Vivian Maier Photo Life PDF

PL_JULY15.
qxp_Photo Life Jan 2005 2015-04-30 2:08 PM Page 1
YOUR GUIDE TO EVERYTHING PHOTO
THE YEAR’S BEST

PHOTO PRODUCTS!
VIVIAN MAIER
Her Life, Her Legacy,
+
UNDERSTANDING
THE SUNNY 16
RULE
and theQuestion of Copyright
WHY A PHOTO BOOK IS LOW-PASS FILTERS

GOOD FOR YOUR BUSINESS WHAT’S THE BIG DEAL?
GET BETTER RESULTS
WHEN YOU PRINT
THE CANADIAN MOSAIC PROJECT A PHOTOGRAPHER’S QUEST TO UNITE CANADA
PL_JULY15.qxp_Photo Life Jan 2005 2015-04-30 2:08 PM Page 2
SOME SHOTS ECHO BEYOND

YOUR SOCIAL CIRCLE.
CONTENTS
June/July 2015, Volume 40, Number 4
4 Contributors
6 Editorial
10 Exposure
66 Close-up
Cover
photo by
Glenn
Springer
VISION
22 The Story of Vivian Maier
by Stephen Bulger
Over the past eight years, photographs by a woman named Vivian Maier have taken
the photo world by storm. This tale encompasses a wide range of topics: hidden
talents, 50s and 60s Americana, auction-house finds, unknown intentions and/or
restrictions, copyright debates and a plethora of great photographs.
28 Best of Photo Clubs 2015

We invited members of photo clubs across Canada to share their finest work
with us; thank you to everyone who participated! We are proud to present the
top images submitted to the 2015 Best of Photo Clubs competition.
34 Without the Frame

22 The Flocks Return
by David duChemin
In January 2013 I returned to Kenya, near the Ethiopian border, where I docu-
mented the BOMA Project’s work among nomadic pastoralists eking out a liv-
ing in some of the most desperate and inhospitable places I’ve ever been.
36 The Canadian Mosaic Project

by Tim Van Horn
28 On Canada Day 2017 in Victoria, British Columbia, at mile zero of the Trans-
Canada Highway, a forty-foot multimedia pavilion on wheels will launch out
across the land on a 365-day tour broadcasting the beautiful story of who we
are.
40 Showtime Green
TECHNIQUE
42 Publishing a Photo Book
by Scott Linstead
A printed book is still an effective tool for sharing photography with an audi-
ence. A self-published book for profit and for advancing one’s career is well
within the grasp of the serious amateur photographer.
48 FAQ Low-Pass Filters

by Jean-François Landry
For a while now, we’ve heard a lot of talk about the low-pass filter. Their use-
36 fulness is being questioned since they cause a slight decrease in sharpness. Let’s
look into it more.
PHOTO LIFE JUNE/JULY 2015 3

PHOTO LIFE JUNE/JULY 2015

Volume 40, Number 4
171 St. Paul Street, Suite 102, Quebec, QC Canada G1K 3W2
418-692-2110 1-800-905-7468
50 Photo 101 Understanding the Sunny 16 Rule info@photolife.com
There are some simple, basic rules that can save you time and energy, even in facebook.com/photolifemag @photolifemag
this digital age where everything tends to automate itself. The Sunny 16 Rule is SUBSCRIPTIONS
one of them. 1-800-461-7468
subscription@photolife.com
EDITORIAL
GEAR Editorial Department

editor@photolife.com
52 Digital Workflow Editorial Director
Valérie Racine . . . . . . . . . . . . . . . .vracine@photolife.com
Printing Tips for Better Outputs Administrative and Editorial Assistant
Jenny Montgomery . . . . . . . . . . . . . . .info@photolife.com
by David Tanaka Contributing Editors
It seems so simple. The photo looks great on your computer screen. That special David Tanaka
Peter K. Burian
fine-art paper you bought is just awesome. You hit Print and—disappointment. Art Director
What happened? Printmaking is a dance between printer, paper and computer. Guy Langevin . . . . . . . . . . . . . . .glangevin@photolife.com
ADMINISTRATION
56 The 25th TIPA Awards Publisher & Media Sales Director
Guy J. Poirier . . . . . . . . . . . . . . . .gpoirier@photolife.com
As a member of the Technical Imaging Press Association, Photo Life joined the 418-692-2110 or 1-800-905-7468 Ext. 101
Advertising Consultant
other 27 leading photo and imaging magazines from 15 countries on five conti- Stephen Stelmach . . . . . . . . . .advertising@photolife.com
nents in Dubai to vote for the most outstanding photo and imaging products. 416-996-1822
Accounting
Emmanuelle Champagne . . . . .accounting@photolife.com
58 Gadget Guide
by Jean-François Landry PHOTO LIFE (ISSN 0700-3021) is published six times a year
(December/January, February/March, April/May, June/July,
August/September, October/November) by Apex Publications
60 Imaging Products Review Inc., a Canadian-owned company. All rights reserved. The
contents of this publication may not, under any circumstances,
by Peter K. Burian including Cancopy, be reproduced or used in whole or in part
without the written permission of the publisher.
PHOTO LIFE is indexed in Canadian Magazine by Micromedia

CONTRIBUTORS AND EDITORIAL STAFF Limited. Back issues of PHOTO LIFE are available in microform
from Micromedia Limited, 20 Victoria St., Toronto, Ontario
M5C 2N8.
Stephen Bulger is the owner of the Stephen Bulger Gallery, located in Toronto’s Art and
We acknowledge the financial support of the Government of
Design District. Founded in 1994, this is one of the few galleries in Canada that specialize in pho- Canada through the Canada Periodical Fund of the Department
tography. bulgergallery.com of Canadian Heritage.
Peter K. Burian is a technology writer and freelance stock photographer. He is the

author of several Magic Lantern Guide books on DSLR systems. He is also a digital photography
course instructor with betterphoto.com. peterkburian.com Occasionally, we make our subscriber list available to carefully
screened companies whose products and services might be of
interest to our subscribers. If you prefer to have your name
David duChemin is a Vancouver-based photographer and adventurer. His bestselling removed from this list and not receive these mailings, let us
books on the art of photography have been translated into a dozen languages. davidduchemin.com know by telephone, fax, regular mail or email.
Member of CCAB, CITA and TIPA.

Jean-François Landry has been providing advice to photographic equipment buyers
in Quebec City since 1989. He also shares his passion with amateur photographers through courses
and magazine articles. cylidd.com
REGULAR PRICES
Guy Langevin has worked as a graphic designer in the photo industry for many years. You $35.70 (1 year - 6 issues)
$71.40 (2 years - 12 issues)
don’t collaborate with and befriend some of the best photographers in the country without learning a $107.10 (3 years - 18 issues)
few tricks of the trade, so he became a photographic designer. Prices exclude applicable Canadian sales taxes. Make cheque
payable to PHOTO LIFE. US residents pay in US funds and add
US$10.00 per year for postage. Foreign residents pay in US
Trained in aerospace engineering, Scott Linstead stepped into professional nature funds and add US$90.00 per year for postage. Single copy:
photography after leaving a high-school teaching position in 2007. He is the author of the book CAN/US$5.95
Decisive Moments: Creating Iconic Imagery (2010). scottyphotography.photoshelter.com
SUBMISSIONS
PHOTO LIFE welcomes portfolio and article submissions for
Jenny Montgomery is a theatre director and writer who first learned her way around a possible publication. Article submissions must pertain to the
darkroom in 1998. Photography runs in her family, so it was probably inevitable that it would be a subject of photography and include images supporting the
submitted text. All submissions must respect the publisher’s
part of her life. submission guidelines. Complete submission guidelines are
available at www.photolife.com, from the publisher at
Valérie Racine began working for Apex Publications in 2002. She currently serves as write@photolife.com, or by calling 1-800-905-7468.
Editorial Director for both Photo Life and Photo Solution magazines. Her background includes COPYRIGHT © 2015 APEX PUBLICATIONS INC.
studies in art, art history and communications, and she is passionate about photography. No material from the magazine may be reproduced without the
written consent of the publisher. Despite the care taken in
David Tanaka is a technology writer based in Lethbridge, Alta. His work as a photographer reviewing editorial content, Apex Publications Inc. cannot
guarantee that all written information is complete and
includes magazine assignments, fine-art printmaking and stock. He also teaches multimedia accurate. Consequently, Apex Publications Inc. assumes no
communication at Lethbridge College. responsibility concerning any error and/or omission.
Growing up and travelling around Canada within the Canadian military community, Tim Van Publications Mail - Agreement No.: 40010196
171 St. Paul Street, Suite 102, Quebec, QC Canada G1K 3W2
Horn was hooked on movement and cultural experiences, which led him to embark on a lifetime PRINTED IN CANADA
journey as a photojournalist. He is the initiator of the Canadian Mosaic Project. canadianmosaic.ca
4 PHOTO LIFE
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EDITORIAL
June/July 2015, Volume 40, Number 4
hat is most important in your life? For me, it’s the people I love: my spouse,
W my family and my friends. And then there are all those connections that could
be described as acquaintances, like the people I’ve crossed paths with through
my work or those I meet through various day-to-day activities. I’ve come to realize that
these relationships are much more important than they might seem. These people are
actually the ones who help me reach beyond my world, linking me to the rest of
humanity. If I try to imagine lines connecting all of us together, with me somewhere at
the centre, I get a mental picture that enlarges my vision of community.
With this issue, we announce the results of the Best of Photo Clubs competition and
launch the new edition of The World We Live In photo contest. We also share the story
of Tim Van Horn’s photo-
graphic road trip across
Canada. What do these
things have in common?
They all are ways of
developing community.
Tim Van Horn is working
© niCK TrEHEarnE
to connect with a whole
bunch of strangers across
© Tim Van Horn

the nation. Photo clubs
are an excellent opportu-
nity to gather with other COMING UP
people who love photography and to learn together. And photo contests allow us to THE WILDLIFE ISSUE
reach out beyond ourselves by sharing our work with the greater community.
Behind the Image
Ian McAllister
There is a theory that there are only six degrees of separation between anyone on the
planet. We probably won’t meet many of our 4th-, 5th- or 6th-degree connections, but by Plan and organize your
reaching out to our friends, the friends of our friends, and even those people’s friends, wildlife-photography trip
we get a pretty wide community. And if we were to use this interwoven web of con- How to make animals
nections as a springboard to learn from and inspire each other, imagine what great comfortable with
things we could achieve together! The photographic community in Canada is alive and your presence
kicking. Reach out—through a photo club, a photo contest or our Facebook page—and Deciphering lens elements
I guarantee you will benefit from it…and so will the photo community! Will you learn (ED, SLD, etc.)
to be a better photographer? It would be hard not to. But more importantly, you will
connect with people and make new discoveries. Gear selection
Remote accessories
Valérie Racine The lowdown on the latest gear
Editorial Director
Gadget Guide
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6 JUNE/JULY 2015 PHOTO LIFE

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EXPOSURE WHAT’S ON IN TODAY’S PHOTO CULTURE
[your view]
ON THE BLOG Q&A “WOULD I GET BETTER ON THE BLOG Q&A ABOUT LENS RENTALS
IMAGE QUALITY WITH AN 18-200 MM LENS?” Thank you for your informative article on Canadian lens rentals.
This is good to read. This helped me lots too. But i had a lens a nice alternative for those us who do not have the immediate
that went to 300 mm, and it made sharp images until approx. funds for purchases of high-quality glass.
270 mm, then it seemed to go blurry. is this common? and for —Barry moon via the blog
filters for your lens, is it better to have a daylight filter on at all
times than not? Thanks for your comment, Barry Moon. Even a rich photo
—Christie via the blog enthusiast would be wise to rent a lens he needs only a couple
of times a year.
Thanks for your note, Christie. Yes, the 18-300 mm lenses —Peter K. Burian
usually do provide the best image quality in the 18-250 mm
range. (And the 18-200 mm lenses are best in the 18-150 mm FEEDBACK ON THE WORLD WE LIVE IN
range.) A protective filter is fine, but as I said in my answer, WINNING IMAGES
remove it when shooting toward the sun or even in strong side absolutely outstanding photographs for the annual contest
lighting. And be sure to buy the lens hood if it did not come winners. and good work on the judges’ part as well.
with the lens. The hood shades the front element making it less —David Johns via email
likely that stray light will strike it, causing flare (a bright/haze that
reduces contrast and, hence, apparent sharpness). HOW TO ADD TEXT TO IMAGES IN LR 5
—Peter K. Burian i am using Lightroom 5 and cannot put text on my pictures if i
email them or just to send to family members or anyone. i was
using Elements 12 prior to using Lr 5. in Elements it is doable,
but it would create a new file…. is there a plug-in or photo-
editing software that i could purchase all together that would do
what i’m trying to do? if it means giving up Lr 5, so be it.
—George G. via email
Yes, you can apply text to images in Lightroom 5 when you

export them. When you use the Export command, if you scroll
down the right panel, you’ll come to a heading called
Watermarking. If all you see is the heading ribbon, open the
dialog by clicking on the triangle to the left of the heading.
July 25 - August 9, 2015 The dialog has only two items: a check box and a drop-down
Books & Co. 289 Main Street, Picton ON K0K 2T0 menu bar. Check the box. Then click the drop-down arrow and
choose Edit Watermarks. When you do that, a second panel
called the Watermark Editor will open.
© Mihal Zada
2014 Best in Show and Doug Boult Award | Mihal Zada | Brand New
Speakers Night | Friday July 31 | 6:30 - 8:30 p.m.

