reflections of the Sun on
the water. The ice that was still present in the harbour adds an
interesting touch. It is often best to get there before sunset to take
full advantage of the blue hour. 70-200 mm f/2.8 II @ 200 mm; 5
seconds, f/22, ISO 100, Vanguard Alta Pro 283 CT tripod, BBH-200
I was conducting a fireworks photography workshop in Quebec City head, remote control and level.
when 30 minutes before the start of the event, a thunderstorm
erupted over the town. We were in Lévis, on the opposite shore, and
the St. Lawrence River seemed to make a natural barrier because
rain and lightning only fell on Quebec City. Artistic Results
I recommended that the participants should adjust their exposure to A colourful subject will add artistic interest to your im-
obtain relatively short shutter speeds for night shots, approximately ages, just like the light threads. Photos shot after a rain
6 seconds. Luck played a major role for some of the results. We will have reflections that can also add interest.
triggered the cameras continuously to try to capture a lightning bolt.
I managed to catch three photos with lightning, and this one is the Photograph Lightning
most spectacular.
When the storm moved to Lévis, we went to find shelter. It is
Most photographers dream of someday photographing
important to never stay right under the storm as there is a real risk lightning bolts, but it requires mastery of technique, be-
of being struck by a lightning bolt. 70-200 mm f/2.8 II @ 85 mm; ing in the right place at the right time, and a great deal of
6 seconds, f/8, ISO 100, Vanguard Alta Pro 283 CT tripod, BBH-200 luck! I waited several years to realize this dream. The only
head, remote control and level. way to succeed is to get out in the storm and try your luck!
46 PHOTO News

Perspectives | Pro Tips for Shooting

BY NIKON AMBASSADOR KRISTIAN BOGNER

HOW TO GET
Razor Sharp Focus
One of the things that makes an image stand out is the presence of a sharp focal point
to draw the viewer in and show the technical quality of the photograph. Here are some
pro tips to get razor sharp images.

Bio
Kristian Bogner is
a commercial,
architecture, adventure,
fashion, sports
photographer, and
brand Ambassador
for Nikon Canada,
Broncolor Canada, and
other manufacturers.
For some inspiration
and more pro tips check
out kristianbogner.com Mountain Goat – The shallow depth of field at f/5.6 and focus points on the
or attend one of his eyes of this Mountain Goat draws you in to the face and softens the trees in the
photography background. Nikon D5 with AF-S Nikkor 70-200mm f/2.8 ED VR II lens,f/5.6 at
workshops: 1/1600 second, ISO 640.
photographicrockstar.com
 Autumn 2017 47

Ice – I always look for patterns of colour and texture. I focused on

the water droplets but used a higher f-stop to ensure I had sufficient
depth of field for all the layers of texture. Nikon D5 with AF-S Nikkor
70-200mm f/2.8 ED VR II lens, f/11 at 1/1600 second, ISO 125.

Tweak Your Gear

This may seem obvious, but a smudge on your lens can really
cut down your sharpness. Clean your lenses regularly and if
you use a UV or Clear front filter to protect your lens, like I do,
then I highly recommend spending a bit more and getting one
that is higher quality and slim enough so you avoid vignetting.
Test your lenses for sharpness and if the focus seems off
you can use in-camera autofocus fine tuning to tweak things.
Also, test your lens at different apertures–you will find that
each lens has a sweet spot, usually around f/5.6 to f/11, where
the images will be the sharpest at the focal point. Getting to
know your lenses will help you decide how best to use them.
The old thought that you have to shoot at f/22 for the sharpest
results is incorrect because most lenses aren’t nearly as sharp
at the smallest apertures. Finally, make sure your viewfinder
diopter setting is adjusted to match your eyesight so you can
actually see when the image is in focus.

In-Camera Sharpening and Picture Controls

(pre-sharpening)
This is a very important adjustment to make when you first set
up your camera body. Whether I am shooting in RAW or in JPG
I pre-sharpen every image right in-camera with my Nikon Pic-
ture Control settings. I generally have mine set to about 6 out of
10. I will go higher if I want more sharpness and detail, and a bit
lower if I want the image to appear softer. You can adjust clarity
by +1 or +2 to have the image appear a bit crisper as well.
48 PHOTO News

Autofocus
The autofocus system in newer cameras is truly incredible and
I use it most of the time. I generally use Single-Point Focus se-
lection mode and I use my thumb to move the thumb-joystick
around the image to select a point to focus on. I also use this to
precompose my image and decide where in the image I want
my focus point to be. If I am shooting something with complex
movements like a bird, or shooting at a sporting event, I use
the Group Focus selection mode which uses several points
to track movements around my single focus point. There are
other modes for different situations, but these are my two fa-
vourites, and I would recommend you give them a try. It can
take some practice to use the joystick to move around and pick
your focus points, but when you tell your autofocus system
exactly where to focus it works exceptionally well.

Greenland
In this shot I was trying to compress the perspective by shooting with a
longer lens to bring the appearance of the ship and icebergs closer and
larger, while using more depth of field to ensure the foreground, middle
ground and background were all in focus.
Nikon D5 with AF-S Nikkor 70-200mm f/2.8 ED VR II lens, f/13 at
1/500sec ISO 100.

