LAUNCH ISSUE!
YOUR ESSENTIAL VLOGGER STARTER KIT
MUST-HAVE
DRONE
ACCESSORIES SPORTS & MUSIC:
GET SHOTS THAT ROCK
GEARING UP WITH SOTEEOH
+
CHRIS GORDANEER AIMS HIGH
FREE SPRING 2018
Made
in
Japan
WELCOMELETTER FOR ROGERS EDITOR Vickie Reichardt ART DIRECTOR Kim Rogers CONTRIBUTING EDITOR David Wright DESIGNER Jamie Gircys CONTRIBUTORS Ross Chevalier, Chris Daniels, Lora Grady, Tara Henley, Jaclyn Law, Erik Putz, Helen Racanelli, Robin Roberts, Chad Sapieha, Kevin Snow, Bonnie Staring PUBLISHER Jaimie Hubbard DIRECTOR, CUSTOM CONTENT Christopher Loudon CLIENT SERVICES MANAGER Janine Cole PRODUCTION MANAGER Michael Finley SENIOR VICE-PRESIDENT OF DIGITAL CONTENT & PUBLISHING Steve Maich VICE-PRESIDENT, CLIENT SOLUTIONS Brandon Kirk ADVERTISING SALES David Lawrence DavidM.Lawrence@rci.rogers.com FOR HENRY’S CEO Gillian Stein VICE-PRESIDENT MARKETING & ECOMMERCE Jeff Tate MARKETING OPERATIONS MANAGER Laisie Tu CREATIVE MANAGER & ART DIRECTOR Ryan Sheppard MARKETING MANAGERS Candace Metzgar David Braithwaite MARKETING COORDINATOR Sandro Verrelli
SCOTT JARVIS
SOCIAL MEDIA COORDINATOR Scott Jarvis The Lens is published four times a year by Rogers Media Inc. © 2018 Rogers Media Inc. All rights reserved. Any reproduction, in whole or in part, without the prior written permission of Rogers Media Inc. is strictly prohibited. ™Rogers & Mobius Design is a trademark of or used under licence from Rogers Communications Inc., or an affiliate. “Henry’s,” and associated word marks and logos, are trademarks of Henry’s Camera and are used under licence. Items and/or prices are accurate at the time of publication. Conditions may apply. Prices, selection and availability may vary by store and on henrys.com. Some advertised items may not be available in all stores or on henrys.com. See store or henrys.com for details. Rogers Media Inc. accepts no responsibility for unsolicited material. Rogers privacy policy is available at rogersmedia.com. For privacy policy inquiries please contact: Chief Privacy Officer Rogers Communications Partnership 333 Bloor Street East, Toronto, ON M4W 1G9 Our environmental policy is available at rogersmedia.com. Printed on FSC®-certified paper. The Forest Stewardship Council® supports environmentally appropriate, socially beneficial and economically viable management of the world’s forests.
WELCOME TO THE FIRST ISSUE OF THE LENS, OUR BRAND NEW MAGAZINE!
A
t Henry’s, we pride ourselves on delivering an exceptional customer experience each and every time you walk through our doors or visit our website, and The Lens is our way of bringing you even more information and inspiration. It’s also a way for us to share our passion for photography, video and content creation with you in an exciting new way. Each issue of The Lens will be packed with engaging interviews that will introduce you to talented imagemakers, from keen-eyed amateurs and social-media stars to savvy pros and creative innovators. They’ll share their insights on how and why they do what they do – and give you a glimpse at the essential gear inside their camera bags. You’ll also get all the expert advice you’ve come to expect from us: the full scoop on all the latest and greatest cameras, drones, equipment and accessories on the market; step-bystep tutorials to help you hone your
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skills; and handy tips, tricks and advice to take your work to the next level, no matter which lens you select or where you choose to point it. Plus, each issue will feature a photo challenge, so you can share your work with us and your fellow enthusiasts all across the country! (See p. 55 for more information on how to get started.) We hope you enjoy discovering everything The Lens has to offer as much as we do bringing it to you. Be sure to let us know what you think – and watch for our next issue coming in August!
Gillian Stein CEO, HENRY’S CAMERA
@HenrysCamera, or on
@HenrysCameras SPRING 2018
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SOTEEOH
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SPRING 2018_ISSUE NO.1
ENTER OUR
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PHOTO CHALLENGE
ON P. 55!
FEATURES 10 FAMILY MATTERS The evolution of Henry’s
46 IMAGES THAT ROCK! Insider advice on how to shoot outdoor concerts and music festivals
IN EVERY ISSUE 6 NEWS & EVENTS
50 PHOTO GALLERY 57 STARTER KIT Equipment for your vlogging setup
12 GEARING UP 15 HENRY’S HANDS ON
The Fujifilm X-H1
63 PROTECTING YOUR WORK ONLINE How to safeguard your photos and videos
18 MACRO MASTERS
Instagrammers to follow
20 TOP-FLIGHT DRONE ACCESSORIES
Photographer Soteeoh
58 TECHNIQUE TUTORIALS 22 GEAR GUIDE
Zoom blur and more
Road-trip essentials
64 OPEN FOR BUSINESS What you need to launch a creative enterprise
Must-have add-ons
65 ASK A HENRY’S EXPERT 24 LOCATION SCOUTING Snap beautiful blooms
66 FINAL FRAME
26 AIMING FOR THE SKY
FROM TOP: CHRIS GORDANEER / ERIK PUTZ
Renowned photographer Chris Gordaneer
32 NATURE PHOTOGRAPHY Dos and don’ts
34 BRIDAL WAVES A conversation with Chelle Wootten
40 GET IN ON THE ACTION
Sports photographers share their tips
15 SPRING 2018
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Developments NEWS | EVENTS | TRENDS | COMPETITIONS
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by DAVID WRIGHT
EYE ON THE PRIZE
[1]
ENTER THE SONY WORLD PHOTOGRAPHY AWARDS
Considered one of the world’s leading image-based competitions, the Sony World Photography Awards will begin accepting submissions for the 2019 prize on June 1, 2018. Categories include professional, open and youth (ages 12 to 19) competitions, the latter aimed at fostering and recognizing the next generation of top talent. For details and to enter your work, visit worldphoto.org and click on the Sony World Photography Awards tab.
[2]
[4]
[3]
A SAMPLING OF 2018 WINNERS
[5]
[1] ONE WAY FORWARD by CHIN BONG LENG Singapore, Commended, Open Travel and Winner, Singapore National Award [2] SHAPES OF LOFOTEN by MIKKEL BEITER Denmark, Winner, Open Travel and Denmark National Award [3] EMILE by NICK DOLDING United Kingdom, Winner, Open Portraiture and Winner, United Kingdom National Award [4] WHEN THE SKY LIGHTS UP by NICKY LOH 3rd place, Singapore National Award [5] VICTORIA by JONATAN BANISTA Panama, 1st Place, National Awards [OPPOSITE PAGE] CLOSE FRIEND by THU HUYNH Vietnam, Commended, Open Enhanced and 2nd Place, Vietnam National Award
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DEVELOPMENTS
DOUBLE TAKE TWO NATIONAL GALLERY EXHIBITIONS TO CHECK OUT
If you find yourself in Ottawa this spring or summer, be sure to check out one or both of these must-see exhibitions at the National Gallery of Canada. From April 13 to August 19, PhotoLab 4: New Generation Photography Award Exhibition showcases the work of three recent winners of this inaugural annual competition, which recognizes talented young Canadian photographers aged 30 years and under. From May 4 to September 16, The Extended Moment: Fifty Years of Collecting Photographs celebrates a massive photo collection that’s been in the making ever since the National Gallery began collecting photography in 1967. LEFT: “Anima” by self-portraiture artist Meryl McMaster, one of the winners whose work will be on display as part of the PhotoLab4 exhibition.
Bring on Brassaï
It’s hard to imagine a headier time and place to be a budding young photographer than Paris in the 1920s and ’30s, but that’s where the man known as Brassaï got his start and made his indelible mark. His candid, intimate black-andwhite street photography revealed the darker side of the City of Light like never before – or since. Drawing upon images from the Estate Brassaï in Paris as well as collections in France and the U.S., Brassaï (Fundación Mapfre) reproduces some of the artist’s most recognizable photographs in one handsome 368-page volume.
LIFE IN FRAMES AMATEUR PHOTOGRAPHERS CAPTURE THE REALITIES OF MANUAL LABOUR
The ambitious 365 Days of Invisible Work (Spector Books) documents the daily lives of waitresses, maids, dishwashers and other manual labourers in unvarnished images captured by these amateur photographers themselves. This calendar-style publication was compiled by the Netherlands Domestic Worker Photographer Network as part of a “living research” project, which was inspired by the Worker Photography Movement that flourished in parts of Europe and North America in the early 20th century, and depicted proletarian working conditions in everyday life. 8
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After analyzing millions of searches and downloads from its website, Getty Images has identified several emerging visual trends for 2018. Among them: “masculinity undone,” which aims to “liberate men from longestablished visual stereotypes and portray masculinity in a less prescriptive and emotionally rich way.” In a similar survey, Depositphotos also spotted shifting tides, naming “impact photography” (which is “concerned with the truth” and “battling fake news in the process”) as another major trend to watch for this year.