Admission $10. Students $5.
This Watermark Editor panel lets you write the text you want to
Robert Bailey include on the image and also gives you a lot of flexibility in
“What Were They Thinking?” choosing the typeface, type colour and type size, where it will
A behind-the-scenes look at judging photography be positioned and also lets you apply text effects. When you
CLiCPhotoShow.com save it, the next time you look at the Watermark dialogue, the
watermark you created will show up in the drop-down menu.
You can later delete or modify it.
—David Tanaka
10 JUNE/JULY 2015 EXPOSURE PHOTO LIFE

The moment when you no longer

take pictures, you make them.
This is the moment we work for.
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Carl Zeiss SLR lenses

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EXPOSURE
[what’s on]
NATIONAL GALLERY OF CANADA
aLTa.,1900, STErEoGrapH/LiBrary anD arCHiVES CanaDa

© UnDErwooD & UnDErwooD, Bow riVEr VaLLEy, Banff,
Through august 30, For the Record: Early Canadian Travel
Photography is on view at the national Gallery of Canada in
ottawa. in the early 19th century, transportation companies hired
photographers to capture impressive Canadian scenery with the
goal of inspiring people to visit various destinations, and over
time, these images helped establish a national identity. in
addition, through September 13 Luminous and True: The
Photographs of Frederick H. Evans showcases the artist’s
platinum and photogravure prints. gallery.ca
© UnKnown pHoToGrapHEr, CoUpLE poSinG in fronT of niaGara faLLS, 1858,
© wiLLiam noTman, GrEaT CEDar TrEE, STanLEy parK, VanCoUVEr, B.C., 1897,

aLBUmEn prinT/LiBrary anD arCHiVES CanaDa
amBroTypE/LiBrary anD arCHiVES CanaDa
CAMERA OBSCURA
FESTIVAL
The Camera obscura project is
presenting the midnight Sun
Camera obscura festival from
June 17 to 21 in Dawson, y.T.
The festival features tours of
artists’ camera obscura projects,
workshops and presentations
open to the public, and exhibi-
© DonaLD LawrEnCE
tions at the oDD Gallery in

© DiannE BoS
Dawson City and the yukon arts

Centre in whitehorse. Dianne
Bos’ camera obscura will allow
viewers to see constellations of
stars from multiple pinhole
projections inside a tent, and
Donald Lawrence’s project will be
mounted on the George Black
ferry that crosses the yukon
river at Dawson City.
© DonaLD LawrEnCE
© DonaLD LawrEnCE
midnightsuncameraobscura.com

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EXPOSURE
[what’s on]
© anUraG KUmar
Grand Prize - Life in Colour
© rUDoi VLaDimiroViCH
© HariSH CHaVDa
© arUna BHaT
1st Prize - Life in Colour 1st Prize - General 1st Prize - Faces (Black and White)
HIPA: LIFE IN COLOUR

Hamdan bin mohammed bin rashid al maktoum international photography award (Hipa) has announced the
winners of the contest’s fourth year, which had the theme Life in Colour. photographer anurag Kumar from india
received the grand-prize award of US$120,000 for his image of Holi, india’s festival of colours. Twenty-two other
photographers were awarded with prize money totalling US$400,000. among the honoured photographers were
Sebastião Salgado, who won the photography appreciation award, and Scott Kelby, who was recognized with the
photographic research/report award. next year’s main theme is Happiness. The contest is free and open for
submissions through December 31, 2015. hipa.ae

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EXPOSURE
[what’s on]
© EDwarD BUrTynSKy
NEW PHOTO EXHIBITIONS AT WHYTE MUSEUM

from June 14 to october 18, the whyte museum of the
Canadian rockies in Banff is featuring two photography
exhibitions. Legacy in Time: Rephotography by Henry Vaux Jr.
is a collection of images taken by Henry Vaux Jr. and his
ancestors at the same locations over the last century. These
photographs reveal how glaciers, waterfalls, mountains and
lakes have changed over time due to climate change.
Though photography, video, installations and paintings from the

early 19th century to today, Water Eau 水 Mînî पानी Wasser ‫םימ‬
Acqua ‫ یناپ‬Tubig H2O explores imagery of water, promoting
reflection on how to protect this essential natural resource.
whyte.org
© HEnry VaUx Jr.

[what’s on]
DNA Graphite Messenger Bag

CANADIAN MODERNISM Tenba’s newest Messenger bag is
From June 27 through designed to provide year-round, all-
© JOHN VANDERPANT/COURTESY OF STEPHEN BULGER GALLERY

September 12, the Stephen Bulger weather, rugged performance for your
Gallery in Toronto is exhibiting camera and accessories – without
Canadian Modernism, which sacrificing stylish good looks. For example,
highlights the work of John the front flap extends over the top of
Vanderpant and other Canadian the bag to ensure 100% weatherproof
coverage. For additional wet weather
photographers from the 20th century.
protection, the DNA Graphite includes
a removable and reversible WeatherWrap
cover. Available in 4 sizes.
New! Benro Mach3 Series Tripods

Benro’s most advanced tripods, the
Mach3 series features classic design,
high-performance rubber twist locks, and
legs made from 9 layers of carbon fibre,
delivering unprecedented strength and
sturdiness without weighing you down.
Includes a short column for low level
shooting, spiked feet, and a gorgeous
carrying case you’ll be proud to carry.
Also available in aluminum models.
Mantis Background Kit

Bring your background with you!
Completely portable, the Mantis kit
is designed to support a roll or sheets
of background paper or any other
background material. The stand measures
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stands and a choice of a telescopic or

4-section crossbar. It all fits inside a handy
carrying bag.
Tenba, Benro and Mantis products are

RESURFACING
available at leading photo specialty retailers.
Henri Venne’s Resurfacing will be at Art Mûr in Montreal through
June 20. These abstract, minimal images explore remembering
and forgetting. artmur.com
www.gnigami.ca
PHOTO LIFE EXPOSURE 1 Y 2015

JUNE/JUL 2015-05-0417
3:47 PM
EXPOSURE
[what’s on]
© JoHn moorE/GETTy imaGES, US, L’iriS D’or, 2015 Sony worLD pHoToGrapHy awarDS
SONY WORLD PHOTOGRAPHY AWARDS same with heart, compassion and understanding, which this
The world photography organisation has announced the 2015 photographer has achieved with unerring skill. Combine this with
Sony world photography awards’ L’iris d’or/photographer of the an eye for powerful composition and cogent visual narrative, and
year recipient and the other competition winners. This year there good documentary photography becomes great.” German
were 183,737 entries from 171 countries in the professional, photographer armin appel won open photographer of the year
open, youth and mobile phone competitions. and was awarded US$5000. Elliott Erwitt was honoured with the
outstanding Contribution to photography prize.
U.S. photographer John moore was named L’iris
d’or/photographer of the year and was awarded a US$25,000 Canadians Donald weber and Jennifer osborne were recognized
prize and the latest Sony digital imaging equipment. Chosen from in the professional competition. Donald weber won first place in
among the winners of the 13 professional categories of the the Still Life category for his series Molotov Cocktails, which
competition, his series Ebola Crisis Overwhelms Liberian Capital focused on this weapon used by Euromaidan protestors in Kiev,
documented the tragic spread of Ebola in monrovia, Liberia, Ukraine. Jennifer osborne was shortlisted in the people category
which was the epicentre of the epidemic. The judges stated, for her series Indian Me.
“John moore’s photographs of this crisis show in full the brutality
of people’s daily lives torn apart by this invisible enemy. However, George Ching-yuen Lo won the Canada national award. all
it is his spirit in the face of such horror that garners praise. His photographs taken by Canadian photographers and submitted to
images are intimate and respectful, moving us with their bravery any of the competition’s ten open categories were considered for
and journalistic integrity. it is a fine and difficult line between this award. Sandra fiedler was named the second-place winner,
images that exploit such a situation, and those that convey the and Lise Simoneau was the third-place winner. worldphoto.org
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ONLINE
© Sandra Åberg
75
00 [book reviews]
by Jenny Montgomery
LOVE. LIFE. BEAUTY. THE SUPERLATIVE LIGHT

by Keegan Allen photographs by Robert Shults
St. Martin’s Press, $34.50, text by Dr. Todd Ditmire and
320 pages, hard cover Rudy Rucker
fans of the television series Pretty Little Liars Daylight Books, $39.95,
will recognize Keegan allen for his TV, film and 84 pages, soft cover
stage work, but this artist is also a Creatively designed as a two-in-one sci-fi
photographer and writer. in Love. Life. book, The Superlative Light begins with Dr.
Beauty., allen shares the story of his life so far Todd Ditmire’s scientific introduction of the
through photography, drawings, writing and Texas petawatt Laser facility in one direction.
poetry. The personal nature of his reflections Then just flip the book over to read rudy
gives the reader the feeling of being allowed rucker’s science-fiction story in the other
to peruse his journal and follow the direction. Both narratives are aptly illustrated
development of his work over the years. with robert Shults’ grainy, mysterious black-
and-white images of the Texas petawatt Laser
lab and the scientists who work there. This
book would be a fun gift for sci-fi, laser-loving
types.
SMALL YET DEEP

AND PARABOLIC
UMBRELLAS
Profoto umbrellas are now available in
no less that 18 models, three fabrics
and two shapes.
See them all at:

www.profoto.com/ca/umbrellas
SHOOTING SPACE: ARCHITECTURE

IN CONTEMPORARY PHOTOGRAPHY
by Elias Redstone
Phaidon Press, $89.95,
240 pages, hard cover
featuring over 400 images by 50 photographers,
this large-format book is an excellent resource for
architecture buffs. Divided into five sections—
manufacturing iconography, Cityscapes of Change,
man-altered Landscapes, Excavating modernism
and after architecture—Shooting Space thoroughly
examines photographic responses to man-made
environments.
PHOTO LIFE EXPOSURE JUNE/JULY 2015 21

VISION
THE STORY OF VIVIAN MAIER

THE FIRST MAJOR PHOTO DISCOVERY OF THE 21ST CENTURY
BY STEPHEN BULGER
over the past eight years, photographs by a woman named Vivian

maier have taken the photo world by storm. in fact, scores of people
not normally interested in photography are familiar with her unusual
story. This sad tale of an intensely private woman encompasses a wide
range of topics: hidden talents, 50s and 60s americana, auction-house
finds, unknown intentions and/or restrictions, copyright debates and a
plethora of great photographs.
HER LIFE
Through the images Vivian Maier left behind and some serious sleuthing by many,
some details about her life have been pieced together. Born in New York on February
1, 1926, to a French mother, Maria Jaussaud, and an Austrian father, Charles Maier,
Vivian Maier spent some childhood years and, later, some young-adult years in France.
She lived with her mother; her father appears to have
been mostly absent. There has been no trace of her
brother, Charles, since the mid-1950s. At the age of
four, Maier and her mother lived with a successful
photographer named Jeanne Bertrand. It is assumed
by many that this relationship helps explain Maier’s
interest in photography.
In the late 1950s, Maier returned to New York City

from France and worked a variety of jobs until she was
hired as a nanny by the Gensburg family. She moved
to the affluent North Shore suburbs of Chicago to live
with them. Maier remained a fixture in that family for
16 years and then proceeded to work for a number of
different families. Though usually seen wearing a
Rolleiflex camera around her neck and taking pictures,
it appears that Maier only shared a handful of her
photographs with a few of her subjects. The fact that
HIGHLAND PARK, IL (SELF-PORTRAIT, she left behind a secret collection totalling approximately 150,000 images is a testament
BEDROOM MIRROR), JanUary 1965
© ViVian maiEr, to her success at achieving privacy. In her later years, some of the Gensburgs
CoUrTESy STEpHEn BULGEr
GaLLEry CoLLECTion reconnected with Maier and helped her pay for living expenses, but they never pried
into her personal life or possessions. Those who knew her suggest that as she aged,
22 JUNE/JULY 2015 VISION PHOTO LIFE

CHICAGO (FAMILY STANDING NEAR CTA BUS), CirCa 1965 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion
PHOTO LIFE VISION JUNE/JULY 2015 23

CHICAGO (WOMAN WITH PEARLS), WILMETTE, IL (GLOVES ON WINDOW SILL),

1967 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion aUGUST 1972 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion
her behaviour became increasingly isolating, so it is doubtful that she would have ever
brought out her old photographs to share with others. After falling on ice and hitting
her head, Maier was hospitalized in November 2008. She was later moved to a nursing
home in the suburbs of Chicago, where she died in April 2009.
HER LEGACY
Vivian Maier’s acclaim as a photographer came only after her death. Many people
consider it sad that she did not know how deeply her photographs affect people, while
others strongly believe that her privacy is now being invaded. Among her personal
effects was a letter addressed to a printer, but apparently never sent, where she
describes her photographic aspirations. Looking at when she lived, I do not think it is
a leap of logic to say that she was a victim of her time. The few women who were
able to break through the wall of male curators came from professional photography
backgrounds and were often spirited as well as connected. Vivian
aT THE aGE of foUr, Maier had no such credentials, and without training in editing,
maiEr anD HEr moTHEr she likely would not have been able to craft an impressive
LiVED wiTH a SUCCESSfUL portfolio, even if curators had given her the time of day.
pHoToGrapHEr namED
JEannE BErTranD. iT iS Her discovery happened only because she gave up ownership of
aSSUmED By many THaT her images. In addition to what she crammed into her Chicago
THiS rELaTionSHip HELpS apartment, Maier had filled nearby storage units with possessions
ExpLain maiEr’S inTErEST of all sorts. When she stopped paying rent on these units, her
in pHoToGrapHy. belongings became the property of the storage-locker company,
which auctioned off the units’ contents in 2007. A Chicago auc-
tioneer named Roger Gunderson purchased the items for $250, and luckily the photo-
graphs and negatives were kept from the massive purge that occurs in these situations.
Gunderson divided up the photographic collection and auctioned it off in numerous
lots over subsequent weeks. At that time, John Maloof purchased around 30,000 of her
negatives (and some vintage prints) from an approximate total of 100,000 negatives
found in these lockers. Ron Slattery and Randy Prow were other original buyers of
note. It has been reported that there were between 5 to 10 original buyers, and some
of them offered the material they purchased on eBay, so at this stage it is difficult to
determine the full extent of her archive. I have met two Canadians who purchased
anonymous work on eBay during the period from 2007 to 2009. One owns a small
group of negatives, while the other owns 60 rolls of 8-mm film footage by Maier.