Old Woman
Badlands of Drumheller Capturing this
This image is a great example of colour contrast to create impact. I shot beautiful face with
at f/11 to ensure sufficient depth of field to capture all the detail. lots of detail, and
Nikon D800E with AF-S Nikkor 70-200mm f/2.8 ED VR II lens, f/11 at some extra in-camera
1/200 second, ISO 100. sharpening, really adds
to the story.
Nikon D3X with AF-S
Back-focus vs Front-focus Nikkor 70-200mm
f/2.8 ED VR II lens, f/5 at
There are a lot of discussions on the various photography 1/200 second, ISO 125.
forums and blogs by people who say that focusing with the
back-focus button is better than using your trigger button to
focus. I personally use front-focus 95% of the time, and I use
my thumb to move the joystick. I get great results this way and
I am used to it. I use back-focus on some occasions, but I really
prefer front so that my thumb can stay on the joystick instead
of the back-focus button. Some people feel much more com-
fortable with back-focus and that is good too. One method isn’t
better than the other, so try both and see which feels better and
which is more effective for you.

This year marks the 75th Anniversary of Bogner Photography.

For more photography tips and videos check out Kristian’s photo
blog at kristianbogner.com or sign up for one of his photography
courses in the Rocky Mountains and throughout Canada. Coupon
code for Photo News Subscribers is: pnewsbogner75
 Autumn 2017 49
Kristian Bogner | Perspectives

camera with a firmer grip, or by using a tripod and wireless re-

mote, cable release or exposure delay mode.

Speed Up Your Shutter and Slow Down FPS

Another thing that causes out of focus images is shooting
with too slow a shutter speed. I recommend 1/500 second
for longer lenses and 1/2000 second for sports photography.
You may shoot with manual exposure like I do, or you can use
shutter-speed mode, where you can set the shutter speed and
let the meter adjust the aperture. On newer high-ISO capable
cameras you can try auto-ISO, where you set the shutter speed
and aperture you want to use, and let the camera compensate
to get correct exposure by changing the ISO. Then you can
use exposure compensation to fine tune exposure as needed.
This is a highly effective mode for fast changing lighting con-
ditions when you want to maintain a look and feel while rely-
ing on the meter without much compromise.
Another trick is to slow down the FPS (Frames Per Second)
of your camera a little bit to ensure that the camera can prop-
erly autofocus in-between each frame and so you can properly
see and follow your subject, especially if you are using a DSLR.

Evaluate On-Site and At Home

I am continually evaluating my focusing to ensure that my
images are sharp–starting right on the shoot. I set my play-
back display defaults on the back of my Nikon to show the
focus point in a red square as I look at my image. That way,
I can zoom in quickly and directly to the focal point (prefer-
Vibration Reduction ably to 100% magnification) and evaluate if my focus point is
With higher megapixel cameras, shake where I wanted it to be and if it looks sharp or not. I also set my
and vibrations show up more than ever. focus point to show up in my Nikon software on my computer,
If you have a VR (Vibration Reduction) so I can zoom in and evaluate the image and learn what I did
function on your lens you should use it well and what I didn’t quite accomplish on an unusual or dif-
most of the time to reduce shake. Just ficult shoot. This also helps me quickly decide between two or
make sure that you are in the right VR more similar thumbnails to determine which is better just by
mode if you have more than one. Also, seeing if the focus point is in the right spot, like on a person’s
be aware that VR sometimes has issues, eye, where I want to draw the viewer in to the image.
for instance, heat waves coming up
from pavement or moving water can Post Production (output-sharpening)
sometimes throw off the VR sensor. I always apply a final unsharp mask to the image in photoshop
Camera vibrations can also be reduced as my very last step. However, I always size the image to its
significantly by consciously holding your final print or web size first, then zoom in to 100% so that I can
see the actual pixels properly, and then I fine tune unsharp
mask perceptually to what looks good to my eyes. If I am siz-
ing for different applications, I sharpen them all individually.
This little step makes a huge difference in the final product.
I hope these tips will help you get sharper, more compel-
ling images that you can be proud of and allow you to get the
most out of your gear.
Enjoy shooting the fall colours!

Model
I used the new Nikon 105mm lens to capture this image outdoors using
a silver reflector to light the subject. With a relatively shallow depth of
field and focus point on the logo on the glasses, your eye is drawn in to
the wording and the metal background provides some nice out of focus
colour contrast.
Nikon D810 with AF-S NIKKOR 105mm f/1.4E E, f/4 at 1/2000 second,
ISO 200.
50 PHOTO News

BY MICHELLE VALBERG

HOW TO CREATE
Award-Winning
Wildlife Photographs
For most photographers, the goal of capturing that award-winning
image feeds our dreams, fuels our passion, and keeps us moving
forward–endlessly searching for that perfect moment.

Steve McCurry’s “Afghan Girl”, Karsh’s Churchill portrait, or Paul Nicklen’s leopard
seal are a few of the iconic images that have had enormous impact on the world of
photography. The quest to capture an image with that unforgettable impact is a key
driver in my devotion to my craft.
I act as both participant and judge in worldwide photo competitions. To be hon-
est, I find them both to be very tough positions to hold. As a participant, it isn’t easy to
choose which images you think will have the most impact. Our personal connection
to an image can sometimes cloud our judgment on what might work best in a com-
petition. I like to “test drive” my images before submitting them. This is one reason
why I love and use social media – I can gauge whether my image has high impact
value by the viewers response and interaction.
As a judge, choosing the winning images is a very difficult task. Once you get
beyond the technical merits, it becomes subjective. I may like one image more than
another judge simply because of the subject matter. It is fascinating to be on this side
of the competition and I am always inspired by the amazing images I view.
Not everyone feels comfortable revealing their photographs to the world. It can
be daunting. In this highly visual world with all the social media channels, I think
it can be a way to learn, develop your craft, and allow your photos to have a voice.
Spread across the world so easily, there are more eyes on images than ever before.