FROM TOP: MERYL MCMASTER / STOCKSY UNITED: KRISTEN CURETTE HINES
STOCK TRENDS
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ABOVE: The jubilant staff of the newly opened Henry’s store at 119 Church Street (1975) OPPOSITE PAGE: (left to right) Gillian, Andrew and Amy Stein at a 2017 store opening
ORIGINSTORY
FAMILY MATTERS Henry’s 109-year evolution from jewelry-repair shop to Canada’s greatest camera store, one generation at a time by VICKIE REICHARDT
SCOTT JARVIS
G
illian Stein fondly recalls being a little girl, helping her father sort through stacks of Henry’s flyers and newspaper ads on Sundays before collecting her pay: chocolate. “The store felt like an extension of my home,” she says, now the CEO of what has since become Canada’s largest independent photographic and digital retailer. “It’s always been a warm and welcoming environment where everyone feels like family, whether they’re a store associate or a customer.” That sense of family is something that’s been woven into the fabric of Henry’s since it was founded by Gillian’s great-grandfather, Harry Stein, in 1909. Originally a small jewelry-repair shop called Henry & Company – even though there was never a “Henry” involved – the business has evolved with the times to become a retail institution under the ongoing leadership of the Stein family. Harry and son Gerald Stein ran the business in the 1940s and ’50s, and Gerald and his wife, Adele, took the reins in 1959. That same year, Henry & Company regularly began carrying photography supplies as part of its inventory. In 1971, the business was sold to Gerald’s son, Andrew, and four other investors. A few years later, the name was changed to Henry’s, the now-iconic orange logo was introduced and the business’s sole focus became photography. But a 1970s boom was followed by what Gillian describes as “some challenging business decisions,” resulting in Henry’s filing for bankruptcy in 1982. Several months later, though, Andrew and his wife, Gaye, were able to regain control of the company, and Henry’s has enjoyed consistent growth ever since.
“My mother and father saw the value and potential of the Henry’s brand, its customers and what it stands for,” Gillian says. “They made it into what it is today. My dad worked six days a week and late nights every day. Putting in 100 percent, day in and day out, showed me that always putting your best effort forward isn’t easy, but it’s rewarding.” In 2015, Gillian – who’d already held various positions within Henry’s – stepped into the role of CEO, and says carrying on her family’s legacy was simultaneously exciting and daunting. “I won’t lie: it was overwhelming at first,” she says. “I was very honoured to have the opportunity, but this business had been around for over a century and there were a lot of people counting on me.” Any fleeting reservations have given way to enthusiasm about meeting the challenges of a constantly changing retail landscape. “We’re just getting started on a dynamic journey as a retailer,” Gillian says. “We have new store designs continuing to roll out across Canada, and [we’re] moving into new geographic locations, starting with our first store in Vancouver, which is opening soon!” She’s also grateful to the company’s loyal customers who, like any good “family,” have weathered the business’s ups and downs along with the Steins for more than 100 years. “If you treat people with respect and build really strong relationships, they will be by your side in any situation,” Gillian says. “[And] I love seeing what people do with our products. Everyone has their own view of the world, and to see that come to life in the great content they create is amazing.”
TIME STAMPS 1909 Harry Stein opens Henry & Company.
1959 Gerald and Adele Stein take over the business.
1971 Gerald sells the business to his son, Andrew, and four other investors.
1982 Henry’s goes into receivership and closes all retail outlets except the flagship store.
1983 Andrew buys back the business and reinvigorates the brand.
2015 Andrew’s daughter, Gillian, becomes CEO. By 2018, Henry’s grows coast to coast, and operates an ecommerce store at henrys.com. SPRING 2018
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GEARING UP:
SOTEEOH The Toronto-based street photographer shares the gear and tech he uses in his work by JACLYN LAW photography by SOTEEOH
Soteeoh airborne at Brookfield Place
@SOTEEOH
SOTEEOH’S ESSENTIAL GEAR HIS CAMERA Soteeoh’s go-to camera is the
S
Canon 6D. “It gives me great results,” he says. “Also, it’s legendary for its low-light performance. Since I do a lot of urban nighttime photography, it’s a perfect fit for me.” Graphic designer Gloria Assé cuts loose
oteeoh – real name Adeyemi Adegbesan – captures vibrant, restless, dramatic images of his city. This esthetic has earned him a following on Instagram (@soteeoh has more than 60,000 followers), and major brands like Adidas, Lululemon and Chevrolet tap him to shoot their ad campaigns. For Soteeoh, Instagram is more than a social platform – it’s the reason he committed to photography as a career. “I’d dabbled in it before, but in 2012 I started shooting consistently, because of the ease and convenience of [the platform],” says the selftaught photographer. In his personal work, Soteeoh captures what he loves about Toronto: its people and its unique spaces. “I want to explore and get to know the city on a more intimate level, and to connect with
HIS LENSES Soteeoh’s kit usually includes three lenses: a Canon 50mm 1.4, Sigma 70–200mm 2.8 and Canon 24–70mm 2.8. “I have other lenses for specific purposes, but that’s my baseline.”
HIS FILTERS AND GELS “Polarizing filters are essential,” says Soteeoh, who prefers Hoya and B+W. He also experiments with gels on his speedlight and studio lights. “I have a couple of packs from Lee Filters, and I make my own with different materials.”
HIS PHOTO-EDITING SOFTWARE Soteeoh edits images in Adobe Photoshop. “A lot of photographers I know use Lightroom, but I’ve always been a fan of Photoshop and what it can do.”
HIS CAMERA BAG Soteeoh totes his gear in a Black DSLR Backpack by Hex. “It’s a really cool bag that fits a camera, three lenses, a speedlight, a drone and my laptop, but it still fits on my bike.”
HIS COMPUTERS “I’m a PC guy. It surprises a lot of people that I’m not into Macs, but I have a desktop PC that was custom-built for me. I also have a Microsoft Surface Pro, which I’m a huge fan of,” says Soteeoh. “It’s a laptop, but you can detach the screen and use it as a tablet. It’s lightweight and compact, and the pen is amazing for retouching.”
Nigerian singersongwriter Mr Eazi Painting with light
people who are contributing in a way that’s unique or inspiring,” he says. He’s also giving back to the community. A former youth worker, Soteeoh now mentors young people through photography workshops. “The creative life can be isolating, especially if you do a lot of commercial work,” he says. “Getting involved with the city in that way keeps things flowing. It’s a good counterbalance to everything else.”
HIS TOUCHSCREEN GLOVES “I shoot a lot in the winter, so touchscreen gloves are essential,” he says. “If it’s super-cold, I also wear a face mask. It’s definitely necessary for life in Toronto!”
HIS BATTERY PACKS Soteeoh buys two or three batteries for every device he has. “I like the convenience of not having to worry about recharging or running out of power.” SPRING 2018
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Cameron’s lightweight and stylish Obsidian Series backpacks, and sturdy, versatile, and easy-to-carry T310 tripods make the perfect shooting companions. See the entire Cameron lineup exclusively at Henry’s - Canada’s Greatest Camera Store. HENRYS.COM/CAMERON
Only at:
X
HANDSON
MARKS THE SPOT
Fujifilm’s new X-H1 is a tribute to the lineage of the company’s distinguished series of mirrorless cameras by DAVID WRIGHT / photography by ERIK PUTZ
SPRING 2018
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HANDSON
S
ince its launch almost eight years ago, Fujifilm’s X Series of digital cameras has consistently raised the bar with each new iteration, and the latest entry – the rugged yet sophisticated X-H1 – kicks things up another notch. Designed with video shooters in mind, with a larger body and a unique feature set, the X-H1 sets itself apart from the X-T2. While this model retains much of the X-T2’s original clout, including its high-performance sensor and powerful processor, the recent enhancements boost the camera’s profile and ensure that the series is advancing in a direction that will continue to turn heads.
VIDEO
Anyone eager for improved video performance among X Series cameras will be pleasantly surprised by the X-H1 in this department. You can now shoot quality video at a rate of 200 Mbps and 15 minutes’ worth of HD 4K. The built-in 24-bit audiocapture microphone allows for premium sound recording, and a new Silent Video Operation function lets you manipulate aperture, shutter, and other buttons and dials without inadvertently capturing unwanted internal noise while shooting. To top it off, the X-H1 also debuts the Eterna filmsimulation mode, which combines subdued colour presentation and rich shadow tones to create the look and feel of cinematographic film.
BODY
The overall body design is a modest shift toward Fujifilm’s medium-format GFX 50S: note the sloped viewfinder prism, top-mounted LCD (along with a tilting touch-sensitive rear LCD), plus a larger handgrip. The X-H1’s magnesium-alloy body shell is 25 percent thicker than earlier X Series models, and as a result less susceptible to shocks and damage. It’s also resistant to dust, moisture and – thanks to the exterior coating’s improved grain size – scratches. An added bonus for outdoor photographers: this unflappable weather-sealed body functions just fine in rain and is unfazed by temperatures dipping as low as -10°C.
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24-MP APS-C X-TRANS III CMOS SENSOR
A hallmark of the Fujifilm X Series since 2016, this hefty high-performance sensor uses a unique six-by-six pattern of photosites that helps reduce moiré effect and false colours. Working seamlessly with the X-Processor Pro processing engine, it allows the camera to render crisp, sharp images with a perceived resolution theoretically exceeding the actual number of pixels used.
FUJINON XF50-140MM F/2.8 TELEPHOTO ZOOM LENS As a Fuji X-mount lens, the XF50-140mm boasts trademark optical excellence along with superior mechanical performance to deliver clear, sharp results. The sturdy metal-construction barrel houses 23 glass elements in 16 groups, including five extra-low-dispersion elements and a Super ED element to reduce chromatic aberrations and colour fringing. The lens also features a fast, quiet and reliable autofocus motor inside, and (like the X-H1) an extensively weather-sealed finish, making it the go-to tele-zoom lens for shooting anything from portraits to travel and sports photography with Fuji’s X Series line of cameras.
IN-BODY IMAGE STABILIZATION
ELECTRONIC VIEWFINDER (EVF)
The X-H1’s EVF is noticeably brighter (1.6 times that of earlier X Series models), sharper (3.69-million-dot resolution) and quicker: the eye sensor responds twice as fast as previous models when switching automatically between rear-monitor display and viewfinder display.