CHICAGO (ELDERLY WOMAN, POLICEMAN), MAXWELL ST., CHICAGO (TWO SHIRTS HANGING),
1968 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion 1967 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion
John Maloof made his purchase hoping to use the images as illustrations for a project
about a Chicago neighbourhood, but realizing they wouldn’t work, he stored them out
of sight for many months. Eventually he offered some for sale on eBay, an activity that
met with a degree of success. After appreciating the quality of Maier’s talent, Maloof
started uploading the photographs onto Flickr and went on to acquire works from the
other original buyers. He also met with the Gensburg family, who gifted him with more
of Maier’s possessions that were in an additional storage locker. This locker held
another large collection of her photographs and negatives, including hundreds of rolls
of unprocessed colour and black-and-white film. To date, his collection of Vivian
Maier’s work includes approximately 150,000 black-and-white and colour negatives, as
well as more than 3,000 vintage prints, hundreds of rolls of unprocessed colour film,
home movies, audio-tape interviews, cameras and ephemera. Maloof’s devotion to
Maier’s work has been crucial to exposing the public to her talents, and it has also
inspired him to become a photographer and filmmaker.
I first saw Maier’s work published in the New York Times and was intrigued but
skeptical. Photo geeks like me often discuss whose talents have been overlooked;
however, I do not remember ever having a single conversation about the possibility of
someone with this amount of talent working in absolute obscurity. Many experts
dismissed Maier’s work without seeing much of it because it wasn’t discovered by a
curator and because it was the public who so quickly canonized
her. Social media had already made it possible for single images many ExpErTS DiSmiSSED
to go viral, but never had an entire career of an unknown pho- maiEr’S worK wiTHoUT
tographer from the recent past gone viral! The more of her work SEEinG mUCH of iT
I’ve seen, the more impressed I am by her photographs. They are BECaUSE iT waSn’T
a fresh glimpse into America at a time that nostalgia has covered DiSCoVErED By a
so thoroughly. CUraTor anD BECaUSE iT
waS THE pUBLiC wHo So
Photographers are largely defined by the materials they select and qUiCKLy CanonizED HEr.
how they incorporate them into a distinctive style. Maier’s use of a
Rolleiflex camera for street photography isolated her subjects from their surroundings.
Shot from a lower vantage point, her portraits are imbued with a statuesque formality,
and her close proximity illustrates her confidence and empathy. I am especially taken
with her plentiful and varied self-portraits, which seem to project how she connected to
the world around her. Seeing a collection of them that spans a significant period of time

NORTH SUBURBS, CHICAGO (SELF-PORTRAIT, STOREFRONT WINDOW REFLECTION), WILMETTE, IL (GIRL INSIDE CULVERT ON BEACH),
1968 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion 1968 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion
is akin to having access to a diary where the person reveals private matters that touch
on universal themes; we become readers instead of mere voyeurs.
THE QUESTION OF COPYRIGHT

In 2011 Steven Kasher told me that he had just secured an exhibition with Jeffrey
Goldstein, who owned Vivian Maier negatives, and Kasher agreed to introduce us to
each other. I assumed this was the person who bought the contents of a storage locker
filled of her work, so I was surprised when Goldstein told me that he was not “the
owner that most people know about.”
Jeffrey Goldstein is a Chicago-area artist and a collector of many different types of

fascinating objects. Drawn to the quality of Maier’s work and fascinated by her story,
he eventually came to acquire approximately 17,500 black-and-white negatives,
30 8-mm movies and numerous colour slides, which he purchased from Randy Prow,
plus 2,000 vintage prints, some of which were purchased from Ron Slattery. He
founded Vivian Maier Prints Inc., which promoted Maier’s work
THE morE of HEr worK on its website, as well as through a series of travelling exhibitions
i’VE SEEn, THE morE that toured the world.
imprESSED i am By HEr
pHoToGrapHS. THEy arE Maloof and Goldstein worked collaboratively to secure some of
a frESH GLimpSE inTo Maier’s work for their respective collections and to locate the legal
amEriCa aT a TimE THaT heir to Vivian Maier’s copyright. They hired an esteemed
noSTaLGia HaS CoVErED genealogist who discovered that her brother, Charles, had changed
So THoroUGHLy. his family name to a variation of Jaussaud in the 1950s, but it is not
known if he is alive or if he is survived by any family. The trail led
to France, and research indicated that Sylvain Jaussaud, a cousin, was the closest legal
heir. John Maloof made a copyright arrangement with him, and Jeffrey Goldstein then
made a copyright arrangement with Maloof for what he owns. Another cousin named
Francis Baille was dismissed by the genealogist as being further down the line, but
American lawyer David Deal insisted that Baille was the rightful heir. This caused Cook
County, Illinois, to initiate probate and proceed to establish Maier’s estate. Apparently,
Cook County believes her brother, Charles, is the rightful heir, so there is a waiting period
until Charles Maier reaches the age of 100 (which will be in approximately five years) to
allow him or his family to lay claim. Until then, Cook County wishes to register the

WILMETTE, IL (GIRLS WADING IN LAKE MICHIGAN),

JULy 1968 © ViVian maiEr, CoUrTESy STEpHEn BULGEr GaLLEry CoLLECTion
copyright on all of Maier’s visual archive. John Maloof is challenging the ability of the
State to acquire the copyright of intangible property (the images) in probate, when he
rightfully owns the negatives of those images. Firm in his belief that he has obtained the
necessary rights, Maloof continues to exhibit and sell her work.
Jeffrey Goldstein decided to shut down his operation as soon as he heard of David
Deal’s challenge to the copyright, since he believes the matter could take years to
resolve. With much regret, he decided he would keep the Maier prints and films he
owns, but sell his negatives and return to the life he led before his involvement with
the Vivian Maier Project. He is very impressed with the photography community in
Toronto, and he thought it would be best to offer the collection for sale to my gallery.
I jumped at the chance.
My hope is to play a role in mining Vivian Maier’s archive to gain more understanding
of her, the world she lived in, and her place in photographic history. I believe that John
Maloof and Jeffrey Goldstein have done the necessary due diligence to rightfully use
the Maier material that they lawfully own, and unless some new information comes to
light in the next few months proving otherwise, we will continue promoting the work
contained in the negatives that we now own.

BEST OF
PHOTO CLUBS
2O15
we invited members of photo clubs across Canada to
share their finest work with us; thank you to everyone
who participated! we are proud to present the top
images submitted to the 2015 Best of photo Clubs
competition. Clubs were also invited to submit a short
video about what makes their club unique; visit our
website to see the winning video!
1 2
1. Dall Sheep Horns

Darryl Robertson, Prospect, N.S.,
Photographic Guild of Nova Scotia
2. Snow Horse
Jen St. Louis, Elmira, Ont.,
Grand River Imaging and Photographic Society

3 4
3. Great Gray Owl

Bryan Urquhart, St. Catharines, Ont.,
St. Catharines Photographic Club
HEAD TO
PHOTOLIFE.COM/PHOTO-CLUBS 4. Rufus Hummingbird
Geoffrey Shuen, West Vancouver, B.C.,
FOR A LIST OF PHOTO CLUBS North Shore Photographic Society
ACROSS CANADA.
5. Grizzly Sow & Cubs
Missy Mandel, Toronto, Ont., Toronto Camera Club
5
6 7
6. Untitled 7. Untitled
Chris Goldsmith, Newmarket, Ont., Dave Robinson, St. Catharines, Ont.,
Country Images Camera Club St. Catharines Photographic Club
8. Old House 9. Skylines 10. Sunset in Prague

Jean Orton, Portage la Prairie, Man., Kevin Dawson, North York, Ont., Harjit Singh, Woodbridge, Ont.,
Manitoba Foto Friends Don Mills Camera Club Toronto Digital Photography Club
9 10 1

11 12
11. Goin’ Fishin’ 12. Mt. Rundle

Clayton Reitzel, Edmonton, Alta., Robert Casement, St. Catharines, Ont.,
Images Alberta Camera Club St. Catharines Photo Club
13. Early Morning Takeoff Into the Mist

Cliff Homewood, Richmond Hill, Ont.,
Richmond Hill Camera Club
13

14 15
14. Dance Expression 15. Love Silhouette

Ann Alimi, Toronto, Ont., John Cianfarani, Mississauga, Ont.,
Toronto Camera Club Oakville Camera Club
16. Dahlia Impression 17. Dad and Son

Glenn Springer, Minden, Ont., Joseph Leduc, Newmarket, Ont.,
Haliburton Highlands Camera Club Richmond Hill Camera Club
16 17 1

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VISION
WITHOUT THE FRAME
THE FLOCKS
RETURN
BY DAVID DUCHEMIN
THoUSanDS of
animaLS wErE
BEinG DriVEn
HomE in THE
in January 2013 i returned to Kenya to work for the Boma project, a EVEninG SUn,
client that has become important to me as an unparalleled creative THroUGH DUST,
collaborator. our work together takes us to the far north of Kenya, anD iT woULD
towards the Ethiopian border, where i document their work among CULminaTE in
nomadic pastoralists eking out a living in some of the most desperate THE BLowinG of
and inhospitable places i’ve ever been. HornS anD THE
LiGHTinG of
hey want more than photographs of We arrived in Kargi, the hot desert town firES.
T kids with flies around their eyes,

which works for me because I’ve
been a humanitarian photographer
near which this image was made, late in
the afternoon. We talked to contacts there
and, through the dots and dashes of the
working with the international NGO Morse code that is cross-cultural
community on that very premise: that communication, we slowly put the pieces
hope is a better story than despair, and together. There would be a festival that
that perpetuating stereotypes of poverty evening, and while it took a few more
does no one any good in the long term. days to get all the details of its
So the body of work I am creating, as a significance, we knew we had to change
long-term personal project and collabora- plans and get out to a smaller village to
tion with them, is documentary in nature spend time photographing this festival,
but also celebratory, because as rough as which included the return of the village’s
these people on the edges of the Kaisut flocks. Thousands of animals were being
and Chalbi Deserts have it, they are driven home in the evening sun, through
creative, lively and graceful people with dust, and it would culminate in the
an intimate relationship with the land on blowing of horns and the lighting of fires.
which they live.
We showed up and met the elders. We
You need to know all that backstory laughed and talked, and slowly the herds
because it informed the kind of came in. One of the elders, a man named
photographs I wanted to make and the Gabriel, befriended me. We stood there
way I made these photographs—which holding hands, talking through my friend
isn’t the only way, but it is a way that and interpreter, Kura. And occasionally I
niKon D800, 86 mm, 1/2000 S, f/8, iSo 400 © DaViD DUCHEmin
leads to deeper connections and opportu- made photographs, until more and more
nities that would otherwise be impossible animals came, with their herders. Then I
to create as an outsider. These type of was lying in the dust here and there,
images underscore several responsibilities looking for better perspectives, trying to
of a photographer: the need to talk to juggle two cameras, and praying the sun
locals and be curious about their lives; would slow its descent and give me more
the need to prioritize relationships (talk time. I photographed the backlit scenes,
first, use camera second); and the need to staying out of the way of goats and
be receptive, which I believe is the central camels as much as I could, and shot
work of any photographer. Gabriel a look now and then that tried to

say, “This is amazing; thank you for allow- ever I can. I asked him to keep my camel D-Lite RX4 To Go Lighting Kit
ing me to be a part of this.” No mere agri- for me, and he has done so. A couple The D-Lite RX4 from Elinchrom is the
cultural gathering, this festival called months ago on my most recent trip, I perfect portable lighting studio. It comes
Almado was unique to this area and these brought him the portraits I’d made of him. complete with two powerful lightweight
fan-cooled 400Ws heads – plus the ability
people and had strong religious themes And again I answered that I would come
to adjust and trigger both the heads
of redemption. It was an honour to be back whenever I can. and built-in modelling lights wirelessly.
allowed not only to witness and photo- You also get softboxes, stands, reflector,
graph, but also to participate. Eventually I truly believe that the deeper the connec- carrying case, and a helpful instruction
Gabriel pulled me off the ground and tions we make with people and the more guide. It’s an affordable way to ‘up’ your
lighting game.
asked me to join the elders as we too time we spend pursuing those experiences,
marched into the village—a small gather- especially as we travel, the more unique
ing of temporary, moveable homes made the photographs arising from those
of sticks and goatskins—to the blowing of encounters will be. Stay kind. Stay open
trumpets. It was surreal and deeply mean- and receptive. Watch the light. Lie down in
ingful to me. the dirt and clean your sensor later if you
have to. These things may only happen
When it was all over, Gabriel gave me a once. Pay attention. Connect. Forget the
camel. An honest-to-God camel. He guidebooks. It’s all about people. Then,
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2 Y 2015
JUNE/JUL 2015-05-0435
3:47 PM
VISION
THE CANADIAN
MOSAIC PROJECT
A PHOTOGRAPHER’S QUEST TO UNITE CANADA
BY TIM VAN HORN
on Canada Day 2017 in Victoria, British Columbia, at mile zero of the something to do with planting this
Trans-Canada Highway, a forty-foot multimedia pavilion on wheels will romantic notion of a photographer’s life
launch out across the land on a 365-day tour broadcasting the of travel.
beautiful story of who we are. The entire exterior surface of the
Canada pavilion is a medley of 54,000 portraits, text and monitors, Years later, not having lost sight of my
woven into a dynamic interactive experience that will educate, childhood dream, I found myself studying
enlighten and encourage viewers of all ages. This will be the finale to photography at the Alberta College of Art,
my ten-year “creative tour of duty” across Canada. in Calgary. At nineteen I was influenced by
the vision of early masters of
s a boy growing up in the Canadian Somehow I just seemed to know by age photojournalism like Henri Cartier-Bresson,
A Air Force community, I naturally

developed a sense of duty and a
lust for change and cultural experiences.
four that I wanted to be a “cameraman.”
I’m pretty sure the National Geographic
magazines lying around the house had
Robert Capa, Dorothea Lange and W.
Eugene Smith. These larger-than-life, self-
less, adventurous humanitarians were
© Tim Van Horn
© Tim Van Horn
Each person adds a new dynamic to the mosaic, like this pair from Halifax, Lady Icicle creates masterpieces along the walls of the snow castle at the
Nova Scotia. Snowking Winter Festival in Yellowknife, Northwest Territories.