Bio
Michelle Valberg has built a reputation for capturing unnoticed details that change our perception, as well as the
implausible vast landscapes that alter our perspective. Internationally renowned and sought after as a landscape,
wildlife and portrait artist on the global stage, Michelle’s stunning, and at times haunting photographs are sought after by An Arctic fox runs directly to us on the tundra
art collectors the world over. Her images have been showcased in exhibits across North America, including Los Angeles, in Cape Churchill within Wapusk National Park,
New York, Toronto, Montreal and Ottawa, where her work was the subject of a critically acclaimed three-month solo Manitoba. Photographed with the Nikon D5
exhibition at the Canadian Museum of Nature. She is one of seven Canadian Nikon Ambassadors and the first to be and Nikkor 800mm lens. I used a bean bag on
named Canadian Geographic Photographer-in-Residence. the bus window ledge and had to act quickly.
 Autumn 2017 51

Penguins in Antarctica porpoise out

of the water as they swim in groups
to avoid being eaten by leopard
seals. It became my mission to
capture this action. It took a lot of
tries and mistakes to get this shot.
Photographed with a Nikon D4S
with 200-400mm lens.

I asked my friend and photograph-

er I admire greatly (like many others),
Paul Nicklen, for a quote for this story.
“Once I take a good photograph my job
is just beginning. It is then time for that
photograph to go to work and create
impact. To me, photography without
purpose is just pictures. A photographic
career with purpose and passion drives
me to work a hundred times harder
than if I was just trying to take pictures
to earn a living.”

Create an Opportunity
Award-winning photographs can be
taken in your own backyard, at a park,
or in your home. You don’t have to go
to exotic locations to capture amazing
imagery. Look, listen, smell – heighten
your senses to help you find the wildlife.
Stay aware of movement and in tune to
sounds. As I am writing this, I am listen-
ing to the sound of loon chicks close by
and watching kingfishers move quickly
around their nest. I am distracted and
trying to stay focused on writing. You
never know when another opportunity
will arise so take it when you can.
52 PHOTO News
Michelle Valberg | Canadian Angles

A large male
grizzly bear in the portant. My favourite combination is the Nikon D500 with
Khutzeymateen Preparation the new Nikkor 200-500mm lens. With the 1.5 crop at 22
takes a big bite of
grass in the pouring
Going north or south, in the snow, rain megapixels, the 750mm strength gives you more reach and
rain. I always look or sun, you have to be prepared. If you better flexibility to move around easily. It is especially great
for that perfect are going out in severe cold, you need for little creatures. I often take photographs from my kay-
expression. In the proper gear to brave the elements. ak so this combo is perfect for the mobility I need, and it is
the low light I Gloves are as important as your equip- easy to take it in and out of the kayak. I also use the long-
appreciated the high
ISO capability with ment. I use the Heat3 Smart Gloves er prime lenses like the 600mm or 800mm, but only when
the Nikon D5 and that help keep my hands warm while the situation is right and I can use my Vanguard tripod with
200-500mm lens. offering dexterity with their multi-lay- a Wimberley head. In lower light situations, I will use the
er system. I also use the lens coats to Nikon D5 and push my ISO so I can get a faster shutter speed.
keep my camera and lens dry in rain With moving subjects, in moving vehicles and with a long
or snow. Hand/foot warmers, warm lens, my shutter speed is always the priority.
clothing (Canada Goose is my best
friend), boots, drybags, and cleaning Timing
I always try to cloths are a few key fundamental items Some of my best work is from the early morning hours. Get-
photograph animals you need in your kit. Being physically ting out of bed just before sunrise is not easy for most, but
in a way I haven’t prepared wherever you are allows you this is when you find the best light. Animals are active then
before or seen
before. Monkey’s
to be a better photographer. as well.
feet in Manuel Having the right equipment for Light can make or break your image. Search for it, look
Antonio Park, wildlife photography is, of course, im- at your light and change your position to make the most of it.
Costa Rica. Later in the day is also ideal for light in the golden hours. To
get the very best results you have to be in the right place at the
right time.

Composition
As in all photography, composition is a critical factor in mak-
ing your award-winning image. Changing your vantage
point, being acutely aware of your background, looking for
texture, patterns and detail are elements you can focus on
while creating your masterpiece. While close-ups are won-
derful, photographing animals in their natural environment
and showing sense of place can be captivating.
Macro photography gives a glimpse into a tiny beautiful
world rarely seen by others.
 Autumn 2017 53

Bison roaming on
a winter day in Animal Behaviour Spread the joy of nature. Be one with
Grasslands National There is no doubt that patience is needed with wildlife photog- nature, and showcase the glory and
Park, Saskatchewan.
Photographed with my
raphy. Anticipating behaviour and being patient are key elements beauty of our surrounding world. As
favourite combination that will improve your imagery. Showing your characters’ per- Nicklen said, taking the photograph is
- the Nikon D500 with sonality with humour, or creating emotion between a parent and only the beginning. So take it beyond
200-500mm lens. their young can capture a special energy that can be unique, fun, and see what happens.
inquisitive or provocative. It is important that we are always re-
spectful to the animals and ethical in our approach.

Staying in tune to our senses and taking

chances from our opportunities is the key to
a great wildlife photograph. The walrus went
on the move on an island near Hall Beach,
Nunavut. I was walking away when I heard the
noise - I turned and began shooting without
hesitation. In seconds it was over, and I found
myself with this award-winning photo.
54 PHOTO News

IN THE FIELD | WILDLIFE

BY TONY BECK
Photo by Nina Stavlund

When to
Photograph Wildlife

Scarlet Ibis flying into their roost –

Caroni Swamp, Trinidad
For a variety of reasons, many animals
become active at dawn and dusk. At dusk,
in neotropical wetlands, shy Scarlet Ibis
come out of hiding and fly to a nightly
roost. The spectacular flight of brilliant red
birds just before sunset is a highlight of any
visit to Trinidad.
Nikon D7200, AF-S Nikkor 200-500 f/5.6 VR
zoom, ISO 400, 1/1000 second, f/7.1.