FLICKER-REDUCTION MODE
Photographers at indoor sporting events will appreciate this new feature. Typically found on higher-end DSLRs, flicker reduction cleverly counteracts exposure imbalances caused by the alternating current of fluorescent lights by gauging the oscillation rate and coordinating exposures to coincide with peak brightness. Among other things, you’ll avoid fluctuating brightness within a series of images shot in one continuous burst.
In a first for the X Series, the X-H1 harbours a built-in five-axis imagestabilization mechanism, which mitigates camera shake with just about any compatible Fujifilm X-mount lens attached to the camera. Together, this system’s three-axis accelerometer, three-axis gyro sensor and dedicated dual processor impart corrections roughly 10,000 times per second, helping to enhance performance in conditions ranging from low light to fast action.
These are just some of the notable details that set the Fujifilm X-H1 apart as one of the worthiest contenders in today’s crowded mirrorless market. Features like the large grip, in-body image stabilization and anti-flicker mode will appeal to sports photographers in particular. Factor in other significant tweaks, such as Wi-Fi with Bluetooth connectivity and the new Dynamic Range Priority mode, and the X-H1 should catch the attention of any serious photographer looking to up their game this year.
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MACRO
MASTERS Five Canadian photographers you should be following on Instagram by CHAD SAPIEHA
G
reat macro photography puts a fresh perspective on familiar subjects, transforming insects, plants and everyday objects into larger-than-life works of art. It demands a knack for seeing beauty in minuscule things – and the patience to wait for the perfect moment to capture it. These five Canadian Instagrammers are working to master these skills as they create stunning images of emerging life, tiny creatures and cool textures that reveal themselves only through the magic of macro studies.
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textured mesh in bokeh
Julien Belleteste @iamlejules A 52-year-old self-described “casual shutterbug,” Montreal-based Belleteste began taking pictures just a few years ago. His muse is the urban decay he sees in the streets he walks every day, armed with a Canon 80D and a Sigma 105mm f/2.8 EX DG OS HSM macro lens. The striking images he comes home with sometimes surprise even him. “I never knew my eye was so accurate,” he says.
FANTASTICFEEDS
a roughhead blenny in Belize
a bold jumper spider
Colin Shaw @papa_shawty
Brett Forsyth @brettjforsyth
Shaw credits arachnids for his love of shooting close-ups. “I fell hard for macro photography when I realized how beautiful these small spiders were that were living right here in the front yards of Toronto,” says the long-time amateur enthusiast, who uses a mix of Canon macro and zoom lenses, as well as a fixed 50mm lens together with a simple magnifying loupe.
Though he now resides in Guelph, Ont., Forsyth’s passion for photography began on Canada’s Pacific Coast. He loves how macro studies let him “travel to another world right in my own backyard.” Forsyth uses a Canon 5D Mark III and Mark IV with Canon 65mm MP-E and 100mm IS L lenses, and occasionally a Sony RX100 III for underwater work.
a Canada darner dragonfly
a softshell turtle hatching
Samantha Stephens @samanthastephens_ “I’m drawn to macro photography as a way to reveal the smaller things in nature that we might otherwise overlook,” says Ottawa-based Stephens, an aspiring conservation photographer. Her Instagram feed contains gorgeous shots of frogs, snakes, crabs and other wildlife. Her macro tools of choice: a Canon 5D Mark III equipped with a 100mm f/2.8 lens.
David Coulson @_davecoulson Toronto-based Coulson is an Instagrammer whose feed features shots dedicated to capturing the majesty of the Canadian wilds. For his macro work, Coulson uses a set of extension tubes that add magnification to his macro lens. “I love discovering the intricacies and diversity of life hidden to our naked eye,” he says. SPRING 2018
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TOP-FLIGHT ACCESSORIES
From lens filters to landing gear, you’ll find everything you need to capture the best shots with your Mavic Pro Drone
UNSPLASH: SEBASTIEN BOURGUET
by DAVID WRIGHT
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AMPEDUP
[1]
MAVIC PRO QUICK-RELEASE FOLDING PROPELLERS
[4]
POLARPRO DJI MAVIC PRO LANDING GEAR
C
ompact and portable, the Mavic Pro Drone is a highperformance flying machine that rises to meet numerous photographic challenges. And this gorgeous quadcopter, like any beautiful object, deserves to be decked out in the finest accessories. Here are six top-flight choices to take your experience to exciting new heights.
[1] MAVIC PRO QUICK-RELEASE FOLDING PROPELLERS Propeller performance on a drone can’t be overlooked: balance and powerful thrust are clearly key. This set of blades provides both in spades, plus they’re quick and easy to mount, as well as to detach and fold up.
[2] DJI INTELLIGENT FLIGHT BATTERY Specially designed for the Mavic Pro, DJI’s 3,830-mAh Intelligent Flight Battery provides up to 27 minutes of flying time on a single charge. Equally impressive are the built-in sensors and bright LED lights that indicate battery life and help pilots accurately calculate remaining flight times. Overcharge and over-
[2]
DJI INTELLIGENT FLIGHT BATTERY
[5]
DJI MAVIC PRO GIMBAL COVER
discharge protection help reduce the threat of battery damage. In winter weather, low-temperature protection kicks in to ensure adequate propulsion without damage from the cold.
[3] PEAK DESIGN EVERYDAY SLING BAG, CHARCOAL Peak Design’s handsome and versatile Everyday Sling Bag is spacious enough to snugly fit a Mavic Pro Drone, with room to spare for accessories. Its weatherproof nylon/canvas shell and high-density padding provide extra protection, and two Flexfold dividers let you customize the interior to suit your carrying needs. There are also plenty of handy pockets inside; a dedicated sleeve for a laptop; and external utility straps for carrying any extra gear.
[4] POLARPRO DJI MAVIC PRO LANDING GEAR Raising your drone an extra 1.5 inches from the ground, these durable glassfilled nylon leg extensions offer added stability for uneven takeoffs. They also guard against rough landings, while keeping the gimbal a safe distance from dirt, dust and sand on impact. PolarPro’s
[3]
PEAK DESIGN EVERYDAY SLING BAG
[6]
POLARPRO DJI MAVIC PRO FILTERS
lifetime guarantee provides another welcome measure of assurance against possible damage.
[5] DJI MAVIC PRO GIMBAL COVER The gimbal is the heart and soul of your drone, so be sure to protect it. Affordably priced and sturdy, this clearplastic gimbal cover snaps securely in place for use during transportation and while in flight, where it comes in especially handy as a shield against moisture, dirt and dust, not to mention countless flying insects your drone is bound to encounter in midair.
[6] POLARPRO DJI MAVIC PRO FILTERS – CINEMA SERIES – VIVID COLLECTION This set of featherlight filters was engineered for the discerning drone photographer. Boasting the highest-grade glass and coatings, they effectively reduce shutter speed by various f-stops, while removing glare and boosting colour saturation. The ND4/ PL filter is ideal for filming at dusk or dawn; the ND8/PL is perfect for partly cloudy conditions; and the ND16/PL works best on bright sunny days. SPRING 2018
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ROAD-TRIP
ESSENTIALS High-end and affordable options for six must-pack pieces of equipment by JACLYN LAW
W
hether you’re taking the kids camping, catching an out-of-town game with your buddies or embarking on an epic crosscountry road trip, this gear will ensure you can capture every amazing moment regardless of your budget.
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GEARGUIDE GETTING STARTED
UNSPLASH: SERGIO R
NIKON D3400 DSLR
The D3400 takes vibrant images and dazzling 1080/60p full-HD video, even in low light. Its Guide Mode offers step-bystep instructions, so beginners can shoot with confidence anywhere. Its 18-55mm VR lens kit is also ideal when you’re starting out.
NIKON AF-P DX 10–20MM F/4.5–5.6G VR
An ultra-wide-angle zoom lens is an essential lens for capturing landscapes, architecture or group photos. This durable, lightweight lens has built-in Vibration Reduction, which helps you take sharp hand-held pictures and videos.
NIKON SB-500
When shooting subjects backlit by the sun, a flash will help fill in the harsh shadows on subjects in the foreground. The SB-500’s flash head tilts up to 90 degrees, and rotates left and right 180 degrees, giving you creative control of your lighting.
MANFROTTO ELEMENT SMALL
Folded up, this aluminum tripod is just 32 cm long. The legs adjust separately and have three angles, which is handy for uneven terrain. The lightweight tripod holds up to 4 kg, making it a sturdy and easily totable option for travel.
NIKON AF-S DX NIKKOR 55–200MM F/4–5.6G ED VR II
Its retracting barrel makes this lens more compact and lightweight than other telephoto zoom lenses. The generous focal length helps you snap everything from portraits to sports action. Virtually no optical distortion also makes this lens a winner.
CAMERON OBSIDIAN SERIES SLING BACKPACK
This lightweight bag holds a compact DSLR, two or three lenses, and accessories. There’s also a handy tripod pocket and top storage compartment for easy access to your gear. Sold exclusively at Henry’s.
GETTING SERIOUS
CAMERA
LENS
FLASH
TRIPOD
LENS
CAMERA BAG
This full-frame DSLR offers jaw-dropping image and video quality, and a 24.3-MP FX-format CMOS image sensor. Its tilting 3.2-inch LCD display, and the autofocus and metering technology of pricier models, ensure excellent images and stunning 4K video.
NIKON D750 DSLR
This fixed-aperture widezoom lens comes with Nikon’s exclusive Silent Wave Motor and internal-focusing technology to deliver fast and accurate focus. Its Nano Crystal Coating and aspherical lens elements also improve image quality.