© Tim Van Horn

armed with a camera, a noble cause and a Deer, Alberta, and headed east on a one- of a thousand times before: exploring
desire to create change, and they cemented year-long journey to do a “day in the life” Canada’s vastness from behind a camera
my need to witness and participate in the look at Canada. I put my domestic life in for one year as a nomadic photographer.
documentation of our humanity. storage and rented out my house. With a
bit of saved money, I headed out in a Aside from shooting beautiful landscapes
In 2007, after having produced three 1999 camperized GMC van. with people accenting them, I found
major bodies of work as an Alberta-based myself focusing more and more on creating
photographer—To Be Hutterite, Death of It’s true, October isn’t the best time of the a Canadian flag mosaic made up of 2010
a Country Elevator and I Am Albertan—I year to set out across Canada, but I was faces. It didn’t take long before I became
felt that I had done all I could in the on a quest and it didn’t matter when I left. hooked on these intimate, up-close semi-
prairies, and I needed to venture out I just needed to leave. Without question, I formal portraits and experiences with the
across the vast Canadian landscape. In was mentally and physically tested that public. It gave me a reason to stop anyone,
October 2008, after 17 years of dreaming winter, but that just seemed to melt away anytime. The more people I met, studied
of driving down the Trans-Canada with every new town, person or experi- and recorded, the more people I wanted to
Highway, I set out from my home in Red ence. I was living the dream I had dreamt encounter and learn from.
i’m prETTy SUrE THE naTionaL GEoGrapHiC maGazinES Having always done candid, Nikon 24-mm
LyinG aroUnD THE HoUSE HaD SomETHinG To Do wiTH wide-angle street photography, the idea
pLanTinG THiS romanTiC noTion of a pHoToGrapHEr’S of a visual anthropological study of our
LifE of TraVEL. collective humanity using a formal
© Tim Van Horn
© Tim Van Horn
A fish-processing plant worker holds a bin of haddock in the Acadian fish- A member of the Canadian military medical personnel reads quietly before
ing village of Pubnico, Nova Scotia. crowds of families arrive at the annual Defence Community Family
Appreciation Days in Ottawa.

foLLow THE paViLion

Starting on July 1, 2017, at mile zero of the Trans-Canada
Highway in Victoria, B.C., the Canadian Pavilion will stop at
schools, main streets and special events across Canada,
from west to east over 365 days. The entire exterior surface
of the Canada Pavilion will be a medley of 54,000 Canadians’
portraits, text and monitors woven into a dynamic, interactive
multimedia experience. Look for it in your neighbourhood
and on the Web at facebook.com/canadianmosaic.
portraiture process was a new direction I started looking down the road for
to take with my work. With the 2010 another national event to plug the
Olympics two years away, I was busy Canadian Mosaic Project into and there it
gathering portraits from across Canada was: Canada’s 150th birthday in 2017.
and had big plans of pitching my idea to Seven years was a long way off, but I said
the Olympic Committee. However to myself that if I keep it up, I could play
unbeknown to me, the emails I was an instrumental role in visually
sending to the Olympic people were not celebrating the biggest birthday of the
making it to their destination. The nation in my lifetime. I had been on the
deadline had closed for submissions, and road for two years already and was
there was no conceivable way to make somewhat directionless in my life, so I
the mosaic happen. I was devastated. Yes, decided to commit to the Canadian
everything happens for a reason, but all Mosaic Project and embark on what has,
that work for nothing? I felt I needed to in turn, become a once-in-a-lifetime
redeem myself for missing the Olympics. “creative tour of duty” to unite Canada.
wiTHoUT qUESTion, i waS mEnTaLLy anD pHySiCaLLy

TESTED THaT winTEr, BUT THaT JUST SEEmED To mELT away
wiTH EVEry nEw Town, pErSon or ExpEriEnCE. i waS
LiVinG THE DrEam i HaD DrEamT of a THoUSanD TimES
BEforE: ExpLorinG CanaDa’S VaSTnESS from BEHinD a
CamEra for onE yEar aS a nomaDiC pHoToGrapHEr.
© Tim Van Horn
© Tim Van Horn
Bus travellers by day, musicians by night, this A young woman wrapped in a Canadian flag
family with three home-schooled children calls celebrates Canada Day 2014 at Pier 21, Nova
the inner-city streets of Montreal their home. Scotia, where one million immigrants arrived.

Winner: Traces of Nature, Anastasia Emilova Kircheva, Edmonton, Alta.
Those Wild Oats, Debbie Oppermann, Guelph, Ont. Male Emerald Tanager,
Jim Cumming, Kanata, Ont.

GREEN
Snap Pea, Quincey Deters, Edmonton, Alta. Trans-Canada HWY Aurora, Nebojsa Novakovic, Winnipeg, Man.
Creepy, Creeping Branch, Kris Heshka, Toronto, Ont. Converse, Alma Lucie Robitaille, Quebec, Que.
WE INVITE OUR READERS TO PARTICIPATE IN THE SHOWTIME PHOTO CONTEST
NEXT ISSUE REQUIREMENTS This issue’s first place

please send your entries (max. five images per participant per theme)
YOU COULD to showtime@photolife.com following these guidelines:
winner receives a Rogue
Safari Pop-up Flash Booster
WIN A and a one-year subscription
ROGUE SAFARI • Image format accepted: JPEG only
to Photo Life!
• Image width: from 1800 to 4000 pixels (files must not exceed 3 MB)
POP-UP FLASH • Send only one image per email
BOOSTER AND • Indicate the contest theme in the subject line
A ONE-YEAR • In the message, provide your name, address, phone number
and title of the image
SUBSCRIPTION TO
PHOTO LIFE! The Showtime contest is open to Canadian residents only.
THEMES DEADLINE PUBLICATION DATE

B&W Landscapes July 12, 2015 october/november 2015
Family September 13, 2015 December/January 2016
Patterns november 15, 2015 february/march 2016
Kids January 15, 2016 april/may 2016

TECHNIQUE
PUBLISHING A PHOTO BOOK

TRANSFORMING YOUR PORTFOLIO INTO A POWERFUL MARKETING TOOL
BY SCOTT LINSTEAD
a printed book is still an effective tool for sharing photography with an is all but dead now, with photography
audience. a self-published book for profit and for advancing one’s book-publishing deals reserved only
career is well within the grasp of the serious amateur photographer. for the very biggest names in photogra-
phy. However, one aspect of the photo
here was a time when photogra- publisher took the lion’s share of the book that has not been lost during the
T phers could present a high-quality

body of work to a publisher and
have a book published. Sure, the
profits, but there was still money to be
made and there was no financial risk for
the photographer. That business model
last few decades is how powerful of a
tool it is for the purpose of reaching an
audience.
42 JUNE/JULY 2015 GEAR PHOTO LIFE

In the absence of traditional publishing FINANCIALS

approaches, self-publishing is the option Producing a book that has a chance at
that remains for both the serious amateur being profitable requires a significant
and the professional. Using a ready-made financial investment. When I self-
self-publishing/print-on-demand service, published Decisive Moments: Creating
such as Blurb or Lulu, is a simple option Iconic Imagery in 2010, I found it useful
when profitability is not a concern. But, in to consolidate all costs related to the
my opinion, selling a book at a profit really production and initial promotion of the
requires a mass printing. Let’s take a book into a lump sum. Printing
detailed look at what’s involved in produc- 1500 copies of my 64-page, hardcover
ing a financially successful photography book cost $9450. This figure included
book that can legitimize the photographer $1000 to have a designer follow my
and jump-start a career. simple layout instructions and prepare a
digital file that could be used by the
printer.
Additional costs included the cover

design and having a dedicated PayPal
sales page added to my existing website
($700). I also decided to add a dust jacket,
which cost $1636. I wrote all the text
myself but had it edited by a friend who
had professional editing experience
($250). Having advance copies shipped
ahead of schedule via FedEx to coincide
with the Christmas shopping season and
to fulfill pre-orders cost $1478. My wife
owns a bookstore so we decided it would
be the location for two book-signing
events, which had a catering bill of $500.
Other miscellaneous costs brought the
total cost up to $14,400, or $9.60 per
book. Half of the costs were paid by a
private investor who would naturally
collect half of all profit. The sale price
decided upon was $30, including the 5%
GST that would later have to be remitted
to Revenue Canada.
WRITING FOR DEMOGRAPHICS

$14,400 is no small sum for most people, far
This barred owl in flight appeared in a especially photographers. Knowing that I Com
chapter called “Anthropomorphism and needed to sell around 500 books to break pUr
Forward Facing Eyes.” The chapter was even, I had some ideas of who might buy mEn
intended to highlight the effect that the my book. As tempting as it was to throw wEB
position of a creature’s eyes has on the my favourite pics in there and talk about SUC
perceived connection a viewer has with why I love them so much, I instead decid- anD
the photograph. ed to cater every aspect of the book to the yoU
© SCoTT LinSTEaD
Nikon D3 and Nikkor 300-mm f/2.8 AF-S demographics I thought would be willing USE
VR II lens; 1/1000 s, f/2.8, ISO 2000, to buy it. My first few years as a pro, I wEB
manual spot metering on owl’s feathers. photographed birds almost exclusively. anD
PHOTO LIFE VISION

GEAR JUNE/JULY 2015 43
© SCoTT LinSTEaD
Since abstract compositions making use of reflections and in-camera optical effects through depth-of-field are common to contest-winning photographs, I
felt it was important to dedicate a chapter to the subject. Even if this kind of photography was never my strong suit, this was the sacrifice of producing a
book with a theme instead of purely showcasing my best work. Little Brown Bat: Nikon D300 and Nikkor 70-200 mm AF-S VR I lens, Phototrap infrared
camera trigger and four Nikon SB-800 flashes; 1/250 s, f/16, ISO 400. Western Diamondback Rattlesnake: Nikon D300 and Nikkor 500-mm f/4 AF-S II lens;
1/320 s, f/4.5, ISO 200.
METHODS OF INCREASING PROFIT AND PROMOTION
ONLINE ORDERS
Whenever I did anything in photography, be it a free interview the case with book-signing events. A glaring exception to
to a small blog or MSNBC running a story about me on their physical stores not being useful is McNally-Robinson, an inde-
website, it resulted in my website traffic peaking for a few days. pendent Canadian bookseller that goes to absurd lengths to
At the time, my website was designed to serve photo editors support Canadian authors. I managed to combine a westerly
exclusively. There was nothing there to sell to the public, so they trip across Canada to complete a Canadian Geographic
would simply look at the photos and move on. Those little assignment with a small-scale book tour at McNally-Robinson
statistical blips that occurred whenever I had 15 seconds of fame locations in Saskatoon and Winnipeg. Another exception to
were not producing any revenue. Installing a Paypal button for the rule occurs when a regional advantage is present. For
pre-orders was something I did before I even started writing the instance, outdoor photographers based in western Canada
book. The PayPal “Buy Now” button remains an excellent tool for whose portfolio reflects that landscape have had success sell-
encouraging the anonymous impulse purchase. ing their books to the souvenir shops in tourist areas such as
Banff and Jasper.
PHYSICAL STORES AND BOOK-SIGNING EVENTS
In general, placing your book for sale in bookstores is quite inef- EVERYTHING YOU DO
fective. Self-published books are not easy to get into large book- If you are a serious amateur or a professional, you are likely
stores, and small bookstores will likely not pay up front for stock being asked to present to camera clubs, zoological societies,
of your books. If they are willing to take it at all, they will suggest etc., and those are great occasions to sell your book. But you
a consignment arrangement, which means they will put little effort don’t need to wait for formal events; I have made unsolicited
into trying to move your books for you. After all, they have plenty sales of my book to other photographers that I’ve met in the
of stock that they actually paid for that needs selling. The unique field and to people sitting next to me on a plane. The real estate
circumstances of being married to a bookstore owner were agent that sold us our first house bought dozens to give away
undoubtedly advantageous. But I can honestly say that I don’t to his future clients. These in-person sales are uncomplicated by
believe it was critical to my book being commercially successful. shipping costs and packaging materials. You can shake the
hand and sign the book. People will sometimes buy multiple
The brick-and-mortar store is really only useful if the photog- signed copies to give away as gifts near the holidays. The
rapher is physically present to meet the walk-in traffic, as is absolute best opportunity to sell books is all the time.
44 JUNE/JULY 2015 TECHNIQUE PHOTO LIFE

But people interested in birds are far from raphers and non-photographers together young, the old and, in particular, any
ideal consumers. Bird watching is a low- in regards to what constituted an amazing demographic that would otherwise find
cost hobby where the emphasis is on wildlife photograph. In other words, a nothing interesting about a picture of a
viewing the birds from great distances and bird photograph that’s awe-inspiring not bird, is an image with universal impact. In
developing identification skills. In general, only to ornithologists, but also to other writing the book, I ran with this theme
birdwatchers will buy field guides and photographers, non-photographers, the and hoped for the best.
binoculars but little else.
Other demographics that I knew to be NEW

aware of my work were other profession-
© SCoTT LinSTEaD
al and serious amateur photographers. Reflectors, Softboxes, Grids, and

Now, pro photographers generally don’t Gels available. Studio quality control
buy photo books from their contempo- on location! Use Flashbenders to
raries, but they will buy something that sculpt lighting and add drama to
your portraits, use Gels to create
they can use for their own photography. moods or color correct. Fits all
History had shown that my skills in high- standard shoe mount flash.
speed and camera-trap photography were Compact and durable, packs flat.
something that photographers were will- The new features of the
ing to pay for, but writing for this relative- Flashbender 2 lighting system
include a 20-30% lighter weight
ly small group was almost certainly a material and newly improved
recipe for financial failure. I needed a attachment buckle.
middle ground to support a wider interest
without excluding any key demographics.
New Attachment Strap • Now 20% Lighter!
I decided that a book of “amazing pho-

tos” and the stories behind them might Great gear we can provide
have a chance at appealing to the masses. ...the rest is up to you.
The book would be, in the most superfi-
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Have a mirrorless camera and
imal commitment. This quality could also
a bunch of great old glass? We
appeal to the gift-giving consumer. But have the adapters for you.
what if the gift recipient wanted to read Many options available, see Premium
the always interesting, sometimes bizarre website for details! Sports Optics
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You just spent a fortune binoculars have
sive technical jargon? It occurred to me on a great lens. Why been a reputable choice for
that other photographers wanting to compromise your image birders in Europe and are now
replicate my results didn’t really want the quality with a cheap filter? available in North America! Winner of
Trust in the optical bestbinocularsreviews.com’s
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wanted was that singular detail that made Filter. the popular LYNX HD 8x30 binoculars
the photograph happen. Was it shot in a feature a wide angle of view and a sharp
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to freeze the motion? In what corner of
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the world was this species so approach- choice for comfort, Kite Optics
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be woven into an entertaining story with- performance.
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D i s t r i b u t ed ex cl u s i vely i n C an ad a by w w w. red r aven p ho t o. c o m
Avai l ab l e f rom d i s cer n i n g s p eci al t y p h ot o ret ai l er s acro ss C a n a da
Ultimately, “universal impact” was the
theme that I thought would bring photog-
PHOTO LIFE TECHNIQUE JUNE/JULY 2015 45

S
MEET YOUR readers back to my site to buy. I once formula with which to find success. But I M
NEW BUSINESS CARD sent a review copy to Canadian believe the path of critical thinking about T
Want to get the attention of that difficult- photography icon Rob Galbraith. The your own photography as well as its
to-contact editor? How about courting a technical leanings of my book appealed potential fan base is a legitimate one. To
photo agency to represent your images? to him, and he hired a writer not only to paraphrase a well-known photographer, Y
A polite email won’t cut it anymore. Mail review the book but also to conduct an “If you’ve managed to turn a profit with a D
them a book. A photo book that you can extensive phone interview with me. The photography book, you’ve performed a
afford to give to individuals in positions resulting feature on his website brought small miracle.” Reading between the lines
of power is not a bribe; it is instant cred- in the final few hundred sales that tells us that even famous photographers
ibility that ensures they will remember pushed Decisive Moments over the break- don’t rely on book sales to pay their bills.
your name and return your phone calls. I even threshold. Despite this economic reality, the photog-
have given review copies of Decisive rapher in question still bothers to publish
Moments to magazines such as Outdoor My approach to producing a photo book books. A book that at least pays for itself
Photographer and Popular Photography, was specific to the kind of images I cre- can enhance your photography career in
which in turn drove those magazines’ ate, and naturally, mine is not the only ways that you never imagined.
B
T
© SCoTT LinSTEaD
As a photographer, I never put much effort into large-mammal photography. The image is a good example of choosing a photo to serve the
purpose of the book despite it not being a truly world-class image. In this case, the fawn appeared in a chapter called “Tender and Endearing.”
Nikon D300 and Nikkor 500-mm f/4 AF-S II lens; 1/320 s, f/4, ISO 640; lens rested on car window ledge.