Bio
As digital cameras continue to improve, wildlife photography be-
comes progressively easier, but regardless of the quality of your
equipment, finding cooperative wildlife remains a major challenge.
Freelance photographer Tony Beck describes Basic survival means avoiding potential danger. In an environment of predator
himself as a “naturalist”, specializing in a wide
variety of wildlife and nature subjects. Based in versus prey, any animal demonstrating curiosity, fascination, or focused attention
Ottawa, Ontario, Tony and his wife Nina Stavlund toward another animal is usually interpreted as predatory behaviour. So it makes
operate a small company called "Always An sense that wild animals are wary of humans – the world’s top predator. No matter
Adventure" offering a variety of photography, how altruistic our intentions may be, wildlife’s fear of being eaten makes it difficult
nature, birdwatching and tourism related services
including workshops, courses, excursions and to observe or photograph them. Simply put - animals avoid trouble by being furtive
short trips. For more information please visit and elusive.
alwaysanadventure.ca/
 Autumn 2017 55

Osprey - Ottawa, Ontario

When the sun is low, the atmosphere filters
blue and transmits an attractive warm cast.
During these times, your image can appear
to be shrouded with gold-coloured tones.
Nikon D700, AF-S Nikkor 300mm f/4D with
TC14E II teleconverter, ISO 400, 1/1000
second, f/7.1.

Don’t let this discourage you. You can maximize photo-

graphic opportunities by recognizing that certain times are
better than others for capturing great wildlife photos. Al-
though photography isn’t limited to time-of-day, and there is
always some form of wildlife activity regardless of time, there
are peak times when the best images occur.
First - determine your objectives. If you need photos of
something specific, you will need to research your subject in
order to determine the best opportunities. However, this arti-
cle assumes that readers have one all-inclusive objective – a
general desire to capture prize-winning wildlife images.
One of the first photography lessons I learned is “the best
tool for a nature photographer is an alarm clock”. Productive
nature photographers work when weather conditions allow.
With favourable conditions, you want to get into field position
before dawn, or shortly after. Although dawn and dusk lack
brightness, transitional light has the potential to be genuinely
warm and inviting. When low atmosphere filters sunlight, it
tends to suppress the blue end of the spectrum, transmitting
mostly warm-coloured wavelengths. Ultimately, this light
casts an attractive golden hue on the scene. This character is
most prevalent with the sun on your back, and both your shad-
ow and camera pointing toward your subject. Twilight hours
often bring calm and quiet conditions. Cool temperatures tend Grasshopper Sparrow perched on Mullen
to balance out air pressures, resulting in less air movement. stock shortly after dawn - Ottawa, Ontario
Silence and tranquility improve your awareness of subtle When the sun is low on the horizon, low
movements and sounds, especially of shy creatures. In areas atmospheric interference tends to filter blue
with water, this increases chances for reflections. Most im- light frequencies while allowing amber light
to transmit. This casts an attractive golden
portantly, many animals stir during the transitions between light on your scene.
night and day, typically moving into open environments.
Nikon D700, AF-S Nikkor 300mm f/4D with
There are many reasons for this, and often it depends on the TC14E II teleconverter, ISO 200,
species and its circumstances. Not only will you notice more 1/1000 second, f/8.
wildlife, but at dawn, there are usually fewer people present.
Most humans don’t become active until well after sunrise. regardless of time, always move slowly
Fewer people means less chance of wildlife being disturbed. while maintaining a relaxed, non-pred-
Condensation can greatly enhance your photographic atory presence.
subjects. Morning dew or hoar frost will add delightful tex- With the sun low on the horizon,
tures to any surface or scene. But you must work quickly. Once beware of long shadows showing up in
the temperature rises, the fragile textures melt or evaporate. your frame.
Connecting to nature comes with many intangible rewards. Taking advantage of transitional light
Even without capturing a photo, the experience of wilderness can means working fast. The earth’s rotation
be ethereal and therapeutic, but photographers need to adapt to can quickly change light levels and col-
the challenges posed by limited light and timid animals. our temperatures. As the day progresses,
Tripods steady the camera during low light situations, let- you can run into a number of issues in-
ting you open the aperture and raise the ISO to keep the shut- cluding heat haze, smog, wind, low wild-
ter fast for freezing action. Whenever you are around wildlife, life activity and increased human activity.
56 PHOTO News
Tony Beck | Technique