NIKON AF-S NIKKOR 14-24MM F/2.8G ED
This portable speedlight offers a flexible flash head, which tilts down to -7 degrees or up to 90 degrees, rotates left and right 180 degrees, and delivers three illumination patterns. It covers a wide zoom range (24–120mm) and has a fast recycle time.
NIKON SB-700
This aluminum tripod cleverly extends vertically and horizontally; you can even switch without removing your camera. The legs extend and adjust quickly to multiple angles. The ball head supports payloads up to 10 kg and pans 360 degrees.
MANFROTTO 190XPRO3
This fixed-aperture telephoto zoom lens is smaller, lighter and more affordable than Nikon’s 70–200mm f/2.8. It boasts five-stop Vibration Reduction, three extra-low dispersion glass elements for maximum sharpness, and autofocuses quietly.
NIKON AF-S NIKKOR 70–200MM F/4G ED VR
This innovative hiking backpack has an integrated camera pack that rotates to the front of your body. Other nifty features include a 3-L hydration reservoir, a waterproof rain cover and space for extra clothing.
MINDSHIFT GEAR ROTATION180° PROFESSIONAL BACKPACK
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LOCATIONSCOUTING
BODACIOUS BLOOMS Grab your gear and get shooting at these six gorgeous Canadian gardens by VICKIE REICHARDT cascade of colours, an interesting insect perched on a petal – flowers can make for spectacular photo subjects. Here are six of the best spots across Canada to snap some beautiful blooms.
ANNAPOLIS ROYAL HISTORIC GARDENS Annapolis Royal, Nova Scotia Part history lesson, part botanical utopia, these gardens’ 17 acres of flowers, trees and ornamental grasses are just two hours outside of Halifax. Explore the Victorian Garden’s 3,000 types of annuals; see the Maritimes’ largest collection of roses; or train your lens on an array of hydrangeas, day lilies, azaleas and rhododendrons. (historicgardens.com)
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CENTRAL EXPERIMENTAL FARM Ottawa, Ontario Home to the federal Department of Agriculture’s research facility, the farm also features an arboretum, a tropical greenhouse, and eight acres of ornamental gardens, showcasing 100 types of irises, 125 varieties of lilacs and more. (agr.gc.ca)
ALLAN GARDENS Toronto, Ontario Who says you need to venture out of the city – or even outdoors – to see fabulous flowers? This indoor wonderland in the heart of downtown Toronto is made up of six different greenhouses spanning a total of more than 16,000 square feet, each one
housing a different climate region’s plants and flowers, from orchids and begonias to cacti and succulents. (toronto.ca)
ROYAL BOTANICAL GARDENS Burlington, Ontario The “RBG” is Canada’s largest botanical garden and sits on a whopping 2,700 acres. While here, you can check out the world’s most diverse collection of lilac species and cultivars; see 3,000 rose bushes; walk 32 km of trails; or just snap pollinators at the Helen M. Kippax Garden. (rbg.ca)
ASSINIBOINE PARK Winnipeg, Manitoba Spanning 1,100 acres, Assiniboine is home to multiple
themed gardens, including a three-acre English garden featuring thousands of colourful perennials and annuals, and the Garden of Life, where some 3,000 flowers have been planted to honour organ donors. (assiniboinepark.ca)
VanDUSEN BOTANICAL GARDEN Vancouver, British Columbia In addition to the Bloedel Conservatory – home to 500 species of plants and tropical flowers, as well as 100 free-flying exotic birds – this 55-acre floral oasis also plays host to the annual Vancouver Rose Show (June 16) and a fuschia-andbegonia expo (July 28 and 29). (vandusengarden.org)
STOCKSY: ALAN SHAPIRO
The stunning stamens, the
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AIMING FOR
THE SKY
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Multi-award-winning Canadian photographer Chris Gordaneer on creating breathtaking images using the natural environment as a backdrop by CHRIS DANIELS photography by CHRIS GORDANEER
C
hris Gordaneer has captured hundreds, if not thousands, of unique images of the sky, taken from places all over the world. He’s pointed his lenses towards the heavens while on commercial work in the Canadian Rockies, Scotland and Colorado; during personal photography treks to several countries in Africa, including Namibia and South Africa; and even from the roof of Westside Studio in Toronto, where he’s one of the partners. “Anytime [the sky] looks cool, even ominous – so, not blue – and the clouds look painterly, I’ll shoot it. I’ll even climb up on the roof at work to get an image,” says Gordaneer. “I shoot a lot of skies for my backgrounds.”
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A Masai tribe in Tanzania
Breathtaking and evocative skies are a trademark of many of his award-winning landscape and portrait images. One of his most widely published photos of 2018 (so far) features Olympic ice dancers Tessa Virtue and Scott Moir (left), and uses an ominous-looking sky he’d previously captured in Colorado as part of the background. Virtue holds the Canadian flag as it waves against the Canadian Rockies – and a sky from Colorado. The photo’s intended subtext? “We’re ready to weather any challenge.” Gordaneer shot the athletes in studio. Virtue and Moir (“both lovely people,” he says) had to be lit to match the lighting of the Colorado sky. “Then we shot the flag separately so that we could get the proper wave on it,” he explains. It’s a technique Gordaneer employs frequently in his commercial work: removing a subject from a studio environment and placing them against an outdoor backdrop. Many of the athlete portraits he’s done for the Canadian Olympic Committee merge multiple photographs into one, and often under incredibly tight deadlines to help minimize the risk of media leaks. In the span of 12 hours, Gordaneer shot Virtue and Moir, and delivered the finished photos in time for an 11 a.m. press conference in Ottawa. There, Prime Minister Justin Trudeau announced the pair as the flag bearers for the Olympics opening ceremonies in Pyeongchang, South Korea.
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MY FAVOURITE SPOT TO SHOOT Gordaneer has a hard time picking just one place, but an upcoming assignment in Winnipeg has him excited. “People might think ‘Winnipeg?!’ But if you go just outside the city, you see just how flat it is. Its vastness makes you feel the size of an ant,” he says. “If you have the chance to go, photograph the land with somebody [in the shot]. You’ll appreciate how big ‘big country’ really is.” Capturing an outdoor scene is what first inspired the Toronto native to get into photography. “My family was quite poor, and we didn’t have a camera growing up,” he says, explaining that he began snapping photos in his late teens. “It wasn’t until I was 18 or 19, backpacking in Europe for several months with my then-girlfriend. Luckily for me, she had a camera that I was able to play around with.” He recalls a photo he took of Edinburgh Castle in Scotland as a turning point. Realizing a budding passion, Gordaneer made the decision to enrol
A San bushman in Namibia
in the photography program at Sheridan College. And back then, a portfolio wasn’t required for admission. In 1991, after graduation, Gordaneer started at Westside Studio as an intern – and he’s been there ever since. Now a copartner at Westside, Gordaneer spends about half of his time helping run the day-to-day business operations. He oversees 15 artists, who work in both still and motion photography, and manages the studio’s work for its commercial clients, which include well-known brands such as Adidas, Nike,
Ford and the Toronto Blue Jays Care Foundation. But he always carves out time to grab his gear and shoot for himself. In fact, his skills are often requested by corporate brands inspired by his portfolio. One of his favourite outdoor commercial projects took him to Walla Walla County, Wash., where he photographed horses and cowboys for Pendleton, a brand of wool clothing and southwestern décor. “We’d ridden the horses out and I asked them to bring them back around the valley, so I could stand there as they SPRING 2018
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Highland cattle on the Isle of Skye, Scotland
Trekking with his crew on a shoot in Namibia
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galloped by me,” he recalls. “So, I stood in the middle of the path into the corrals and had them run around me. A tail of one of the horses slapped me in the face.” That shoot also scored Gordaneer his alltime favourite photo (p. 26). He shot the sky separately – but from the same angle – to give a more dramatic feel. Recognizing how much being mentored benefited him at Westside, Gordaneer always makes time to mentor up-andcoming young photographers. “I show them the ropes,” he says. “A lot of the success for them comes just by showing up and observing. Don’t be typing away on your phone – that means you’re not paying attention to what’s happening around you.” He also encourages amateur photographers to travel, as it exposes them to new landscapes, people and cultures, which can help them see the world from a different perspective – and through a proverbial fresh lens.
WHAT’S IN HIS BAG?
GORDANEER’S PORTRAIT POINTERS
In 2006, Gordaneer fulfilled a lifelong dream to go to Africa. “My obsession with the continent started when I was a kid in the 1970s, watching Mutual of Omaha’s Wild Kingdom,” he explains. He’s visited the continent five times, most recently in 2016, and has donated his work to charities, including to the World Wildlife Fund. And which far-flung destination is Gordaneer hoping to get to next? Greenland. “It’s one of the most untravelled areas in the world,” he says. “The biggest thing is getting around once you’re there, because there are no roads.” But there will be no shortage of breathtaking landscapes – and, undoubtedly, stunning skies.