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PHOTO LIFE VISION ANDYCONTENT!
JUNE/JUL 2015 47
TECHNIQUE
FAQ
LOW-PASS FILTERS
THEIR USEFULNESS AND the sensor. This filter, generally made of
THEIR RECENT REMOVAL several layers of birefringent crystals,
reduces the presence of high frequencies
BY JEAN-FRANÇOIS LANDRY (a tightly woven fabric would be a high-
frequency zone). The filter just makes
in photography, we need all kinds of filters: UV filters, polarizing filters, them...blurry. It’s called a low-pass filter
infrared filters, solar filters, graduated filters, neutral filters, coloured because only the low frequencies “pass”
filters... for a while now, we’ve heard a lot of talk about one filter in and reach the sensor, while the high
particular that’s right in front of a camera sensor: the low-pass filter. frequencies are wiped out. (A totally
its purpose is to eliminate the moiré that appears when you photo- blurred image wouldn’t have any
graph a surface with a fine, repetitive pattern. They’re in the headlines frequency or repetitive patterns.) Thanks
because their usefulness is now being questioned since they also to the filter, the moiré doesn’t appear, but
cause a slight decrease in sharpness. Let’s look into it more. the image loses a little of its sharpness.
WHAT’S MOIRÉ? let you guess what happens when you try “Moiré? Big deal!” say certain landscape
When you superimpose two repetitive to capture a detailed, repetitive pattern photographers who rarely encounter uni-
patterns (a series of parallel lines, for like on certain fabrics, a screen or an form patterns when shooting and who,
example) with similar frequencies, with architectural detail. Ah, yes: moiré! nevertheless, have reduced sharpness in
one pattern slightly rotated from the high frequencies (the veins of leaves, for
other, it’s common to see an odd wavy AND WHAT’S A example) with little compensation.
pattern that has nothing to do with reality. LOW-PASS FILTER?
This effect is called “moiré.” To get rid of this highly unpleasant A PROBLEM THAT
peculiarity, camera manufacturers created IS WORKING ITSELF OUT
A camera sensor is made up of a grid of a low-pass filter (also called an anti- Over time, new technological advances
photosites that are uniformly spaced. I’ll aliasing filter) that they placed in front of have led to sensors with more and more
© JEan-françoiS LanDry
© JEan-françoiS LanDry
For each lens, there is a specific distance (down to the centimetre) between the camera and the subject where the sensor’s grid aligns perfectly with fabric’s
pattern and creates a moiré effect like you see here.

pixels, and the size of the photosites is either, but it was designed exclusively for
decreasing. The frequency of the photosite astrophotography and has a modified
grid is becoming increasingly higher (with infrared filter that quadruples its sensitiv-
more and more pixels on a given surface).
There comes a point where the difference
between the frequency of the sensor and
ity to infrared wavelengths.)
THE UNIQUE SITUATION

The Camera Store
that of the fabric/screen/building is so OF THE PENTAX K-3 introduces a new line of
large that the low-pass filter becomes prac-
tically useless. The moiré simply doesn’t
Pentax (like Olympus) has an image-sta-
bilisation system that is on the sensor photography accessories:
appear, or appears only on rare occasions. instead of in the lens. To compensate for
the user’s movement, the Pentax’s sensor
This is why certain manufacturers are shifts so that it virtually stays at point
simply removing the low-pass filter in X/Y/Z 0/0/0, despite the camera’s motion.
order to get sharper images. It’s the case So, rather than just removing the anti-
for the Leica M and S; Fujifilm X-Pro1; aliasing filter, Pentax decided to move the
Ricoh GXR; Olympus OM-D E-M1; Sony sensor in a small circular movement
RX1R; Pentax K5 IIs; and, more recently, (about the size of a photosite, or less than
the Nikon D3300, D5300 and D7100. (The 3.88 µm) to create the same effect of an
creators of Sigma’s Foveon sensor have anti-aliasing filter...on request! And that is
never used a low-pass filter; this sensor’s its genius: you can activate this feature
atypical design creates no moiré.) (which causes a slight loss of detail) only
when necessary. The rest of the time, the
WHAT ABOUT THE NIKON D800E image is clearly sharper, no pun intended.
AND CANON EOS 5DS R?
Responding to the current controversy ON THE VERGE OF EXTINCTION?
about the actual usefulness of the anti- The jury is still out. In portraiture and
aliasing filters, manufacturers sometimes architectural photography, where textures
offer two versions of the same camera. reign supreme, the low-pass filter is still
This is the case for the Nikon very useful. But for photographers who
D800/D800E, the Canon EOS 5DS/EOS focus on landscapes, nature and the starry
5DS R and the Sony RX1/RX1R. But since sky, its removal is often fantasized about.
they don’t want to make two different The Nikon D800E (and D810A for
cameras (physically removing the low- astrophotography), Canon EOS 5DS R
pass filter would mean recalculating the and Sony RX1R are made for these pho-
entire optical system), they just add a sec- tographers. But don’t think that making
ond filter to counter the effect of the low- this investment means the images will be
pass filter. Problem solved! (The Nikon twice as sharp. The gain in sharpness is
D810A does not have a low-pass filter only about 5 to 10%.
How To rEDUCE THE moiré EffECT

Moiré is easily corrected in photo-editing software, but these simple steps will help reduce it
when you make the photo:
• Change the angle you are shooting from by slightly tilting your camera.
• Move the focus point slightly in front of or beyond the AF point.
• Change your focal distance or lens.
Purchase now at
• Reduce the aperture a stop or two.
thecamerastore.com
PHOTO LIFE TECHNIQUE JUNE/JULY 2015 49
PHOTO 101
UNDERSTANDING THE SUNNY 16 RULE
he experienced old-school photographer will tell you that you

T don’t need your camera to think for you, and it’s true! There
are some simple, basic rules that—once you get the hang of
them—will save you time and energy, even in this digital age
where everything tends to automate itself. The Sunny 16 Rule is
one of them; it’s a quick way to choose proper exposure settings
without using a light meter.
LE
For example:
RU ISO 50 .......1/50 s
ISO 100....1/100 s
E FOR A SUBJECT IN ISO 200 .....1/200 s
DIRECT SUNLIGHT ISO 400 .....1/400 s
ON A SUNNY DAY, ISO 800 .....1/800 s
TH
SET YOUR APERTURE ƒ/16
TO ƒ/16 AND MATCH
THE SHUTTER SPEED SUNNY
WITH THE ISO. Shadows with distinct edges
Once you know the Sunny 16 Rule, you
can use same idea of matching the ISO ƒ/11
and shutter speed and then adjust the PARTLY CLOUDY
aperture for other shooting conditions. If Shadows with soft edges
you don’t have exactly the same ISO
values, choose the closest ones available.
ƒ/4
SHADE/SUNSET
No shadows
ƒ/8
CLOUDY
Very few shadows
ƒ/5.6
VERY CLOUDY
No shadows
GEAR
DIGITAL WORKFLOW
PRINTING TIPS FOR GooD iS no LonGEr

GooD EnoUGH for
BETTER OUTPUTS
LEARN THE DANCE BETWEEN PRINTER,
many prinTmaKErS,
HowEVEr. THE CoLoUr
PAPER AND COMPUTER GamUT (or ranGE)
BY DAVID TANAKA DEfinED By SrGB iS
proVinG To BE Too
SmaLL for THE LaTEST
it seems so simple. The photo looks great on your computer screen. imaGinG DEViCES.
That special fine-art paper you bought is just awesome. you hit print
and—disappointment. what happened? printmaking is a dance they remain as consistent as possible,
between printer, paper and computer. for the best performance, you regardless of where the file ends up. It
need to channel your inner Bob fosse. needs to do this because the input sources
like your camera and the output destina-
SPREADING THE SPECTRUM Engine (ACE). The colour engine works tions like your monitor and printer have
Your computer uses a colour engine, with a vast theoretical colour model. Its their own way of interpreting colour. Each
either built into the operating system or job is to manage the colours coming into also has limits to the range of colours it
from another source, like the Adobe Color and going out of the computer so that can express.
A couple of decades ago Hewlett-Packard

and Microsoft set out to solve this problem
and came up with Standard RGB, or sRGB.
It’s still with us today and remains central
to most consumer electronics, computing
and the Internet. Serving as a generic one-
size-fits-all standard, sRGB ensures good
colour without the need to calibrate every
consumer product on the planet that
works with colour.
Good is no longer good enough for many

printmakers, however. The colour gamut
(or range) defined by sRGB is proving to
be too small for the latest imaging
devices. Early inkjet printers used four ink
colours: cyan, magenta, yellow and black.
Today’s photo inkjets add variations of
© DaViD TanaKa
these as separate inks (typically light

cyan, light magenta, and one or two
lighter shades of grey). Some even have
This is soft proofing in Lightroom 5. The X-Y display option is enabled showing two variations of this separate inks for primary and secondary
B.C. rainforest photo. On the left is what you would normally see when you work in Lightroom’s colours (red and green, for example).
Develop module. On the right is a soft proof of my Stylus Pro 3880’s output on Epson Velvet Fine Art This not only means you get more vibrant
paper. (Epson Radiant White Watercolor looks nearly the same.) The red overlay indicates areas that and saturated colours, but also the ability
are out of gamut for this paper. to express differences of hue better, often
edging beyond the colour gamut of sRGB.
The soft proof also shows that the image printed on this paper will have noticeably less contrast. The
soft proof of harder papers (Epson’s Premium Lustre and Premium Glossy) tell a different story. They Likewise Raw-format images captured by
hold contrast better and show only a very few dots of red, mostly in the deep shadows. The overall modern cameras exceed the gamut of
look is very close to the image on the left. sRGB. The take-away from this would

© Frederico Marrtins
THErE arE a CoUpLE of can handle. But wouldn’t it be nice if you
CaVEaTS To KEEp in minD could see the out-of-gamut colours to
THoUGH. firST, determine where the potential colour
wiDE-GamUT CoLoUr in problems were? Enter soft proofing.
iTSELf iSn’T SynonymoUS
wiTH BETTEr CoLoUr. Most image editors and workflow suites
wHaT a BiG CoLoUr support soft proofing. The soft-proofing
SpaCE aLLowS iS morE module displays a version of the image
fLExiBiLiTy in that’s been adjusted to simulate what it
aDJUSTmEnTS anD would look like on a different device—in
finE-TUninG. the present context, what it would look
like as an inkjet print.
seem straightforward: if you want to
preserve more of the data captured in the One of the benefits of soft proofing is that
Raw file, incorporate a wide-gamut colour out-of-gamut colours can be highlighted,
space into your workflow. There are so you can take steps to make adjust-
settings in Raw-processing utilities or ments to the image to bring more colours
workflow products like Adobe Lightroom into the range that can be printed.
that let you select a wide-gamut colour
space such as ProPhoto RGB for your PAPER: THE X FACTOR
working environment. This is a good To create the simulation, the soft proofer
practice for printmakers. uses the paper profiles stored in your
computer. When you install a printer, SHAPE THE
There are a couple of caveats to keep in
mind though. First, wide-gamut colour in
typically a number of paper profiles are
also installed. As well, most papers
SUNLIGHT
itself isn’t synonymous with better colour. geared to fine photography have profiles Collapsible Reflectors are light
What a big colour space allows is more you can download. Profiles hold specific shaping in its most uncomplicated
flexibility in adjustments and fine-tuning. instructions that tell the printer how to form. They are easy to use, easy to
deposit the ink, taking into account carry and can be used for bouncing
Second, some of the colour data in a Raw properties of the paper such as the or diffusing sunlight as well as
image will be beyond the capability of surface finish, texture and whiteness of flash light.
your monitor to display or your printer to the paper itself.
print. These are known as out-of-gamut Read more at
colours. Under most conditions you don’t When you use soft proofing, you start to www.profoto.com/ca/
know what they are; out-of-gamut see the differences in how papers are able collapsible-reflectors
colours don’t announce themselves on to receive an image. A soft proof of one
your monitor or print as blank areas. paper may show few problems while
That’s because one of the jobs of the another may be flashing out-of-gamut
colour engine is to take those out-of- warnings all over the place. When
gamut colours and come up with the preparing images for printing, paper is the
closest match that the device in question X variable. Editing your image so that it
looks “puuurfect” on your monitor only
SEConD, SomE of THE gets you partway there and, in some cases,
CoLoUr DaTa in a raw gives you a false sense that you’ve nailed
imaGE wiLL BE BEyonD the look you’re aiming for. Soft proofing is
THE CapaBiLiTy of yoUr a useful technique for closing that gap
moniTor To DiSpLay or between what you want and what you get.
yoUr prinTEr To prinT.
THESE arE Known aS Of course soft proofing is just a simula-
oUT-of-GamUT CoLoUrS. tion. To get the true picture, you’ll need
PHOTO LIFE GEAR JUNE/JULY 2015 53

to turn to hard proofing—actually making facturers and independent sources. Some SELECTinG papEr Can BE
a test print with the paper you’ve chosen. papers lend themselves to certain kinds CHorE, BUT THErE arE
of images and have thus become safe BroaD prinCipLES anD a
Selecting paper can be chore, but there choices—glossy for high impact, lustre for wEaLTH of informaTion
are broad principles and a wealth of portraits, matte for landscape. But these aVaiLaBLE from papEr
information available from paper manu- are starting points, not rules. The broad manUfaCTUrErS anD
inDEpEnDEnT SoUrCES.
SomE papErS LEnD
THEmSELVES To CErTain
KinDS of imaGES anD HaVE
THUS BEComE SafE
CHoiCES—GLoSSy for
HiGH impaCT, LUSTrE for
porTraiTS, maTTE for
LanDSCapE.
range of inkjet paper available today
means there’s a lot of room for experi-
mentation.
A FINAL FACTOR TO CONSIDER

One thing I haven’t mentioned is monitor
calibration. Consider it part of the
minimum baseline for quality print-
making. If you can’t trust the accuracy of
your monitor, all bets are off for pre-
dictability elsewhere in the colour chain.
Monitor settings are also implicated in

another common problem: brightness
mismatches between the onscreen image
and the printed photo. If you use your
computer for other things like word
processing or Web surfing, there’s a good
chance that you have the brightness
control turned up. This can give you false
© DaViD TanaKa
information about the tonal distribution.