High overhead, the midday sun tends to

radiate harsh, contrasting light. During
times of intense sunlight, many animals
prefer to hide in the shadows, protecting
themselves from harmful ultraviolet rays,
but as evening approaches, air cools, re-
turning conditions similar to those ex-
perienced at dawn.
Although dawn and dusk are best
for wildlife, intense midday sun can
still reveal a multitude of photo oppor-
tunities. Summer sunlight brings out
cold-blooded animals like frogs, turtles,
butterflies and many insects. Deal with
unattractive and contrasting light with
set-ups like dual flash systems, butter- Greater Snow
fly brackets, and reflectors. Even a sim- During Canadian winters (December through March), Geese and Canada
ple single fill flash can help soften the there are fewer species present. They are either hibernating Geese in spring
harsh midday light. or have left the area entirely. Those that remain active are in- migration -
Eastern Ontario
Every day should bring with it a dif- deed hardy and resilient. A few animals turn white to blend in
ferent parade of characters and photo with the snow. Expect animal activity around feeding areas Become familiar
with the seasonal
opportunities. With each season you and open water. Winter months have short days and scenery
dynamics of your
will have different animals, each en- usually lacks colour. area. Learn when
gaged in different activities depending Spring (April through June), my favourite season, flour- and where the
on a great variety of factors. These can ishes with life. Wildlife activity erupts as temperatures rise, animals are
all vary dramatically depending on lo- snow melts and plants grow. Hibernating animals emerge active. Migrating
birds have
cation, weather and subject matter. and birds return from the south to their breeding grounds. reasonably
We can improve our chances of cap- Most birds are decked out in their breeding plumage while predictable timings
turing great images by understanding a courtship and breeding ensue. With a high level of plant and patterns. Birds
few basic environmental dynamics. Let’s growth, colour returns to natural habitats. Unfortunately, like these geese
can appear in large
break some of these down into seasons: some mammals look rough with their winter coats shedding.
numbers in
In fall (September through Nov- Summer (July and August), brings with it long days and agricultural fields of
ember), mammals often look their best warm temperatures. Natural environments become lush Southern Canada,
since many grow fresh pelage prior to green with many different plants mixed with variable tones. but only in spring
winter. Fall’s southward migration re- There’s an abundance of food everywhere, and animals of and fall.
veals new species and increased bird every sort thrive. The season is blessed with a variety of ani- Nikon D7200, AF-S
activity. While some birds and insects mal activity, especially youngsters of the year. Nikkor 300mm f/4
PF VR, ISO 200,
migrate, some mammals engage in Fortunately for nature lovers, the greatest virtue of field 1/1000 second, f/5.6.
breeding and courtship. Fall foliage photography is that there is never a wrong time to do it. It’s
transforms the landscape into attract- just that some times are better than others. Most of the fun is
ive warm colours – great for scenery simply getting out there and discovering the endless beauty
and wildlife backgrounds. of the natural world.
Map Turtles
sunning themselves
- Eastern Ontario
Although many
animals are active
around dawn and
dusk, some cold-
blooded animals,
like these Map
Turtles, come into
the open during
midday to absorb
the sun’s rays.
Nikon D3s, AF-S
Nikkor 300mm
f/4D with TC14E
II teleconverter,
ISO 800, 1/1250
second, f/8.
 Freeze the Action with HSS!!
The WORLD’S FIRST Wireless Flash Transceiver
that supports CROSS-BRAND High Speed Sync!
The Cactus V6 II supports
cross-brand high-speed sync
(HSS/FP) and control both
power and zoom of Cactus
RF60X, Canon, Fujifilm,
Nikon, Olympus, Panasonic
and Pentax system flashes
all at the same time.
Freeze the moments that
matter with shutter speeds
up to 1/8,000s*

Explore more possibilities at

www.cactus-image.ca
*Restrictions applied. Check cross-brand compatibility at www.cactus-image.ca Will Prentice • www.capturaphoto.ca • 1/8,000s f/2.8 ISO 2000 • See www.photonews.ca for BTS

Industry Leading
Canadian Warranty
For almost 80 years, Metz has illuminated irreplaceable family
and wedding photos, from birthdays and celebrations to millions
of snapshots of daily life.
Will Prentice • www.capturaphoto.ca • 1/250s f/11 ISO 64 • See www.photonews.ca for BTS

Photographers around the world trust the Metz name to provide

the perfect light for the perfect photo, every time. Designed to
work with practically every camera*, there is a Metz speedlight
for your camera bag.
Metz mecablitz speedlights purchased
in Canada are backed by Industry leading
warranty protection for up to 5 full years. See
www.metzflash.ca for more details.

Compatible with flashes and cameras from:

CANON NIKON OLYMPUS PANASONIC PENTAX FUJIFILM SONY
*All features not currently available for all brands. Please see www.metzflash.ca for full details.

The perfect light shaper for your Metz mecablitz speedlight! www.metzflash.ca
58 PHOTO News

FLASH 101 | TAKING THE MYSTERY OUT OF...

BY WILL PRENTICE

Speedlight Modifiers
In recent issues, we have learned about speedlights and strobes - how to use them on
and off camera, and tips to set up a home studio. This month, let’s look at some clever
attachments for your speedlight and how they affect your light.

If you go into any camera shop to look at speedlight modifiers, Bounce Cards
you will find an overwhelming collection of magical attach-
ments. Some look like yogurt containers or pieces of card-
board, some look like they came right from the studio light-
ing section and others twist, fold or unroll like fancy origami.
What is a photographer to buy?
Each of these gadgets will do something to your light and
it is up to you to figure out what you want your light to do.
Here, we are going to look at the most popular modifiers and
compare them back to back to back to … you get the idea.

Integrated Bounce
The small integrated bounce card that
is often built in to your flash softens and
fills the shadows a bit more. The larger
Aurora Portaflex further softens the
shadows and lightens the background
– it creates a more pleasing image.
These images are significantly warm-
er, due to the flash bouncing off the
ceiling (which must be a warmer white
than I thought).