For more of Gordaneer’s work, visit his website at chrisgordaneer.com
GORDANEER ALWAYS CARRIES A FEW ESSENTIAL PIECES OF EQUIPMENT IN HIS CAMERA BAG: • Canon EOS 5DS and 1DX cameras • B+W polarizers, which Gordaneer uses to get the darkened and atmospheric skies in many of his images
• memory cards and chargers • his mobile phone, to access free apps like Sun Tracker, which calculates the position of the sun at any point during the day
• 11-24mm and 24-70mm lenses
1. STRIVE TO GET EVERYTHING IN-CAMERA. “I GREW UP [USING] FILM, SO YOU WOULD ALWAYS WAIT FOR LIGHT. AND I STILL ALWAYS TRY TO GET EVERYTHING IN-CAMERA,” GORDANEER SAYS. “IT’S BETTER THAN TRYING TO GET THE SAME EFFECT IN POST-PRODUCTION.” PLUS, YOU WON’T SPEND HOURS TRYING TO FIX THE IMAGE. 2. DON’T BE AFRAID TO ASK STRANGERS TO POSE IN YOUR PHOTOS. ON A PERSONAL PHOTOGRAPHY TRIP TO NAMIBIA, GORDANEER ASKED LOCALS TO STAND NEAR A WATERFALL. HAVING THEM IN THE PHOTO HELPED ILLUSTRATE THE SCALE OF THE LANDSCAPE. “DON’T BE NERVOUS ABOUT ASKING,” HE SAYS. “THE WORST THEY CAN SAY IS NO.” 3. RECOGNIZE WHEN A “MISTAKE” IS A HAPPY ACCIDENT. “SOME OF MY BEST IMAGES WERE THE RESULT OF MY MISTAKES,” SAYS GORDANEER. “I REMEMBER GETTING ONE IMAGE BACK, SEEING I HAD OVEREXPOSED IT AND THINKING, ‘BUT IT ACTUALLY LOOKS GREAT.’” TRY TO LEARN FROM THOSE HAPPY ACCIDENTS, SO YOU CAN REPEAT THE PROCESS(ES) WHEN LOOKING TO CAPTURE THE SAME EFFECT IN FUTURE PHOTOS.
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THE DOS AND DON’TS OF
NATURE PHOTOGRAPHY Improve your shooting with these handy tips and tricks
STOCKSY UNITED: GABRIEL OZON
by HELEN RACANELLI
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C FROM TOP, UNSPLASH: JOHNY GOEREND, LINNEA SANDBAKK, LÉONARD COTTE, AARON BURDEN
ascading waterfalls, wildflowers dotted with dewdrops, birds taking wing: nature will always be one of photography’s most compelling subjects. Here’s what to keep in mind while you’re shooting.
DO RESPECT WILDLIFE HABITATS. Keep your distance from birds’ nests and animal dens, so that you don’t disturb them – for their safety and for yours.
DON’T TRAMPLE PLANTS, GROUND COVER OR GRASSES. Be careful where you’re walking – check underfoot to avoid delicate seedlings.
DO USE A TELEPHOTO LENS. It’s essential for photographing animals from a distance, and ideal for bird and landscape photography.
DON’T BE DETERRED BY CLOUDY DAYS. Bright midday light can actually be too harsh for good photos, and clouds act as a natural diffuser. So, head out even when it’s gloomy.
DO PLAY AROUND WITH ANGLE AND DEPTH OF FIELD. For cool macro shots, try shooting from the side or below.
You can also blur the background by setting a wide aperture (e.g., f/2.8) to get a shallow depth of field.
DON’T BE AFRAID TO TRY A CIRCULAR POLARIZER FILTER. It will enhance your images of the sky and reduce glare or reflections on water.
DO HEAD OUT AT SUNRISE. In addition to a quieter, more peaceful environment, you’ll get the best light and beat the crowds, especially when the days get busier in the warmer months.
DON’T BRING A FLIMSY TRIPOD. A sturdy tripod that can hold your heaviest camera and lens combination will help ensure your shooting is stable.
DO BE PATIENT. Many creatures, such as deer and rabbits, blend into their surrounding environment, making them difficult to photograph. Wait until they have moved against a contrasting background, such as the sky.
DON’T FORGET YOUR SHUTTER REMOTE. A cable release or shutter remote means you won’t transfer vibrations from your hand to your camera and tripod when you snap a photo. SPRING 2018
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LOVIN’ MARRIAGE A conversation with wedding photographer Chelle Wootten, who reflects on her work and shares her tips for capturing magical matrimonial moments by BONNIE STARING photography by CHELLE WOOTTEN
One of Weddingbells magazine’s “Most Inspiring
Wedding Photographers” of 2017, Nova Scotia’s Chelle Wootten has been known to describe meeting her clients as “love at first sight.” Her ability to capture emotion in wedding, portrait and pet photos – often set against the bucolic backdrop of her home province – has helped her build a successful business. The Lens caught up with Wootten to chat about inspiration, locations and how to shoot evocative images.
WHEN DID YOU DISCOVER YOUR LOVE OF PHOTOGRAPHY? I grew up in a home where taking photos was an everyday thing. My very first camera was a gift from my grandmother: a little Kodak 110. The negatives were super-small and the quality wasn’t great, but it did the trick for taking photos of my stuffed animals. Currently, I’m shooting with a Canon 7D Mark II and a Canon 6D. I upgrade my gear every two to three years.
WHY DID YOU DECIDE TO PURSUE PHOTOGRAPHY PROFESSIONALLY? As a kid, all I wanted to be when I grew up was an artist. So, when the time came to pick a university, I decided to go to the Nova Scotia College of Art and Design. I wanted to be a painter, but when I actually got into the courses at school, I realized that photography was more of a passion for me.
WHAT DREW YOU TO WEDDING PHOTOGRAPHY? I’ve always loved portrait photography and, to be honest, weddings just seemed like the next step in my career. On wedding days, everyone looks amazing, so we bring them to a really beautiful location, get them framed up and let them be themselves.
WHAT ARE SOME OF THE CHALLENGES YOU FACE WHEN IT COMES TO TAKING WEDDING PHOTOS? Everything is out of your hands once you arrive on location. Plans can change quickly and you really need to be prepared for
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anything that can happen. As a bit of a control freak, I’ve really had to learn how to roll with the punches and not get too worked up about things that go wrong.
WHAT ARE SOME TACTICS AND/OR GEAR YOU USE TO OVERCOME BAD WEATHER WHEN SHOOTING OUTDOORS? Here in Nova Scotia the weather can be a little unpredictable and totally wild. Think: sideways rain and some of the strongest, chilliest winds... even on summer days. I have a stockpile of clear plastic umbrellas – like, 40 of them – in my car that have come in handy more times than I can count. For gear, I only buy camera bodies and lenses that are weather-sealed or weather-resistant, and I use a weather-resistant backpack, as well.
MANY COUPLES INCLUDE THEIR PETS ON THEIR BIG DAY. HOW DOES PHOTOGRAPHING ANIMALS DIFFER FROM PHOTOGRAPHING PEOPLE? With pet photography, you need to set aside more time and be prepared to get down on your hands and knees and crawl around with them. Photographing pets is a lot like photographing people – but on a smaller scale. Spend time with [the pets], and get to know their personalities and what makes them different, so you can capture that in a photo. As a pet owner and animal lover, I know how important it is to capture every little detail.
HOW DO YOU GET NERVOUS OR ANXIOUS SUBJECTS – WHETHER THEY’RE HUMANS OR ANIMALS – TO RELAX IN FRONT OF THE CAMERA? I start by telling my [human] subjects that the first few minutes of shooting will be super awkward – for the both of us – until we get
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into things. Letting them know that it’s completely normal to feel uncomfortable makes people feel better, because honestly, everyone is a little anxious about having their photo taken. Although rare, I have experienced nervous pets. Mostly cats. Cats just need a little more time to warm up to a person, so I use slow blinking, which means “I’m a friend” in cat language, and slow movements. With dogs, it’s usually the opposite. Sometimes they’re too energetic, so I’ll get the owners to run around with them, and I’ll chase them around as well.
WHAT’S THE ONE THING YOU ALWAYS MAKE SURE TO CAPTURE ON A COUPLE’S WEDDING DAY? For me, the most important things to capture are all the small details that the couple has put so much time and effort into creating, like rings, flowers, shoes, etc. We had one bride whose father passed away before the wedding, so her mother cut a square from
[
“I love the rocky shorelines here in Nova Scotia, and you don’t even have to drive far to find something unique and beautiful.”
[
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GET YOUR GEAR one of his favourite shirts and stitched it onto the inside of the bridal gown. I snuck in and captured a few shots as they were sewing it in, as well as a few close-up shots of it on the dress. It was extremely emotional, and I’m sure the photographs are something the bride will cherish forever.
When you’re shooting, you’re going to be on the move all day, and the right camera strap will make taking all those photos more comfortable. Here are two options to consider.
DO YOU HAVE ANY ADVICE FOR ASPIRING PHOTOGRAPHERS?
GETTING STARTED
Shoot a lot! It’s the one thing that will make all the difference. I don’t think the “fake it till you make it” mentality really works in this industry.
For more of Wootten’s work, visit chellewootten.com
3 WAYS TO CAPTURE BETTER WEDDING PHOTOS Wootten suggests saying “I do!” to the following tactics on your next wedding shoot.
1. SCOPE OUT THE WEDDING VENUE AND PHOTO LOCATION BEFOREHAND. Identify spots that will create a beautiful background.
2. GIVE THE COUPLE SPACE. Let them have some freedom to breathe and be themselves. Use a zoom lens if needed.
3. ADJUST FOR THE BRIDE’S GOWN. Use positive exposure compensation on your camera to ensure the fabric looks white instead of dull grey.
Peak Design Slide Camera Strap One side glides over clothes, the other grips to avoid shoulder slips. Adjusts to wear as a sling, neck strap or shoulder strap. Anchoring system connects quickly to hold camera securely.