Since the printer doesn’t have a
brightness knob, it prints the image
Here we have a completely different subject and colour palette: a street in the Bo Kaap neighbourhood according to the data it receives—
of Cape Town. The lower window is the soft proof for Velvet Fine Art paper. Most of the red building is accurately, but darker than you might
out of gamut, although it might be difficult to see in the screenshot reproduction. While the same rela- have expected. Some applications,
tionships hold—papers like Velvet Fine Art have a smaller colour gamut than papers like Premium Lightroom, for example, have a “brighten
Glossy—even the glossy paper shows a bit more out-of-gamut areas compared to the rainforest photo. for print” setting that you can select to
compensate for this.
To make the photo look snappier on the velvet paper I would boost the contrast and play with
saturation/vibrance. To deal with out-of-gamut warnings, I would make a test print first, to see what
substitutions the colour engine makes to pull them back into the range that the printer/paper can THE BroaD ranGE of
handle. Chances are they will look ok, because the rendering intent I’ve selected is “perceptual.” This inKJET papEr aVaiLaBLE
tells the colour engine to pick alternatives that look the best, not alternatives that are mathematically ToDay mEanS THErE’S a
the most accurate. If I don’t agree with the computer’s algorithm for what looks best, I can play with LoT of room for
the hue and saturation/vibrance controls. ExpErimEnTaTion.

Model—Colleen Novoligak. Photo © Michelle Valberg
Adventure Canada
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Photolife Expeditions - June 2015.indd 1 2015-04-30 4:29 PM

GEAR
THE 25 TH
TIPA AWARDS
THE 2015 WINNING PHOTO AND IMAGING PRODUCTS
as a member of the Technical imaging press association (Tipa), this past
march photo Life joined the other 27 leading photo and imaging magazines
from 15 countries on five continents in Dubai to vote for the most
outstanding photo and imaging products announced during the previous
12 months. Here are some of the award-winning products; visit our blog for
the complete 2015 Tipa awards list and product descriptions!
BEST ENTRY-LEVEL DSLR BEST ADVANCED DSLR BEST EXPERT DSLR

NIKON D5500 PENTAX K-S2 CANON EOS 7D MARK II
The D5500 is a lightweight, compact DX-format The Pentax K-S2 features a 20-MP CMOS sensor The Canon EOS 7D Mark II has a weather- and
DSLR (APS-C) that contains a 24.2-MP CMOS without a low-pass filter. It has a weather- and dust-resistant magnesium-alloy body, a 20.2-MP
sensor and can deliver up to 5 frames per second dust-resistant body, offers an optical pentaprism APS-C CMOS sensor, and dual DIGIC 6
at full resolution and Full HD video with a choice (100% field of view), and is the first Pentax DSLR processors. The camera features a 10-fps
of four different frames-per-second rates, from with a Vari-angle LCD (3 in., 921,000 dots). The shooting rate, a 65-point (all cross-type) AF
24p to 60p. The ISO sensitivity range is between compact body incorporates a Shake Reduction system and a 100% field-of-view viewfinder.
100 and 25,600. This is the first Nikon DSLR with (SR) mechanism and can handle all new and Exciting features include HDR and multi-exposure
a Vari-angle touch-screen 3.2-inch LCD. Using many older Pentax lenses, albeit some require an modes, an intervalometer, and a bulb timer for
Nikon’s wireless app, users can connect the adapter. The K-S2 can deliver a top shutter speed long-exposure capture. The camera has dual card
camera to a compatible smartphone or tablet of 1/6000 s with a continuous shooting rate of up slots for both SD and CF cards. To support Full
wirelessly with no hot spot needed. For capturing to 5 fps. Creative functions include multi HD video quality, it has Dual Pixel CMOS AF, a
action, the top shutter speed is 1/4000 s. exposure, interval shooting, an advanced HDR dedicated stereo microphone, and built-in
Numerous creative modes allow the user to mode, Full HD video, and built-in Wi-Fi with a headphone jack ports.
personalize each image’s look and style. dedicated app for transferring images and for
wireless tethered shooting.
BEST PROFESSIONAL DSLR BEST MEDIUM-FORMAT CAMERA BEST ENTRY-LEVEL CSC

NIKON D810 PENTAX 645Z SONY α5100
This full-frame 36.3-MP DSLR includes a CMOS The 51.4-MP CMOS sensor of the Pentax 645Z is Dubbed a “super-compact” CSC, the Sony
sensor without a low-pass filter. The camera can about 1.7x larger than those found in full-frame α5100 is about half the size of a conventional
deliver up to 5 full-resolution fps with enhanced DSLRs. It can deliver 3 fps with 10-image bursts DSLR. The camera has a 24-MP APS-C CMOS
noise reduction in its ISO 64 to 12,800 range, in Raw and up to 30 in Large JPEG format. The sensor with the same gapless on-chip lens
which is expandable to ISO 32/51,200, and tilting 3.2-inch LCD contains 1,037 million RGB structure as the α7R. The camera delivers a
broadcast-quality video in Full HD. Nikon’s Scene dots and has an “anti-gapless” construction that very fast 0.07-second AF acquisition time, with
Recognition System with the 91,000-pixel 3D reduces reflection and dispersion of light. There is up to 6-fps continuous shooting with AF
Color Matrix Meter III provides balanced expo- also a large, bright optical finder. A newly tracking, aided by the 179-point phase-
sures even under difficult lighting conditions with designed SAFOX 11-phase-matching AF module detection AF sensor. There are numerous video
exposure, AF, white balance and i-TTL flash con- contains 27 sensor points, including 25 cross-type options: Full HD in cinematic 24p, 60p and 60i
trol included in the mix. For videographers, the sensors. When matched with a Live View function frame rates; selectable in-camera XAVC S with
D810 offers an HDMI port, in-camera time-lapse that can magnify the on-screen image, very a 50 MB/s bit rate; Blu-Ray quality AVCHD; and
and interval timer, a built-in stereo microphone precise focusing adjustments can be made. If MP4 codecs—all with HDMI connectivity. The
with a selectable voice-frequency range, full-time desired, ISO sensitivity can be raised to an camera also delivers an impressive ISO range
AF and full-manual control. incredible 204,800. of 100 to 25,600.

BEST ADVANCED CSC BEST EXPERT CSC BEST PROFESSIONAL CSC

PANASONIC LUMIX DMC-GM5 OLYMPUS OM-D E-M5 MARK II SAMSUNG NX1
Measuring a mere 59.5 x 98.5 mm (2.34 x 3.88 in.), Housed in a dustproof, splashproof and The Samsung NX1 features a 28.2-MP APS-C
the 211-g (0.46-lb.) Panasonic DMC-GM5 is a very freezeproof magnesium-alloy body, the 16.1-MP CMOS sensor and Samsung’s DRIMe V
compact and highly portable Micro Four Thirds 4/3 Live MOS sensor and TruePic VII processor of processor. It can record 4K videos and full-
CSC. The camera’s Live View finder has 100% the Olympus OM-D E-M5 Mark II deliver a wide resolution images at 15 fps, both with AF. It
coverage and contains 1.16 million RGB dots; its array of creative imaging options, a 10-fps rate at features a 3-inch 1,036,000-dot AMOLED tilting
Digital Live View MOS sensor delivers 16 MP. For full resolution, and ISO up to 25,600. The camera touch-screen monitor as well as a high-resolution
connectivity, the user can simply scan the QR sports a 2,360,000-dot EVF and a 3-inch, 2,360,000-dot XGA OLED EVF. The camera has an
code displayed on the camera monitor with a 1,037,000-dot swivel touch-screen LCD. Its ISO range of 100 to 25,600 (extendable to 51,200)
smartphone or tablet and use either as a remote extremely quick AF with an 81-point area delivers and a new hybrid AF system that combines phase
controller. The camera delivers JPEG and Raw excellent low-light and tracking performance. The and contrast detection with AF points that cover
stills and AVCHD or MP4 video. It has all the camera also features the world’s most powerful almost the entire viewfinder screen. The NX1
standard exposure modes plus a full complement 5-axis sensor-shift image-stabilization system for offers a host of video options and supports DCI
of metering patterns. The ISO range is 200 to both stills and Full HD videos, plus a special 4K (4096 x 2160 at 24P) and UHD 4K (3840 x 2160
25,600, and the shutter-speed range is 60 to High-Res Shot option that is said to deliver at 24P/30P). Connectivity is via Wi-Fi, NFC,
1/16,000 s. resolution equivalent to a 40-MP sensor. Bluetooth and USB 3.0.
BEST EXPERT COMPACT CAMERA BEST SUPERZOOM CAMERA BEST PREMIUM CAMERA
FUJIFILM X30 NIKON COOLPIX P610 FUJIFILM X100T
Compact (118 x 71 x 60 mm; 4.7 x 2.8 x 2.4 in.) With a remarkable 60x integral Nikkor ED glass With its 16.3-MP APS-C X-Trans CMOS II sensor
and lightweight (423 g; 14.9 oz.), the X30 contains zoom lens (equivalent: 24-1440 mm), the Nikon and EXR processor, the Fujfilm X100T delivers
a 12-MP 2/3-inch X-Trans CMOS II sensor for P610 can deliver 7 full-resolution images per impressive options and capabilities. Its 23-mm f/2
Raw and JPEG stills and MOV format video with second and Full HD videos while using Nikon’s single focal length is the equivalent of 35 mm.
stereo sound. The Fujinon 4x (28-112 mm 5-stop Dual Detect Optical VR stabilization. The The high-resolution Advanced Hybrid viewfinder
equivalent) zoom’s maximum aperture only has a camera has a 16-MP CMOS sensor, an EVF and a (2,360,000 dots) features an electronic
one-stop difference between the wide to 3-inch Vari-angle LCD; those last two offer rangefinder option. The finder also allows for
telephoto settings (f/2-2.8) and offers an f/11 921,000-dot resolution. Shooting features include what Fujifilm names “Real-time Parallax
minimum aperture. Shutter speeds top out at filter effects and special effects, as well as a Correction” in MF mode. Other impressive fea-
1/4000 s, and ISO ratings go as high as 12,800. macro mode and time-lapse video recording. The tures include an incredible top shutter speed of
Frame rates of 12 per second can be achieved, P610 has built-in GPS and allows the transfer of 1/32,000 s, seven customizable Fn buttons, Full
plus image stabilization is built in. A 2,360,000-dot images to a compatible smartphone or tablet HD video with numerous selectable frame rates
resolution EVF is dubbed a “real-time” viewfinder using built-in Wi-Fi and NFC connectivity. Users (with optical finder viewing), plus built-in Wi-Fi for
with a 0.005 s display lag time. can also double the range of the lens using transfer and remote camera operation via an app.
Nikon’s Dynamic Fine Zoom.
BEST EXPERT PHOTO/VIDEO CAMERA BEST EXPERT DSLR PRIME LENS BEST PHOTO PROJECTOR
PANASONIC LUMIX DMC LX100 SIGMA 24-MM F/1.4 DG HSM | ART EPSON EH-LS10000 PROJECTOR
BEST PROFESSIONAL PHOTO/VIDEO CAMERA BEST PROFESSIONAL DSLR LENS BEST PHOTO SCANNER
SONY α7S CANON EF 11-24 MM F/4L USM EPSON PERFECTION V850 PRO
BEST MOBILE IMAGING DEVICE BEST EXPERT CSC ZOOM LENS BEST IMAGING SOFTWARE
SONY ILCE-QX1 FUJINON XF 16-55 MM F/2.8 R LM WR PHASE ONE CAPTURE ONE PRO 8
BEST ACTION CAM BEST CSC PRIME LENS BEST ACCESSORY

RICOH WG-M1 ZEISS LOXIA LINE UNIQBALL BALL HEAD
BEST IMAGING INNOVATION BEST EASY COMPACT CAMERA BEST TRIPOD

LYTRO ILLUM CANON IXUS (ELPH) 160/165/170 MANFROTTO BEFREE CARBON SERIES
BEST ENTRY-LEVEL DSLR LENS BEST RUGGED CAMERA BEST STORAGE MEDIA
SIGMA 18-300 MM F/3.5-6.3 DC PANASONIC LUMIX DMC-FT6 (TS6) EYEFI MOBI PRO
MACRO OS HSM | CONTEMPORARY
BEST PHOTO PRINTER BEST PROFESSIONAL LIGHTING SYSTEM
BEST EXPERT DSLR ZOOM LENS EPSON SURECOLOR P600 PROFOTO B2
CANON EF 100-400 MM F/4.5-5.6L
IS II USM BEST PORTABLE FLASH
NISSIN AIR SYSTEM

GEAR
GADGET GUIDE
WHAT YOU NEVER KNEW YOU NEEDED
BY JEAN-FRANÇOIS LANDRY
if i were asked which photo gadget i cherished the most, i would be

hard-pressed to choose just one. at first thought, i’d say my Spider Holster,
but that doesn’t take into account the affection i have for my flashBender,
the passion i have for my B+w 1.8/64x neutral-density filter, the love i have
for my Cactus V4s or the attachment i have to my xume filter adapters. and
do you know what all of these have in common? The use of “my” before THE 60-MM F/2.8 2X
each, which indicates that they all belong to me. and only me. Selfish, i ULTRA-MACRO LENS
know. i never share my toys... FROM LAOWA
YOUR HEART’S DESIRE
Lenses that work for
THE FLASHBENDER 2 XL PRO LIGHTING SYSTEM FROM ROGUE macrophotography rarely
FOR PURELY REFLECTIVE LIGHT exceed a 1:1 ratio. There are
There’s nothing better for softening an image than redirecting the light from an external flash. a few exceptions, but they’re
The FlashBender 2 XL Pro executes this brilliantly. Its 33 x 41 cm (13 x 16”) surface allows for not common. A new
unprecedented coverage, and its new fabric softens reflections that could have an effect on Chinese company based in
the quality of bright areas. The attachment, equipped with a Velcro band, is easier to handle Anhui called Laowa
and keeps a firmer grip on the reflector than the earlier model. The FlashBender 2 XL Pro (formerly Venus) has
Lighting System kit includes the reflector, a piece of diffusion fabric (that quickly transforms launched a 60-mm focal lens
the FlashBender into a lightbox), and a grid (that allows the flash to be unidirectional). The that offers a 2:1 ratio and a
whole thing is a little over 390 g (or 13.8 oz.). If anyone asks you what this kit is worth, you focusing range from 18.5 cm
can tell them, “Around $130, travel bag included.” redravenphoto.com to infinity. With nine
elements in seven groups
and 14 aperture blades, it
seems like they have
succeeded. Mounts are
available for Canon EF,
Nikon F, Sony Alpha and
Pentax K. US$380; caps,
filter and pouch included.
venuslens.net