Bio
Will Prentice is a
Here’s the lighting set-up
Speedlight is 45° from the model, the centre of the modifier is
just above head height, angled slightly down and the front of the
modifier is kept at the same distance. Each modifier is metered
portrait and landscape for a consistent f/4 output. The camera is tripod mounted and
photographer. He likes
we are shooting with a Tamron SP 85mm prime lens. Camera
to share his knowledge,
and a few laughs, at settings in manual mode are 1/160 second, ISO 64, f/4.
camera clubs across Let’s start with a straightforward direct flash image
Canada. He’s also the as a reference. This is fairly bright with lots of highlights,
host of PHOTO News TV deep, hard shadows, and tiny catchlights. The nose shadow
on YouTube. For more
of his work and bio, is very defined. Integrated Bounce Card (left); Aurora Portaflex
check out www. (right)
capturaphoto.ca
 Autumn 2017 59

Plastic Bouncers The light created by the smaller Au- The Cactus CB60 is the ubiqui-
rora Microbox is a little harsher than a tous nylon 60x60cm softbox – neu-
softbox, but not as harsh as direct flash tral colour, soft shadows, nicely sized
and it creates nicer catchlights to show catchlights and lower contrast than the
some life in the eyes. Power was raised smaller modifiers. Like the Ultrasoft,
to almost ½ due to the small size of the you may see a pronounced shadow on
Microbox, however, it is small enough the background so position your light-
and folds flat to easily fit in your cam- ing and your subject to avoid this.
era bag. The Microbox would work Does the shape of the modifier
better for food or product photography change the look? When you are using
than portraits. smaller modifiers like these, shape is
less important. You will notice the dif-
ference in the catchlights in the eyes,
DC60 (left); Lambency (right) which is the reason octaboxes are pre-
The Cactus DC60 and large, soft plas- ferred by many portrait photographers.
tic bouncers do a good job of softening
the shadows. However, as they spread
light in every direction, I had to raise
the speedlight to ½ power for the big
“lambency”-style bouncer and almost
½ for the DC60. This will drain the bat-
teries faster and heat up the speedlight,
potentially causing thermal protection
to intervene if you use it a lot. That’s
not good for the flash. This big bouncer
also felt the heaviest. The shadows on
the face are less pronounced and the Aurora Microbox
light is much warmer. The double nose
shadow, formed because of the way the Large Softboxes
diffuser bounces light everywhere, is The LumiQuest Ultrasoft is one of the Cactus CB60
not very flattering. largest “mount on speedlight” modi-
fiers and it acts like its name suggests Round Softboxes
Small Softboxes – shadow transitions are nice and soft, The Aurora Speedbounce 30 is collaps-
while maintaining good depth in the ible and perfectly circular. Shadows are
shadows. The shadow on the back- soft with good contrast and detail. The
ground is a little more pronounced… larger Aurora Firefly2 Octa 50 is a fa-
move your subject away from the wall vourite among portrait photographers
to reduce or eliminate this effect. because it is very portable despite it’s
large open size. It opens and collapses
quickly like an umbrella. Firefly cre-
ates near circular catchlights and soft
shadows that wraparound more than a
smaller or square softbox.

Softbox III
The LumiQuest Softbox III creates some
pleasing shadow transitions and nice
catchlights. It was also one of the most
efficient modifiers, as I could lower the
speedlight power down to 1/8.2. Lower
power means your batteries will last
longer and heat should not be an issue. Ultrasoft Speedbounce (left); Firefly Octa (right)
60 PHOTO News
Will Prentice | Flash 101

Specialty Light Modifiers defined and shadows are nice and crisp
The Aurora Stripbounce 50 is a strip with some soft qualities. The Firefly
softbox – it is long and narrow. It would Beauty Dish was also the most efficient
not be my first choice as a main light for of the flash modifiers in this collection
a few reasons: if you look at the neck and – I had my flash set to just a tenth over
nose, you can see how it fills in under the 1/8 power.
neck and the bottom of the nose. Due to
the height of the Stripbounce, it also cre- Results
ates a double shadow on the face. This is The photos show how each modifier
due to the light being at the bottom and affects light. Compare the catchlights,
flashing up. These are better suited for the shadows on the subject and back-
use as accent lights or softer fill lights. ground, and the overall shape of each
light to see which one meets your needs.
Lambency diffusers and plastic
bouncers are some of the least light ef-
Firefly Beauty Dish ficient, along with small softboxes. They
Another great feature of the Firefly will do in a pinch. The bouncers are
is that you can add an optional Deflector also omni-directional, spraying light
Plate and remove the white diffusers to everywhere. This is perfect if you are
turn the Firefly into a beauty dish. I use trying to light a room or a large group,
the larger Aurora Firefly Duet 75cm, but you can’t shape the light.
which is the largest speedlight modifi- Bounce cards make a big improve-
er I typically select. The Duet does have ment to your images compared to bare
the advantage of being able to use two flash. They are either integrated into
speedlights, but for this article, I only the flash, or small enough to fit in any
Stripbounce used one. The catchlights are large and camera bag.
Melissa’s portrait
 Autumn 2017 61

efficient modifiers in this group, with

Flash Output per Modifier the soft plastic Lambency dome and
1/1 1
Stripbounce being the least efficient.
These highly specialized modifiers will
3/4 use up batteries faster and generate
more heat.
1/2 1/2.1 1/2
Next issue, I will look at Event
1/4.8 1/4.8 Photography and using speedlights
1/4.4 1/4.4 1/4.5
1/4.1
1/4.3 and strobes to get the right light. We
1/4 1/4
1/8.2
will focus on the best modifiers for the
1/8.1
1/32.8 assignment, and how to use them to
0
their best advantage.

Check out the lighting tutorials at

The most versatile and efficient Ultrasoft. For a location portrait light-
the PHOTO News TV YouTube chan-
modifiers for controlling shadows, cre- ing kit, I recommend a Firefly or CB60.
nel – where you will see many of the
ating appealing catchlights, and light For real estate or architecture shoots, a
flash units, triggers, and light modifiers
shaping, are the larger softboxes, such DC60 or similar dome and/or a Strip-
in action, and learn how to make the
as the Firefly, CB60 or Softbox III. Ex- bounce would be a good choice.
most of portable lighting equipment.
cept for the Softbox III, these don’t fit in Bear in mind that to maintain a
https://www.youtube.com/channel/
your camera bag as easily as the small- steady aperture, some of these modifi-
UCo-ESomEK0cToQLEOLkhEag/videos
er lighting accessories. ers are more efficient – which means
If you are putting together a kit for that more of the light from your flash- See the full text of the articles in the Flash
portability, I would suggest that you tube affects your image. The Firefly 101 series in the PHOTO News Digital Edi-
grab a Portaflex, a Speedbounce, or an Beauty Dish and Softbox III are the most tion Archives – www.PhotoNews.ca

Get going with Move!