GETTING SERIOUS BlackRapid Double Camera Strap Places two cameras upside-down against your waist for easy, tangle-free operation. Ideal for long shooting days, thanks to additional front and rear stabilizing straps, non-slip shoulder pads, and springloaded camera locks. SPRING 2018
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GET IN ON THE ACTION
What you need – and what you need to do – to master sports photography by KEVIN SNOW 40
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OPPOSITE PAGE: BOB FRID / THIS PAGE, FROM TOP: MICHELLE PRATA, BOB FRID
T
he unpredictability of sports provides for great television and even better photos, thanks to the combination of dramatic imagery, vivid colours and the ecstasy – or occasional agony – of competition. Whether it’s your child’s first soccer tournament, the office softball game or a heart-pounding professional playoff, the perfect sports photograph has the ability to evoke a series of emotions every time you look at it. But there’s more to taking a great sports photo than just pointing your camera at some athletes and shooting. The professionals make it look easy, but they’re often dealing with the same variables an amateur photographer would: where should I shoot from? What type of camera should I use? Is this lens going to work for me? And what do I need to do if the weather goes south? To answer some of these questions and help you capture amazing shots of your own, The Lens has enlisted the help of three prominent Canadian sports photographers to get some of their tips and tricks: Johany Jutras, now in her fourth year covering the CFL and third season as the Toronto Argonauts team photographer; Michelle Prata, who’s worked with the Toronto Blue Jays since 2010; and
Bob Frid, the club photographer for the Vancouver Whitecaps FC since 2008. WHAT’S IN YOUR BAG? Most professional photographers will travel with multiple cameras, as well as a backup for every piece of equipment they plan to use. Frid normally has four cameras at the ready, including two Canon 1DXs, a Canon 5D Mark IV and a Canon 7D Mark II. He also carries seven lenses, two Canon 600 Speedlites, six stadium strobe lights, Manfrotto grip pieces to hold lights and remote cameras, plus PocketWizard radios used to trigger remote cameras and flashes. For serious sports photographers, Jutras recommends using a roller bag to transport your gear, and also investing in a BlackRapid double-strap harness to wear when operating the camera. Being prepared is also key, which is why Prata always carries extra memory cards, and a clear garbage bag to use as a rain cover if she’s working outside. LOCATION, LOCATION, LOCATION While professional photographers work from assigned field-level access positions at sporting events, amateur shutterbugs aren’t held to the same restrictions at their local parks or rinks.
PRO TIPS FROM
BOB FRID Use these tricks to score great sports photos: • S hoot horizontally, because lenses track better. • K now how all the functions on your camera work, and learn to shoot with the camera in manual mode. • Do your best to understand the “exposure triangle” (ISO, aperture and shutter speed) to help create a properly exposed photo. • Narrow your focus area using camera settings, and always aim for something that has good contrast for the autofocus. You want to focus on the subject, not the people in front of or behind them.
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JOHANY JUTRAS
“You are only limited by your creativity, not your gear. If you want to become good at photography, the only way is to go out and shoot.” — JOHANY JUTRAS
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OPPOSITE PAGE: JOHANY JUTRAS / THIS PAGE: BOB FRID
FIRSTSECOND
“Try everything because you never know what will be a good angle,” says Prata. “I always try to get as close as I can to the action, whether with a lens or physically moving closer.” Frid has some suggestions on where to position yourself to maximize your opportunities. “Shooting near a net in soccer, basketball or hockey will get you more opportunities,” he explains. “Shooting from centre field at a soccer game will give you lots of action but not always the most dramatic [images]. If you shoot near the goal, you’ll get shots of headers, players attacking and good celebration photos.” CAPTURING THE MOMENT Iconic moments like a José Bautista bat flip don’t come along every day so, as a photographer, it’s imperative to be prepared at all times to capture the magic on the field, pitch or ice. Whether it’s your child, best friend or favourite athlete, knowing the subject you’re shooting will go a long way in creating that perfect photograph. “Think about what your subject will do if they do something great – will
GET YOUR GEAR
Shooting awesome sports video demands an equally awesome camera. Here are two to consider.
GETTING STARTED
GETTING SERIOUS
Stay steady on the sidelines as you follow the action up and down the field, pitch or ice with this camera. Its built-in three-axis stabilizer ensures steady and stunning 4K video, even if you’re running while shooting. Plus, its smart battery delivers four hours of shooting time on a single charge, giving you enough juice to last a full game.
This compact mirrorless camera comes with a full-frame image sensor and can capture every goal, catch and play in glorious pro-quality 4K HDR. The camera’s dual card slots and high-capacity battery mean you’ll always get the shot, and its five-axis imagestabilization system makes framing fast-moving subjects a snap.
REMOVU K1 3-Axis 4K Camera Stabilizer
Sony Alpha a7 III w/FE 28-70mm Lens
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they toss a bat or high-five teammates? Make sure you’ll have a clear angle of that moment because you can never re-create that emotion,” Prata says. “If you’ve been doing [this type of photography] for a while, sometimes you can feel [those moments] coming,” says Jutras. “At some point, you end up knowing the athletes and their character. If your child is playing and you’re shooting his or her games, you can anticipate their reactions better than anybody.” Being present in the moment and paying attention are also key. “You can anticipate a lot when you’re really following what’s happening in front of you,” she adds. PRACTICE MAKES PERFECT Becoming a skilled photographer is no different than being an athlete. At the end of the day, it’s all about practice and repetition, having fun and not being afraid to make a mistake. And the more you shoot, the better you’ll get. “It’s not about the equipment you own. A common mistake beginners make is thinking the more expensive the camera is, the better it is,” says Jutras. “The camera will not make the photo for you.”
THROUGH A LENS SHARPLY
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SIGMA 18-250MM DC MACRO OS
NIKON AF-S DX 55-200 F4-5.6G ED VR II
CANON EF 70-300MM F4-5.6 IS II USM
The 13x zoom range makes this a versatile lens. Sigma’s Hyper Sonic Motor and Optical Stabilization ensure fast autofocusing and the ability to shoot hand-held.
Don’t be fooled by the small and lightweight design – the zoom on this telephoto lens ranges from 55mm to 200mm, perfect for capturing live sports action.
The wide zoom range and near-silent autofocus features are ideal for the photographer looking to grab that perfect shot, even while shooting from a distance.
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JOHANY JUTRAS
Having the right lens can mean the difference between a good shot and a frame-worthy photo. Here are three to check out.
PRO STARTS HERE
High performance in the palm of your hand
With broadcast quality 4K, Fast Hybrid AF, Instant HDR and 3G-SDI output, Sony’s PXW-Z90V is the perfect compact tool for your next shoot. Now available online and at select Henry’s locations.
SHOTS THAT
ROCK A guide to capturing compelling images at outdoor concerts and music festivals this summer by TARA HENLEY
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W
ith the sun shining – and the public eager to take advantage of summer’s long days and nights – outdoorconcert season is now underway. Marquee festivals, one-off lunch performances, twilight shows, and even impromptu street busking sessions all provide ample opportunities to capture stellar images. But the feel-good vibe and great tunes don’t come without challenges. From navigating big crowds to coping with variable lighting, concert photography and videography can be tricky. The Lens tapped a few expert shutterbugs and videographers for advice.
EMMA MCINTYRE
SHOTS THAT SING If anyone knows how to cover music shows, it’s Emma McIntyre. The Toronto-raised, L.A.-based entertainment photographer’s work has appeared in Spin and Rolling Stone, and, as a staffer for Getty Images, her assignments have taken her everywhere from the Oscars to big-ticket music festivals like Coachella. She loves life in Tinsel Town, where “it’s always summer” and music shows abound. But music shoots can be high-stakes, she says, since you often have only a couple of songs to get what you need – and conditions can be unpredictable. “There’s never going to be the same lighting twice,” she says. “There’s no way of predicting what ‘the moment’ is going to be. So, it’s always trying to be one step ahead and anticipating what kind of a show the band might put on.” McIntyre says she’ll often watch music videos and concert footage ahead of time to get a sense of a performer’s habits. Planning ahead with equipment is also crucial – packing enough batteries and memory cards, for example, since longer festival assignments
can require you to be in place for up to 12 hours at a time. She prefers Nikon cameras, and these days she’s loving Sigma Art lenses, particularly the 50mm and the 24-35mm. “They’re both really amazing in low light, super-sharp,” she says. “Beautiful for portraits, and ideal for concerts because the aperture is so wide.” It’s also important not to overshoot. “I think it’s easy to do that in the beginning, when you’re starting out,” McIntyre says. “[Just] wait sometimes. The moments will come. And those are the pictures that you really want.” BRAVING THE CROWDS Rebecca Blissett, a Vancouver-based music photographer, agrees that patience – and luck – play important roles in scoring the perfect picture. Over the past 20 years, the accomplished lenswoman has shot everyone from Sting and Neil Diamond to Chris Rock, publishing pictures in the National Post, The Globe and Mail and The Georgia Straight. “One of my first assignments for The Straight was shooting U2’s Elevation Tour,” she recalls. “It was a hard shoot due to the setup of the stage. The Elevation Tour had an inner ramp that Bono walked around, so you’d either get his front or his back. I had my wide angle on and Bono turned around and faced me. He stopped and reached out with his foot, and lightly tapped my lens. So, I got this shot of him balancing, mic in hand and foot on the lens. I didn’t know I had it at first, due to shooting film and having to wait an entire day for it to be processed. I almost passed out when I got the film back and saw it – on the last of the roll, frame 36.” Blissett says concert photography is always a good time, but she especially loves summer events for the
REBECCA BLISSETT
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colourful crowd shots. “People are doing their festival stuff, dancing around, bare-chested with unicorn heads,” she says. “People at festivals generally have no problem being photographed. They’re there to have fun.” Shooting in the pit, though, can sometimes be tougher at outdoor events than your standard arena concert. “You’re dealing with stages that are really high, with monitors,” she says. “You’re getting the up-the-nose shot.” On the other hand, the lighting at festivals is often great, and there’s the opportunity to get beautiful dusk shots. “If you’re a pro, you’ll already know what to bring into the photo pit for your three songs,” she says. “I highly recommend having two bodies, one with a long lens and one with a short. If you’re a fan and shooting from the audience, be prepared to camp out in front of the barricade for hours. Pack light. I’d recommend anything mirrorless. Or the GoPro Hero. It’s small and indestructible. The Canon PowerShots are also great, particularly the G9X model. For DSLR users, I love Nikon, so I’d recommend the D3300.” FILMING FABULOUS FOOTAGE When it comes to filming outdoor concerts and musicfestival performances, most of the same rules apply. But veteran Chilean photographer and videographer Sergio Vera-Barahona – who now lives in Vancouver and works for Accessible Media Inc. – says filming summer music events can present special challenges. Mobility within a venue is key, so he advises photographers and videographers to meet up with the event’s communications staff for coffee ahead of shows, looking to score greater-access accreditation passes. Make friends with security guards, too, he says, in the hopes of getting more freedom to move around during a show. Research is key, and Vera-Barahona advises shooters to arrive early to suss out conditions. He says safety at
concerts can sometimes also be an issue, and photographers would be wise to tread carefully with zealous fans. “Try to be really friendly,” he says with a laugh. Whether you’re shooting still images or video footage, though, and no matter where you choose to point a camera this summer, Blissett has a vital piece of advice: always wear comfortable shoes. She also says it’s important to stay aware of your surroundings. That way, you’re not blocking other photographers’ shots, and you and the fans can all enjoy the music and the experience. “It’s all about working together.”