THE 50-MM LENS FROM YONGNUO

THE CLONE WARS
Fans of Canon are familiar with the EF 50-mm f/1.8 lens, more Tenba Shootout Backpacks
so for its price than for its quality: $140 for a lens is a steal. For serious photographers, the Shootout is
The company Yongnuo has decided to tackle this purchase Tenba’s ultimate no-compromise backpack.
point with a clone that is a perfect copy of the original, in You’ll be amazed at what you can pack
look and performance. Word has it that it’s priced at about inside. And don’t let its streamlined looks
US$100, but I’ve had a hard time finding it. As I write this, the and lightweight fool you. This bag is built
for the rugged outdoors. The Shootout,
lens has not yet appeared on the international market. To be available in different sizes, features unique
continued... yongnuo.eu side pods that allow access to cameras
and lenses without removing the shoulder
THE UBH 35 BALL HEAD FROM UNIQBALL harness, plus Tenba’s exclusive multi-stage
A BALL HEAD TO SUPPORT THEM ALL tripod carrier.
My search for the perfect tripod head is most likely over. After complaining about 3D
heads (they’re stable, but take too long to adjust) and insulting ball heads (they may
be fast, but they’re terribly inaccurate: as soon as you let go of it, the instrument
shifts, becoming off-centred by several millimetres), I was introduced to the UBH 35.
A design with flaws yet to be discovered, this ball head from UniqBall brings together
the looks of Chris Hemsworth,1 the stability of Simone Biles2 and the strength of
Žydrunas Savickas.3 Its two ball heads, one nested inside Available colours
the other, offer unprecedented flexibility and accuracy. At
500 g, it can support and easily manoeuvre a MeFoto Tripod Kits
load of up to 15 kg (or 33 lb.). A professional Add Colour to Your Individual Style.
camera body equipped with an EF 100-400 mm, MeFoto RoadTrip and GlobeTrotter
Travel Tripod kits with matching precision
an AF 50-150 mm or an AF 300-mm f/2.8 lens ballhead, offer an all-in-one camera
won’t make it flinch. (Its big brother, the UBH 45, can support system, converting from a tripod
support the 200-400 mm f/4, AF 600-mm f/4 and AF to a full-size monopod. With their unique
800-mm f/5.6 zooms of this world.) The UBH 35, fold-up design, MeFoto Travel Tripod kits
however, is not a cheap piece of equipment at easily fit inside a backpack or luggage.
Available in carbon fibre or aluminum.
$400 (and it’s $600 for the UBH 45). Is there a
sponsor in the house? redravenphoto.com
1
Actor, named Sexiest Man Alive in 2014 by People magazine.
2
Gymnast, World All-Around Champion in 2014.
3
Strongman, World’s Strongest Man in 2014.
THE FLEX FROM WESTCOTT New! ELB 400 Lighting Kit

SO THAT YOU CAN BEND LIGHT TO YOUR WILL
This revolutionary portable off-camera
What would you say to a light source that’s lightweight (142 g), completely bendable, flash system is perfect for outdoor
dimmable and water-resistant? Well, I have just described the Flex, a light panel with photographers who want to travel light
256 LEDs spread across a flexible 10 x 10” surface. The Tungsten/3200 K version but insist on quality lighting. Features
promises a 1600-lux output at a distance of one metre, with a 98/100 CRI (Color an increased power range, new OLED
display, 20% faster recycling, built-in
Rendering Index), while the Daylight version/5600 K offers 1900 lux and a 95/100 CRI
wireless receiver, and new flash modes:
in the same conditions. The light coverage is close to 140°. You can adjust the LED strobo, sequence and delayed. Two light
output from 5 to 100%, which makes the gadget particularly versatile (when shooting kit includes ELB 400, spare Li-ion battery,
objects, for example). There are several accessories, including an X support (called Skyport transmitter, charger, strap, sync
the Flex X-Bracket Mount) and a diffusion cloth (the appropriately named cord, flash cable, reflector and case.
Flex 1/4-Stop Front Diffusion Cloth). The panel alone sells for $959,
Tenba, MeFoto and Elinchrom products are
so I’ll just mortgage “Park Place,” “Boardwalk” and one of my available at leading photo specialty retailers.
railways. fjwestcott.com
www.gnigami.ca
PHOTO LIFE GEAR 3 Y 2015

JUNE/JUL 2015-05-0459
3:47 PM
PL_JULY15.qxp_Photo Life Jan 2005 2015-05-01 8:47 AM Page 60
GEAR
IMAGING PRODUCTS REVIEW

THE LOWDOWN ON WHAT’S NEW
BY PETER K. BURIAN
Now that it feels like summer in most of Canada, it’s worth taking the time to inspect and
evaluate your current equipment. Is it still meeting all of your needs or is it time to upgrade your
camera, lens or carrying case in time for the most active season for photography? Some of the
following new products should certainly allow for more effective image-making. If anyone in
your family is active in sports, one of the new compact-system cameras would be particularly
useful, since these offer fast—or incredibly fast, in some cases—continuous drive for capturing
a series of action photos.
PENTAX K3 II
Retaining the well-sealed magnesium-alloy chassis • 3.2” (1.037-million-dot) LCD
and the best of the 24.35-MP K3, this v. II model • 100% optical viewfinder
benefits from an improved image stabilizer with a • 8.3-fps continuous drive
4.5-step benefit, superior high-speed Tracking AF, • Astrotracer for astrophotography
built-in GPS, automatic horizon correction and a gyro • Wi-Fi with optional FluCard
sensor. The built-in flash has been removed, but a • 27-point (25 cross-type) AF
multi-shot Pixel Shift “super high-resolution” system • Low-pass filter simulator
has been added for images with better high-ISO • Full HD Movie with overrides
quality and full-colour recording at every pixel.
$1250 (list) ricoh-imaging.ca
NIKON D7200
Nikon’s first DSLR with Wi-Fi and NFC for simplified • Wi-Fi NFC and Snapbridge connectivity
connectivity to a smart device, this 24.2-MP DX • ISO expansion to 102,400
camera excludes the low-pass filter for maximum • Magnesium-alloy body
per-pixel sharpness and offers many amenities for • Full-HD 60p video
serious movie making. Other benefits include a 3.2” • Can record to external drive
(1,229,000-dot) LCD, 6-fps drive (7 fps in 1.3x crop • Port for external mic
mode), the latest 51-point AF system, 2,016-pixel • Accepts wireless mic
metering and fast EXPEED 4 processor for shooting
up to 100 Large/Fine JPEGs or 27 Raw files in a
single burst.
$1200, body only; $1750, with 18-140 mm VR lens (street) nikon.ca
NIKON 1 J5
This 20.8-MP CSC, with an LCD that can be • Wi-Fi NFC and Snapbridge connectivity
rotated 180°, provides a drive speed of 20 fps • 3” (1,037,000-dot) touch-screen LCD
with continuous AF (60 fps with fixed focus), • LCD can face forward
making it ideal for sports. Autofocus should be • P, A, S, M and Auto modes
very effective with 171-point contrast- • All important overrides
detection and 105-point phase-detection • Many creative filter options
technology. Removing the BSI-CMOS sensor’s • UHD 2160p/15 video
low-pass filter ensures fine image quality; the • Lightweight body (265 g)
J5 can also shoot both 4K and Full HD 60p
movies.
$600, with 10-30 mm VR Power Zoom lens (list) nikon.ca

NIKON COOLPIX P900

Boasting a 24-2000 mm equivalent lens with an ED • P, A, S, M and Auto modes
glass element, this compact camera with a 3” • Includes essential overrides
(921,000-dot) vari-angle LCD and (921,000-dot) • Very long focal lengths
electronic viewfinder also offers Wi-Fi with NFC and • GPS for geo-tagging photos
built-in GPS. Activate the Dynamic (digital) Fine Zoom • Wi-Fi NFC and Snapbridge
mode and a 4000-mm equivalent can be achieved. • 7-fps continuous drive speed
The Dual Detect Optical VR system is said to provide • Full-HD/60p Movie mode
up to a 5-step stabilizing benefit. • Weighs only 899 g
$700 (street) nikon.ca
OLYMPUS STYLUS SH-2

Retaining the best of the SH-1, but gaining a Raw • Fast AF with many options
capture mode, the SH-2 also benefits from new • 11.5-fps continuous drive
modes for long exposures at night, a live composite • M and Auto modes
(multiple exposure) feature and the Photo Story mode • Includes essential overrides
with a choice of templates to be added, in-camera. • HDR for great shadow detail
This 16-MP model with 24-600 mm equivalent lens • Many options for night photos
and 3” (460,000-dot) touch-screen LCD features a • Numerous Art Filters
BSI sensor, a 5-axis image stabilizer for maximum • JPEG and Raw capture modes
benefit, full-HD/60p Movie mode and built-in Wi-Fi.
$600 (street) olympuscanada.com
HD PENTAX-D FA 150-450 MM F/4.5-5.6ED DC AW

Another of the new full-frame series lenses, this • 21 seals resist dust and moisture
zoom is also compatible with Pentax DSLRs with • 82-mm filter size
the smaller sensor as a 225-675 mm • HD coating vs. flare/ghosting
equivalent. Targeting serious enthusiasts, this • SP coating on front element
well-sealed weather-resistant lens offers many • Direct Current (DC) AF motor and
benefits: one Super Low-Dispersion and 3 ED quick-shift focus
glass elements, both HD, as well as Super • Internal focusing
Protect coatings, fast autofocus and a circular • Focus preset and range-limiter switch
diaphragm aperture for a pleasing bokeh • Detachable tripod-mount collar
(defocused background).
ty
READY TO TRAVEL WHEREVER YOU ARE

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ULTRA-COMPACT 8 LAYER CARBON-FIBRE
TRAVEL TRIPOD KIT
8
DISTRIBUTED IN CANADA BY KINDERMANN CANADA INC.

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PANASONIC LUMIX 42.5 MM F/1.7 ASPH

Much smaller and more affordable than the f/1.2 • Wide maximum aperture
lens, this new 85-mm equivalent model with an • Stepping AF motor
all-metal barrel employs internal focus and a • Internal focusing
stepping motor that makes focusing smooth and • Circular diaphragm aperture
silent, useful in both photo and video recording. • 1 aspherical element
The wide maximum aperture also allows a great • Power Optical Image Stabilizer
deal of light to reach the AF sensor, for faster • Close focus to 32 cm
autofocus; this lens is compatible with the fastest • 37-mm filter size
AF system of the latest G-series Lumix cameras.
Price TBA panasonic.ca
SONY FE 24-240 MM F/3.5-6.3 OSS

One of the four new full-frame lenses for the α7 • One ED and 5 aspherical elements
series of CSCs, this zoom is impressive, with one • Fast autofocus
ED and five aspherical elements to control all • Internal focusing
types of optical aberrations, linear-motor AF, • OSS image stabilizer
internal focusing and an Optical SteadyShot • Minimum focus from 0.5 to 0.8 m
stabilizer. The circular seven-blade aperture • Well-sealed
helps to create smooth and pleasing out-of-focus • 72-mm filter size
highlights for a very nice bokeh. Like all other • Circular diaphragm aperture
FE lenses, this one features a dust-and-
moisture-resistant design.
$1150 (street) sony.ca
TOKINA AT-X 11-20 MM F/2.8 PRO DX

A super wide-angle zoom for DSLRs with an • 6 high-tech optical elements
APS-C size sensor, this lens (to be available later • Internal focus
this summer) features a P-MO hybrid aspherical • Focus clutch
element, three pieces of super-low-dispersion glass • Circular diaphragm aperture
and two moulded-glass aspherical elements to • Min. focus to 0.28 m
minimize distortion and aberrations. Multi-layer • 82-mm filter size
coatings resist flare and manual-focus override • Lens hood included
(clutch) is available in AF mode for focus • In Canon and Nikon mounts
touch-ups.
Price TBA daymen.ca
ZEISS DISTAGON T* 35 MM F/1.4 ZA

Another Sony full-frame lens for the α7 series, this • Extremely wide max. aperture
very fast Zeiss prime model is a premium-grade • Advanced and conventional
product with one advanced aspherical glass plus three aspherical elements
aspherical elements. It also includes the Zeiss T* • Fast and quiet ultrasonic AF
coating for excellent flare control, Direct Drive Super • Silent option for aperture ring
Sonic Wave autofocus system and an aperture-control • Minimum focus to 30 cm
ring with a silent option for use when shooting videos. • Dust-and-moisture resistant
Other benefits include rugged metal construction, • 72-mm filter size
dust-and-moisture resistance and a circular nine- • Circular diaphragm aperture
blade diaphragm for a pleasing bokeh.
$1950 (list) sony.ca
COTTON CARRIER STRAPSHOT EV1

This revised model for owners of compact-system • Includes strap, connector and tether
cameras is thinner than the original Strapshot, • Can attach to a D-ring or a strap
and includes a redesigned tether and wrist strap • Patented locking system
that also acts as a safety leash against accidental • Quick-release system
drops. The design holds your camera securely • Attaches to bag, strap or belt
when attached to just about any camera bag or • Weatherproof, rugged 1680-denier nylon
backpack strap; a very lightweight camera can • Suitable for any camera or bag/pack
even be attached to a waist belt. This eliminates
neck or shoulder strain, while ensuring quick
access.
$90 (street) cottoncarrier.com