Get a free battery
and MobiLED
lamp when you
purchase a
Move 1200L
Outdoor Kit 1
or Move 1200L
Outdoor Para Kit.
Move 1200L power
packs allow you to
take your studio on
location. 1,200ws of
power and ability to
E
FRE D & sync up to 1/8,000s.

o biLE Y Visit www.bron.ca for a list of

M TER stocking dealers and further
BA T details.

This offer is valid from 15 July 2017 until 30 September 2017.

www.bron.ca
62 PHOTO News

Tech Tips | EQUIPMENT

BY CHRISTIAN AUTOTTE

FUN IN THE SUN

With Laowa Lenses

The “dramatic
mode” on my Over the past few months, I have had the opportu- You can create spectacular images with
Olympus OM-D these superb lenses that are designed
E-M1 Mark II
nity to work with many of the Laowa lenses. They for optimal image quality. Laowa manu-
coupled with the have accompanied me from the Maritimes to the al focus and aperture lenses feature
7.5mm Laowa lens rugged metal construction and excel-
combined to pro- Outaouais on quite a few kilometers of hiking, and I lent optical elements, in focal lengths
duce an impressive had a ball producing some excellent pictures. that bring a new perspective to your
picture of clouds photographic adventures.
over a lake in Mt.
Tremblant Park.
 Autumn 2017 63

The Laowa line up:

the 12mm f/2.8
Zero-D, the 15mm
f/4 1:1 macro, the
60mm f/2.8 2:1
Ultra-macro, the
105mm f/2 Smooth
Trans Focus STF.

I captured some of the pictures

shown here by using the camera’s live
view; zooming-in made fine focusing
a breeze. When you use the manu-
al lenses on the increasingly popu-
lar mirrorless cameras you can use
focus peaking as an aid to focusing. A
quick glance at the depth of field scale
on the lens makes it easy to see the
hyperfocal distance to confirm your
depth of field.
Let’s take a look at the world through
some of the Laowa lenses.

LAOWA 7.5mm MFT:

The cherry on the sundae…
While I was looking forward to trying
out all of the lenses in the Laowa line,
I really had my eye on the new Laowa
7.5mm. This is the most exciting new
lens on the market, and one of the wid-
est lenses made for Micro Four-Thirds
cameras. It is equivalent to a 15mm on a When the sky is
full frame camera. Its field of view is an LAOWA 12mm: Go Super Wide! this impressive you
impressive 110°, with outstanding optics The Laowa 12mm is one of the widest lenses ever made for need a lens to take
and virtually zero distortion resulting a full frame camera, covering 122° with almost no distortion it all in. The Laowa
12mm f/2.8 Zero-D
in spectacular results. and negligible chromatic aberration. It is amazing that the tall set at f/11 did the
It is amazing how the 7.5mm ex- trees and buildings in your images will appear straight rather job. (P.S., yes, I did
pands your view of the world – and it than being curved with the typical ultrawide lenses. You will get wet, but I saved
brings a fascinating new perspective to have crisp, sharp images with virtually no colour fringing. the lens…)
the Micro Four-Thirds camera systems. I found the 12mm to be extremely sharp and very to use. I
Two versions of the Laowa 7.5mm used hyperfocal focus technique to achieve the best depth of
are available: a regular model and an field – this is easy – just choose the aperture (usually around
ultra-light lens that is designed to be f/11 for landscapes), turn the focusing ring until the infinity
used for cameras mounted on drones. mark (∞) is placed in line with the indicator to the left of the
Like most prime lenses for Micro f/11 mark; at the opposite end of the depth of field scale the cor-
Four-Thirds cameras, this one is quite responding f/11 mark is close to the 0.5 metre distance indi-
small, measuring 50mm by 55mm, cator. In other words, everything from half a metre away to
with a weight of 170 grams (just 150g infinity will be sharp. No need to focus. No bother. Just point
for the light version). It is compatible and shoot…
with Panasonic, Olympus and Black- With a very prominent front element, Laowa offers an option-
magic cameras with Micro Four-Thirds al 100mm filter holder system that can accept square glass fil-
mount. ters. There is a slip-on lens hood that protects the front element.
64 PHOTO News

There is one special technique to mas-

ter when using super-wide angle lenses:
you should compose so that the scene
includes key subject elements at various
points across the frame, or the resulting
image may look “empty”; try to find a
strong foreground or a fantastic sky to
create a strong and different picture.

LAOWA 15mm:
Macro with a twist… Small in size but big in performance - the Laowa 7.5mm f/2 MFT for
As a keen macro photographer, I was eager Micro-Four-Thirds cameras.
to try the unique Laowa 15mm macro, the
world’s widest 1:1 macro lens. This is also a I found myself looking at the macro world from an entirely
great lens for wide angle landscapes and fresh perspective and I had a great time discovering the world
architecture photography. through this unique macro lens! When you combine the extreme
close focusing with the wide-angle perspective, you discover a
new world of photo opportunities. As an ultrawide macro, it can
get very close to your subject while including the background –
something no other lens can do.
The Laowa 15mm Macro has a special feature that makes
it an ideal choice for architectural and landscape photography
- the front element can “shift” up or down to correct the per-
spective distortion often seen in wide angle images. Push
the small lever on the left side of the lens barrel to unlock the
mechanism and you can shift the optical path of the lens to
shoot tall subjects, like buildings and trees, without the “fall-
ing backward” perspective normally produced by wide angle
lenses that are pointed upward. It is so easy to use this feature
– just keep the camera vertical, flip up the front element, and
most or all of a tall subject will be kept in the frame to create a
more pleasing image.
As an added advantage for landscape photography, the
15mm can be fitted with 77mm filters, something I did with
many of my pictures. Using a polarizing filter made it possible
to remove reflections on water and wet rocks.