EMMA MCINTYRE
GET YOUR GEAR SIGMA 18-300 3.5-6.3 DC MACRO OS This is your go-to lens to capture every moment from every possible angle. Whether it’s a super-wide crowd shot, a close-up of an enraptured fan or a group of sweaty bandmates coming off the stage after the show, this lens has you covered.
Shooting photos or video at a music event? Consider packing these items in your bag:
SIGMA OS 70-200MM F2.8 EX DG HSM This lens is a must-have in low-light situations. Its constant f/2.8 aperture helps you snag gorgeous low-light portraits, and the impressive zoom length means you can easily snap intimate up-close images even when you’re far from the stage.
SIGMA 150-600 F5-6.3 SPORT DG OS Who needs an all-access pass when you have this telephoto lens, with its splash-proof and dust-proof construction, and super-long zoom? Easily shoot close-up photos of your favourite performers no matter where you’re standing. SPRING 2018
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SNAPSHOTS Henry’s staffers showcase their creativity in a series of photos inspired by the theme of “blooms”
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OPPOSITE PAGE: A rose in bloom, by national sales-training manager Gajan Tharmabalan Aperture: 2.4 / ISO: 3,200 Shutter speed: 1/250 Focal length: 60 THIS PAGE: A young woman in a field of flowers, by sales associate Mary Frankruyter Aperture: 2.8 / ISO: 640 Shutter speed: 1/160 Focal length: 50
[
“Blooms bring to mind the freshness of spring – with its soft textures, warm colours and beautiful things – which I try to capture in my images.”– Mary Frankruyter
[
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THIS PAGE: Macro of an orchid, by assistant manager Stephanie Nurnberg Aperture: 3.2 / ISO: 320 Shutter speed: 1/40 Focal length: 105 OPPOSITE PAGE: Ceiling at Casa Battló at the Antoni Gaudí Modernist Museum in Barcelona, by art director and creative manager Ryan Sheppard Aperture: 11 / ISO: 3,200 Shutter speed: 1/40 Focal length: 18.5
OPPOSITE PAGE: The jubilant staff of the newly opened Henry’s store at 119 Church Street (1975) THIS PAGE: The jubilant staff of the newly opened Henry’s store at 119 Church Street (1975)
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[
“Gaudí’s work is heavily influenced by nature – I see this ceiling detail as a flower opening up.”– Ryan Sheppard
[
FAR LEFT: High Park cherry blossoms, by Ryan Sheppard Aperture: 11 / ISO: 200 Shutter speed: 1/125 Focal length: 50 LEFT: A woman on a window sill, by Mary Frankruyter Aperture: 2.5 / ISO: 500 Shutter speed: 1/160 Focal length: 50
A poppy in bloom, by assistant buyer Cathy Antonyshyn Aperture: 8 / ISO: 200 Shutter speed: 1/250 Focal length: 50
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A dandelion blossom in a field of dandelions, by sales associate Vanessa Caltaldo Aperture: 5.6 / ISO: 100 Shutter speed: 1/500 Focal length: 154
SUBMIT YOUR PHOTOS! Enter our photo challenge and you could win* a $250 Henry’s gift card
In each issue of The Lens, we’ll announce a new photo challenge aimed at sharpening your photography skills. We’ll then select our favourite shots and publish them in the next issue. PLUS: one overall winner from all eligible submissions will score a $250 Henry’s gift card!
CHALLENGE #1: “REFLECTION” We want to see how you interpret the theme of “reflection.” So, grab your camera, get creative and start snapping! Then visit henrys.com/TheLensContest to submit your work. Deadline for entries is 11:59 p.m. ET on June 6, 2018.
SUBMISSION GUIDELINES:
• Image resolution: at least 300dpi at 8.5x11 inches. • No wordmarks. Your name and shooting details will be printed beside your image. • Photo(s) must be your own and, if a person is featured, you must have their written consent to use it. • If your photo is selected, you’ll be required to provide the high-res file. * For full contest rules and regulations, visit henrys.com/TheLensContest. SPRING 2018
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Because the best memories are ones you can reach out and touch.
WE DO
INSTANT PRINTS PHOTO CANVASES PHOTO BOOKS GIFTS AND MORE
HENRYS.COM/PHOTOCENTRE
STARTERKIT
THE ULTIMATE
UNBOXING TOOLKIT Creating quality video content doesn’t have to mean spending a fortune on expensive equipment – all it takes is a few affordable pieces of gear by LORA GRADY
C
alling all social-media mavens: it’s time to up your unboxing game. The most professional-looking posts (i.e., the ones that attract the most “likes,” advertisers and sponsors) offer clear sound, bright lighting and flawless picture. Luckily, it’s now easier than ever to showcase your favourite products (and yourself) with this budget-friendly kit.
[1] CANON EOS M6 BLACK WITH 15-45MM IS STM LENS The lightweight EOS M6 focuses fast, meaning you can be ready to capture video in an instant. The results? Vibrant and clearly detailed, which means products will always look sharp.
[2] RODE VIDEOMIC GO WITH RYCOTE SUSPENSION
GETTY IMAGES: ANCHIY
Capture clear audio voiceovers with this compact microphone, which reduces background noise from the unpacking process. It’s also user-friendly – no confusing settings and no need to shout to be heard.
[3] APUTURE AMARAN AL-M9 COMPACT LED LIGHT Light up your vlogs with this credit-cardsized light. It’s perfect for the travelling content creator, since it can easily be mounted or held by hand, and provides up to 900lux. *
SOLD EXCLUSIVELY AT HENRY’S
[4] VANGUARD ALTA PRO 2+ 263AB WITH BH100 BALL HEAD This tripod kit is handy for vloggers at home or on the go. It includes a ball head and a multi-angle centre column that can be adjusted for a bird’s-eye-view shot.
[5] CAMERON COMPACT L SHAPED FLASH BRACKET * Get natural-looking light for your shot with this handy bracket, which allows you to mount a light and a mic next to your camera. Then, you can flip your screen 180 degrees to monitor yourself and ensure a flawless shot.
[6] CAMERON 10X12 MUSLIN BACKDROP* A muslin backdrop is a must-have for any unboxing pro. This 10'x12' piece can be draped or hung, or placed under or around products, and the warm, mottled effect makes products stand out. SPRING 2018
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TECHNIQUETUTORIAL
S
ometimes called the “zoom burst,” the zoom blur is a cool, creative photographic technique that adds an abstract, kinetic quality to your images. As its name suggests, the technique involves distorting your photos and manually creating a blurred, starburst-like effect that radiates outward in all directions from your subject. Here’s how to do it. [STEP 1] Mount your camera on a tripod or set it on a solid, stable surface. This will help give you straight blurred lines. [STEP 2] Select Shutter Priority mode to set your shutter speed. Try starting with 1s and an ISO of 100, then extending the shutter speed one second at a time and/or adjusting the ISO as you go to see what yields the best results. [STEP 3] Zoom in on your subject all the way and set your focus. If your camera has a lock focus/lock exposure feature, use it. (If not, no problem!) Then, zoom all the way back out. [STEP 4] Press the shutter release and zoom in again as smoothly and at as consistent a speed as possible. Depending on the shutter speed you selected, you might have to zoom quickly (i.e., if you’ve set it for a short exposure) to finish before the shutter closes.
THE
ZOOM BLUR Add super-cool effects to your photos with this fun, easy-to-learn technique by VICKIE REICHARDT
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Mastered the basics? Add more flair by giving these variations a shot: • Try zooming in at different speeds to change up the distortion. • Try momentarily stopping, then resuming, the zoom to see what effect that creates. • Try zooming out instead of in after you press the shutter release. • Try rotating your camera as you zoom for a swirled-blur effect.
UNSPLASH: STEPHEN DI DONATO
[STEP 5] Check out your results and then make any necessary tweaks. The zoom blur works best in lower-light conditions, such as on a cloudy day or in a dimly lit space. If you’re trying this technique in bright light, simply adjust your aperture to a high setting (e.g., f/22), shorten your shutter speed or add an ND filter to cut the amount of light and avoid overexposed images.
CONTENT CREATORS
Take your content to the next level with our Vlogger Kit 2 featuring the fantastic Canon 80D. Hit the streets and capture stunning 4k video with auto-focus, and clear, crisp audio from RĂ˜DE.