PENTAX AF201FG
Many recent Pentax-branded products are • GN of 20 m at ISO 100
weather-resistant, and that includes this new • P-TTL with front-or rear-curtain sync
compact flash unit for interchangeable-lens • Manual Full Power mode
cameras. The drip-and-dust resistance will be • Manual 1/4 Power mode
appreciated by all outdoor photographers, • Powered by two AA batteries
whether shooting in rain, snow or in very dusty • Adjustable tilt capability
environments. Features include bounce flash • Compact and lightweight
(adjustable to angles of -10 to 90 degrees
vertically), a programmable control button and
five user-selectable modes, including Off.
SIGMA TC TELECONVERTERS
Designed specifically for the new Global Vision • Exclusively for Sigma Global Vision
120-300 mm and 150-600 mm Sigma lenses, the lenses
TC-2001 (2x) includes two special low-dispersion • SLD glass corrects aberrations
(SLD) glass elements for optimal image quality, and • 2x model includes 10 optical elements
the TC-1401 (1.4x) features one piece of SLD • 1.4x model includes seven optical
glass. Both benefit from a splash- and dustproof elements
design. Like all teleconverters, the 1.4x model • Rugged and splash-resistant
produces a loss of one stop of light while the 2x • For Canon, Nikon and Sigma DSLRs
model produces a two-stop loss of light. • Lightweight; 290 g and 190 g
$500 and $400, respectively (list) sigmacanada.ca
PROFOTO B2 250 AIRTTL TO-GO KIT

This 2.3-kg off-camera flash kit includes a fast, • 9-stop flash range
powerful B2 Li-Ion AirTTL power pack with a • 0.03 to 1.35 s recycle time
Li-Ion battery providing 215 full-power flash • 1/15,000 s Freeze mode
capacity, a lightweight 250-Ws B2 flash head • Supports high-speed sync
with modelling light, a carrying bag with a • LED 9-W modelling light
shoulder strap for the battery pack, a 2.8 A • LED data panel (battery)
charger and a padded location bag for the kit. • 1-hour battery charging
For full wireless TTL operation of one or more
B2 heads, add a Nikon or Canon dedicated
AirRemote TTL transceiver ($580).
$2900 (street) profoto.com/ca
ACDSEE ULTIMATE 8
This is the first imaging software from this B.C. • Image organization and search features
company to add layer-based editing to its feature • Great versatility in Edit mode
set. You’ll find the same (numerous) capabilities as • Layers option
in the ACDSee Pro 8 program, but with the added • Raw-format support
ability to create and manipulate layers, as well as • GPU-accelerated processing
support for 32-bit and 64-bit transparency. • 32-bit and 64-bit support
Ultimate 8 is available only for Windows (7 and • Free trial available
newer), and it provides support for numerous Raw
formats.
$150 (street) acdsee.com
LOWEPRO ECHELON ATTACHÉ

The premium Echelon series also includes the • Opens like a doctor’s satchel
Echelon Roller case ($680) and Echelon Brief case • Zippered accessory pocket
($289). The Attaché can hold a pro DSLR, three • Removable organization panel
lenses (up to 70-200 mm f/2.8), a flash unit, a 13” • Superior MaxFit laminated dividers
laptop and various accessories. It’s made of 840- • YKK RC-Fuse locking zippers
denier nylon with a finely crafted exterior and classy • Removable All Weather cover
touches such as custom hardware, leather touch • TSA-approved lock
points and saddle-stitched premium leather handles. • Can attach to a roller case
$357 (street) daymen.ca

LOWEPRO FASTPACK BP 250 AW II

The new AW II series includes a smaller 150 • Customizable camera zones
model ($110), as well as this larger 250 case • Padded interior dividers
that holds a DSLR with attached 70-200 mm • Open zone at top of pack
f/2.8 lens, three extra lenses or flashes, a 15” • Full-access zippered opening
laptop plus a tablet as well as accessories and • Protection for tablet and PC
personal gear. The Fastpack series has always • Padded, removable waist belt
been highly rated and now offers extra benefits: • Flap with quick-release buckles
a built-in All Weather cover and CradleFit device • Can attach to a rolling case
compartment plus three primary-storage zones to
help keep you organized.
$140 (street) daymen.ca
TENBA SWITCH 10
A new series of nylon faux-leather bags for • Full flap and WeatherWrap cover
CSCs, the Switch is available in three sizes • Quick access to contents
(7, 8 and 10) in black only, but optional • Moveable foam dividers
coloured covers ($20-23) allow you to • Padded sleeve for 10” tablet
change the entire look of the bag. The 10 • Holds camera, flash and up to 5 lenses
model is the largest, suitable even for the • High-grade strap with pad
Sony full-frame α7 II, the Lumix GH4 or the • YKK zippers and snaps
Olympus OM-D with a vertical grip attached,
plus an iPad or other tablet.
$130 (street) gnigami.ca
UNIQBALL UBH 35
UniqBall (also available in a larger 45 size, $599, • High-grade aluminum alloy
street) is a new type of tripod head with two ball • Full tension control
heads in the same unit. Rotate the outer ball until • Locks securely
the camera is perfectly level and lock it. The • Supports lenses weighing up to 3 kg
second ball allows omni-directional movement • Integrated bubble level
while the camera remains level. This design • Very smooth panning
combines the attributes of a traditional ball head, • Arca-style quick-release clamp
a gimbal head, a pan/tilt head and a fluid head.
$399 (street) redravenphoto.com
DATACOLOR SPYDER5
A new version of the highly rated monitor-calibration • Ambient light sensor (Pro and Elite)
tool, the v.5 is said to provide up to 55% • Supports multiple-monitor calibration
improvement in tonal response for “more accurate • Wizards for ease of use
shadow detail and smoother gradients.” The • Express version is affordable
colorimeter device has been modified and is equipped • Pro for serious photographers
with seven new photodetectors. The software employs • Elite for pros and perfectionists
the data it records to create a display profile that • Projector calibration (Elite only)
provides accurate colour and tonal rendition of the • Reliable colorimeter and software
image you are viewing.
$159, Express; $239, Pro; $349, Elite (list) daymen.ca
LENSBABY VELVET 56 MM F/1.6

This portrait lens was designed to provide velvety, • Manual focus only
glowing, ethereal, impressionistic effects at wide • Range of f/1.6 to f/16
apertures and sharper images when stopped down. • 0.5x max. magnification
Made of metal, the Velvet 56—in mounts for • Nine-blade diaphragm aperture
Canon, Nikon, Pentax and Sony DSLRs—features a • 62-mm filter size
maximum f/1.6 aperture and a very short • Metal barrel
(12.7-cm) minimum focus distance for extreme • Metal lens hood included
close-up photography. The standard version is
black, but a special-edition silver version is also
available.
$624, Black; $749, Silver (street) lensbaby.com

Since 1991 the TIPA Awards logos have been showing which are the best photographic, video and imaging products each
year. For 25 years the TIPA awards have been judged on quality, performance and value; making them the independent
photo and
PHOTO imaging
LIFE GEAR awards you can trust. In cooperation with the Camera Journal Press Club of Japan. www.tipa.com
APRIL/MAY 2015 65
CLOSE-UP
THE HIPA COMPETITION

DUBAI’S COMMITMENT TO PHOTOGRAPHY
BY GUY LANGEVIN
in mid-march, i was doing double-duty in Dubai. The And that’s without even counting the winning photographs.
Technical image press association (Tipa) General With 60,162 images submitted by 30,878 participants from
assembly was held there this year. This annual meet- 166 different countries, the jury of top photo professionals had
ing brings together colleagues from photography plenty to choose from, and the quality of the winning photos
magazines around the world, and one of the items of was indeed on par with what you would expect from such a
business is voting on the best photo products of the competition. In addition, two special awards honoured
past year. (Check out the award-winning products on Sebastião Salgado and Scott Kelby for their service and long-
pages 56 and 57!) The other reason i was in Dubai standing commitment to the art of photography.
was because the Hipa organization—Hipa is short
for the Hamdan Bin mohammed Bin rashid al The awards-ceremony week also included a series of
maktoum international photography award—had photography lectures and workshops by some of the biggest
invited me to participate in the fourth annual names in the industry. Among them was a touching
celebration of their photo competition. presentation by world-renowned photojournalist Reza titled,
“The Power of Photography for Humanity.’’ The four categories
stablished by the Crown Prince of Dubai, HIPA’s goal is to for the fifth season of the contest were also announced:
E highlight the city’s commitment to support art, culture and
innovation. The awards demonstrate Dubai’s desire to position
Wildlife; Father and Son; General; and Happiness, which is the
main theme of the competition.
itself as one of the world’s most artistically conscious places.
Is your interest piqued? You have until December 31 to submit
This year’s event made it clear that there are no limits to Dubai’s images, and it would be great to see a Canadian photographer
ambition. With a grand prize of US$120,000 and a total prize among next year’s winners. More details are available at
pool of US$400,000, HIPA has certainly put its money where its hipa.ae.
mouth is. This season’s main theme was Life in Colour, and the
awards ceremony glittered, to say the least. The giant TUrn To paGE 14 for morE informaTion
multimedia show, complete with dancers and circus artists, was on THiS yEar’S Hipa winnErS.
a feast for the eyes.
© GUy LanGEVin
Following HIPA’s opening ceremony, attendees admired the winning images of the Life in Colour category.
66 JUNE/JULY 2015 PHOTO LIFE

The perfect travel companion.

The irresistible appeal of Canon’s new EOS 7D Mark II? Not only does and SD cards, USB 3.0 connectivity, built-in pop-up flash, a built-in
it love to travel, it packs like a lightweight but performs like a super- Speedlite transmitter for controlling off-camera flash, and even built-
heavyweight. Inside the 7D Mark II’s surprisingly light and nimble in GPS for automatic location tagging. Yes, you may be lost but your
body, Canon managed to fit an updated 20.2 megapixel APS-C CMOS camera never is.
sensor, along with other performance-enhancing features such as dual
DIGIC 6 image processors for faster processing as well as a brand new And because it’s a Canon, the 7D Mark II is compatible with an
65-point all cross-type autofocus system. ever-expanding collection of EF and EF-S lenses plus a host of
EOS accessories.
Great for when you’re out wandering, the 7D Mark II comes packed
with everything you’re looking for in a DSLR: unbelievable low-light There’s so much more to learn. Your best bet is to make your way to
shooting capabilities, burst shooting to a maximum 10 frames per a Vistek showroom and talk shop with a Vistek camera specialist. Find
second, Full HD video recording at 60p, dual card slots for both CF out if a Canon 7D Mark II is in your future travel plans.
PHOTO | VIDEO | DIGITAL | SALES | RENTALS | SERVICE
T ORON T O • M I SSI SSAUGA • O TTAWA • CA LG A RY • E D MON T ON V I STEK . C A

© Lenny Kravitz portrait by Mark Seliger
LIGHT SHAPING BY MARK SELIGER

“I use lighting as a tool to enhance. In my opinion, once the lighting
starts to feel tricky, then that becomes the photograph, and you’re
taking away from what I consider to be great portraiture.”
– Mark Seliger
Learn from one of the masters of portrait photography

at www.profoto.com/ca/markseliger

Vivian Maier Photo Life PDF

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qxp_Photo Life Jan 2005 2015-04-30 2:08 PM Page 1

YOUR GUIDE TO EVERYTHING PHOTO

THE YEAR’S BEST

WHY A PHOTO BOOK IS LOW-PASS FILTERS

SOME SHOTS ECHO BEYOND

28 Best of Photo Clubs 2015

34 Without the Frame

36 The Canadian Mosaic Project

48 FAQ Low-Pass Filters

PHOTO LIFE JUNE/JULY 2015 3

PHOTO LIFE JUNE/JULY 2015

GEAR Editorial Department

PHOTO LIFE is indexed in Canadian Magazine by Micromedia

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

Member of CCAB, CITA and TIPA.

Image shot with the Olympus OM-D E-M1

Fact: You can run your entire business

GET POWER. GET PORTABLE. GET OLYMPUS.

© Tim Van Horn

LIKE PHOTO LIFE

6 JUNE/JULY 2015 PHOTO LIFE

Capture your adventures in crisp, clear

Nikon D7200 Transform the ordinary

Big Box Prices, Expert Knowledge.

EXPOSURE WHAT’S ON IN TODAY’S PHOTO CULTURE

Yes, you can apply text to images in Lightroom 5 when you

Speakers Night | Friday July 31 | 6:30 - 8:30 p.m.

10 JUNE/JULY 2015 EXPOSURE PHOTO LIFE

The moment when you no longer

Carl Zeiss SLR lenses

aLTa.,1900, STErEoGrapH/LiBrary anD arCHiVES CanaDa

© UnKnown pHoToGrapHEr, CoUpLE poSinG in fronT of niaGara faLLS, 1858,

© wiLLiam noTman, GrEaT CEDar TrEE, STanLEy parK, VanCoUVEr, B.C., 1897,

tions at the oDD Gallery in

Dawson City and the yukon arts

12 JUNE/JULY 2015 EXPOSURE PHOTO LIFE

Marking a new standard in high-resolution digital SLR photography, the

PL_JULY_ADS.indd 1 2015-04-30 2:52 PM

HIPA: LIFE IN COLOUR

14 JUNE/JULY 2015 EXPOSURE PHOTO LIFE

Pro Runner II Series

Find out more at

NEW PHOTO EXHIBITIONS AT WHYTE MUSEUM

Though photography, video, installations and paintings from the

16 JUNE/JULY 2015 EXPOSURE PHOTO LIFE

DNA Graphite Messenger Bag

© JOHN VANDERPANT/COURTESY OF STEPHEN BULGER GALLERY

New! Benro Mach3 Series Tripods

Mantis Background Kit

stands and a choice of a telescopic or

Tenba, Benro and Mantis products are

PHOTO LIFE EXPOSURE 1 Y 2015

18 JUNE/JULY 2015 EXPOSURE PHOTO LIFE

PHOTO LIFE & PHOTO SOLUTION PRESENT THEIR

ENTER NOW! PHOTOLIFE.COM/TWWLI

PHOTO LIFE & PHOTO SOLUTION PRESENT THEIR

21 ST ANNUAL PHOTO CONTEST THE WORLD WE LIVE IN Grand Prize................................................................................................................................$16,712

Humanity Environment Interconnections

2nd Prize......................................................$2,301 2nd Prize......................................................$2,291 2nd Prize......................................................$2,324

3rd Prize ......................................................$1,883 3rd Prize......................................................$1,883 3rd Prize......................................................$1,885

4th Prize ......................................................$1,323 4th Prize ......................................................$1,323 4th Prize ......................................................$1,323

5th Prize ......................................................$1,014 5th Prize ......................................................$1,014 5th Prize ......................................................$1,014