LAOWA 60MM: More Macro!

Most macro lenses can focus close enough to render a sub-
ject with a 1:1 magnification ratio. In other words, a subject
measuring 1cm will produce an image of the same dimension

Unlike most macro lenses, the Laowa 60mm f/2.8 2:1 Ultra-macro
can go beyond the standard 1x (life-size) magnification to reproduce
a subject at 2x.

The Laowa 15mm f/4 1:1 macro can focus so close that your subject
can almost touch the front element. This makes it possible to shoot
macro photographs with a very unique perspective.
 Autumn 2017 65

on the sensor. Exploring the world of insects and plants at equivalent to f/3.2, but the depth of field
magnification beyond 1:1 usually requires the use of extension is that of f/2. The aperture rings should
tubes or expensive and cumbersome bellows, but the Laowa be used one at a time.
60mm focuses quite a bit closer than 1:1 all on its own: it can The 105mm is meant to be used wide
get close enough to give a 2:1 magnification ratio, so the im- open to get that creamy bokeh. When
age on your sensor is twice the size of the actual subject. This proper focus is achieved, the subject
is achieved with an entirely internal focusing system, so the comes out very sharp even at f/2. Like
lens doesn’t change length as it focuses closer. The working any mid-range large aperture lens, it is
distance is also a comfortable 5cm from the front element at very unforgiving if the focus is slightly
2x magnification. off. I shot many excellent pictures with
Combine this extreme macro magnification with the out- this lens on a full frame camera, and it
standing optics of the lens, and the Laowa 60mm Macro be- was a breeze to use the lens with a Micro
comes a must-have lens – at an affordable price! Four-Thirds set to focus peaking.

LAOWA 105mm: Smooth Trans Focus! Full Frame VS APS-C

Of all the Laowa lenses, the 105mm is the one that intrigues All of the Laowa lenses are designed for
me the most. This lens features a new concept - Smooth Trans use with full frame cameras. However,
Focus. To put it simply, an extra “Apodisation element” is in- two of them have characteristics that
cluded in the optical formula, next to the aperture. This acts you should be aware of. On a full frame
somewhat like a neutral density filter, gradually reducing the camera, the 60mm macro will display
amount of light towards the periphery of the image to produce some vignetting when its diaphragm is
softer bokeh than most other lenses. closed down to the smaller apertures,
Used wide open,
Another interesting aspect of this lens is that it has two something we normally do in macro as it should be,
aperture rings. Since both of the aperture rings are fully manu- photography. With the 15mm a small the 105mm
al, it is possible to set the aperture anywhere between stops. The amount of corner vignetting can be vis- f/2 Smooth
T-stop aperture ring starts at f/3.2 while the regular f/stop ring ible when using some filters or when Trans Focus STF
starts at f/2. This is because of the Apodisation element: be- shifting the lens up or down. These produces one of
the best bokeh
cause it darkens the edge of the image when the aperture is set characteristics disappear entirely when effects in the
wide open, the actual amount of light that reaches the sensor is you use the lenses on an APS-C camera. industry.
66 PHOTO News Final Frame

On The Road Again

For images that depict a sense of travel and adventure...

Manvir Singh, of Regina, Saskatchewan, captured this iconic scene of the Canadian Rockies on the road between Banff and
Jasper, shooting with a Nikon D750 and Tamron 70-200mm f/2.8 lens at 92mm, f/5, 1/2000 second, ISO 320. “While my
friend drove the car, I raised my camera through the open sunroof and used the tilt screen to compose this photo”.

The PHOTO News Canada Autumn 2017 Challenge fun, it’s free, and it’s a friendly environment for
theme is “On the Road Again... ” photographers of all ages and skill levels.
Your assignment: to photograph an image that con- The contest deadline for entries for the “On the
veys a sense of travel and adventure–scenes may Road Again” Challenge is October 15, 2017.
include classic composition, interesting perspec-
tives and lighting, or the sense of movement that one See your pictures in print!
equates to travel.
It is always a thrill to see your pictures in a na-
You may want to interpret the theme from a creative tional magazine – for every issue, PHOTO News
approach, using selected shutter speeds to achieve Canada selects reader’s images from the photos
the effect, or you may simply enter images that show posted in our PHOTO News Canada Reader’s
the world around us–but travel and touring is the key Gallery flickr® group pool – so take a look, sign
for this assignment. in, post a few of your favourite photos, and enjoy
You may submit images photographed prior to the our interactive photographic adventures!
Autumn of 2017. The PHOTO News Canada Challenge is
The contest is open to all Canadian photographers. sponsored by Panasonic Canada, who
Please enter by joining our flickr® group at www. will present a special prize for the most
flickr.com/groups/photonewsgallery/ and look for interesting image selected for publication
the Autumn 2017 “On the Road Again... “ Challenge in the next issue.
discussion thread, where you will find additional de-
tails, samples, suggestions, and technique tips. It’s

FOLLOW US ON THE NET

facebook.com/ twitter.com/ Tune in to our YouTube Channel:

PHOTO Newscanada PHOTO Newscanada PHOTO News Canada TV
 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.