TECHNIQUETUTORIAL
NOT SO FAST
Tips on mastering long exposures by ROBIN ROBERTS
are blurry is usually a disappointment. But deliberately long exposures – anywhere from a few seconds to a few hours – that create soft, streaky images can be works of art. Subjects that lend themselves perfectly to this technique include waterfalls, light trails, night skies, fireworks – anything that moves, really. Award-winning photographer and educator Sharon Tenenbaum, who conducts workshops at Vancouver’s Langara College as well as online, offers some tips for happily blurring the lines.
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ISTOCKPHOTO.COM: ROMAN SLAVIK
Discovering your photos
MOVING WATER Tenenbaum, who favours a wide-angle (24mm) lens, says that anything longer than 30 seconds requires manual mode. “Digital cameras won’t let you automatically open and close the shutter for more than 30 seconds, so you’ll need to manually focus your lens and use the Bulb setting,” she says. She advises keeping your aperture constant, at f/11 or f/16, for example, “to give nice depth of field.” An ISO of 200 will add that soft, silky effect to moving water, but you may need to make adjustments depending on the speed of the current and the quality of light.
GET YOUR GEAR
FROM TOP, STOCKSY: MICKY WISWEDAL / ISTOCKPHOTO.COM: PHILIPPE GRATTON, CHEMC
LIGHT TRAILS Try shooting light trails – like those created by traffic or amusementpark rides – just after the sun goes down, so you can include ambient light, which will add some atmosphere. A good starting point is keeping your shutter open between 10 and 20 seconds, with a mid-range aperture of about f/8, and ISO of 100 or 200.
FIREWORKS To shoot fireworks, a wide-angle lens is best, but if you’re farther away from the action, you may need a zoom lens (18–200mm). Try an ISO 200 at f/11, then adjust as needed. To add scale or reference points to your fireworks photo, see if you can capture part of a building or tree in the image.
Having the right accessories can help with long exposures. Here are three to consider. [1] A tripod, ideally one that’s lightweight, is essential for keeping your camera still. [2] Use a cable release (or wireless remote) to trigger the shutter and lock it open without touching the camera. [3] In bright light and for exposures over a few minutes, a neutral density (ND) filter will help prevent overexposures. ND filters come in three types: fixed, rated in density stops; variable, which rotate to increase or decrease density; and graduated, where the density covers just half of the filter while the other half is clear.
NIGHT SKIES To capture stars as pinpoints, use as wide an f-stop as you have, says Tenenbaum, and a shutter of about 20 seconds. Modify your ISO as you bracket. To create star trails, though, try using a 16mm lens, at f/2.8 for roughly 30 seconds, and adjust for effect.
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FINISHINGTOUCHES
HOW TO
ADD TEXTURE Give your pictures refined textural effects by using layers
[STEP 1] Open your primary image. You’ll see its thumbnail automatically marked “Background” in the Layers panel.
[STEP 2] Drag and drop an image with some texture – perhaps a close-up of a wood grain (pictured) or sand – into the Photoshop window. This will automatically become the top layer.
[STEP 3] Choose a blend mode by clicking the drop-down menu in the top-left corner of the Layers panel (“Normal” is the default). “Overlay” and “Soft Light” blending are good options to start with, but make sure to try them all.
[STEP 4] Adjust the opacity and fill sliders to achieve the desired level of texturing. You can also try moving and rotating the texture to alter the look and feel. The goal is to add a subtle complementary quality to the original image.
Photoshop provides plenty of
ways to combine two or more photos to create even more stunning images, and among the simplest and most rewarding is layering a texture. Though there are seemingly endless ways to do that, here’s an easy method that lets you blend a pair of images to create a composite that will then boast a sophisticated grain effect. 62
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FROM TOP: UNSPLASH: BETH SOLANO, ALAIN PHAM
by CHAD SAPIEHA
WORKINGFILES
4 WAYS TO PROTECT YOUR WORK ONLINE Guard your photos and videos from unauthorized use by following these suggestions by HELEN RACANELLI
Posting work you’re proud of online can be rewarding. It’s also easier than ever, thanks to content-sharing sites such as Instagram, Facebook, Pinterest and others. Sharing, however, comes with the risk that your material may be used without your permission – by individuals or even by companies for commercial purposes. Protect it with these tactics.
[1]
SPELL IT OUT (E.G., “PHOTOGRAPHY BY JANE JONES”)
[4]
UNDERSTAND COPYRIGHT
Watermarks have been used since the 13th century. They still come in handy today to protect work from unauthorized use, so apply them to your photography and videos.
In Canada, you automatically own the copyright of any artistic work you create – there is no paperwork or process entailed. You can take it a step further, however, by registering copyright of your work with the Canadian Intellectual Property Office, says Bacal, which may be useful if there is a legal dispute in the future.
[3]
INSTALL PLUG-INS ON YOUR WEBSITE OR BLOG Take advantage of easy-toinstall free plug-ins for your blog or website that actually let you disable a visitor’s “right click” ability, Bacal says. It blocks potential thieves from grabbing your images with a mere mouse click.
3 STEPS TO TAKE IF YOUR WORK IS USED WITHOUT PERMISSION 1. Collect evidence and gather details, such as when the work was uploaded or taken down. 2. Consider your desired outcome. Decide whether you want to be compensated for the use of your work, or whether you simply want it taken down/removed from wherever it’s being used without your permission. 3. T alk to a lawyer. You have three years from when the theft is discovered to start a proceeding for copyright infringement.
ISTOCKPHOTO.COM: DIEGO CERVO
Get in the habit of identifying yourself as the creator when you’re posting video or photography online, says Meredith Bacal, a trademark and copyright lawyer specializing in entertainment litigation at Gilbert’s LLP in Toronto. “Stipulate you do not authorize reproductions of the work,” she says.
[2]
USE WATERMARKS
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WORKINGFILES
OPEN FOR BUSINESS How to capitalize on your creativity and launch your own venture by ROBIN ROBERTS
W
hether you snap photos or shoot video, your artistic eye could become a financial boon. Dominik Loncar, entrepreneur-in-residence at Futurpreneur Canada, recommends having these five things in place to launch your own business.
1. A PORTFOLIO
2. A CLEAR FOCUS To stand out, specialize. Then, do your homework. “If you want to, say, shoot fruit, you need to research and identify your target market,” Loncar explains. “Go to grocery stores, study certain brands and [learn] who else is doing what you want to do.”
3. EQUIPMENT AND EXPENSES “There should be some investment [in gear], but do it in stages,” says Loncar, adding that spending should be justified by sales. “Otherwise, you’re stuck with expensive equipment but no business.” If you need a studio, start by renting space by the hour, rather than buying or leasing it.
4. A BUSINESS PLAN A business plan is key: it details your goals for the venture and how you’ll reach them. It’s also necessary to secure funding. “It’s important to understand startup costs and cash flow, and how the funding is going to move your business forward,” 64
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Loncar explains. Don’t know what a business plan should look like? No problem: you can easily find free templates online.
5. A SALES STRATEGY Finally, you’ll need a marketing and sales strategy – namely, how are you going to generate business? Loncar cautions against relying soley on your existing social-media followers, and says you need to ensure you’re also being seen by potential customers who will use your services. “It’s more important to know who will be buying your work.”
[
CHECK OUT THESE EXPERT RESOURCES: • Futurpreneur Canada (futurpreneur.ca) • Business Development Bank of Canada (bdc.ca) • Canadian Federation of Independent Business (cfib-fcei.ca)
[
PEXELS.COM: RAWPIXEL.COM
Loncar says evidence of your abilities is essential and suggests showcasing your portfolio on a well-crafted website, which can be created for little or no money. “Since you’re in a visual field, there should be some thought to the design of your site,” he says. “And, ideally, some testimonials.”
PROADVICE
ASK A HENRY’S EXPERT Get answers to your questions about technique, gear and more by ROSS CHEVALIER
What does it mean to shoot in RAW, and is there any benefit to shooting this way?
FROM TOP, ISTOCKPHOTO.COM: MARIO GUTI / ROSS CHEVALIER
A RAW file contains all the information captured by the sensor, so nothing is thrown away (as happens with a JPEG), and that means you’ll have to process your images – after downloading them to your computer or mobile device – to finish them. This can be as simple as exporting them to an image format such as JPEG or TIFF, or working with a computer-based photo-editing program. RAW basically means unprocessed, and that puts the power to create beautiful images back in your hands: you have much more data to work with, so the outcome will be images of greater dynamic range and quality. This is why most serious imagemakers always shoot in RAW.
Every time I resave a JPEG after I work on it, the image quality seems to deteriorate. Why? And is there anything I can do to preserve image quality while I’m editing?
You aren’t wrong. The JPEG file format uses compression that is destructive, and the default save always applies more compression, resulting in a lower-quality image. To preserve image quality when working on a JPEG, use the “save” controls to set the JPEG quality at 100 percent. By using this quality setting, you don’t eliminate the compression
entirely but can reduce it as much as possible, thereby limiting how much data gets lost in each save. Another method is to do your intermediate saves in a non-destructive format (such as TIFF or PSD) if your application supports it, and save as a JPEG only when you are finished editing.
Ross Chevalier is a professional photographer, videographer and imaging educator, a regular contributor to the Henry’s Blog and an instructor with Henry’s Learning Lab.
Something you want us to cover? Tweet it to @HenrysCamera and we may choose it for our next issue! SPRING 2018
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FINALFRAME
“I shot this image at the Canadian Raptor Conservancy in September 2017. I thought it would be a great personal project to take portraits [of the birds], and ended up photographing 12 different birds of prey.” – Chris Gordaneer
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u
Contact us to find out why our Henry’s Professional Services division is the best option for B2B, educators, and professionals for all of your camera related gear and accessories
SPECIAL BUSINESS PRICING • We provide special pricing for business imaging needs LEASING & FINANCING • We offer leasing/financing options for businesses TRADE-INS • We accept trade-ins to help you save costs and upgrade your photo gear
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