The Lens: Issue 2 - Fall 2018

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PHOTO Everything you need to know to outfit yourself with the right lens


Which one do you need?





Instagrammers to follow


A look at 360 cameras



18 LENSES 101

Renowned celebrity photographer George Pimentel shares insight into his work


44 STARTER KIT Must-have equipment for aspiring filmmakers

8 GEARING UP Dina Goldstein


Animated GIFs and more

Portable portrait lighting

49 ASK A HENRY’S EXPERT 28 ROLLING WITH IT A Q&A with cinematographer Lindsay George

37 LOCATION SCOUTING Amazing waterfalls



34 FALL PHOTOGRAPHY From foliage to family events, tips on how to capture stunning images this autumn


How to get your videos noticed on YouTube

48 BEST IN SHOW Tips on how to prepare for, and stage, a successful photo exhibition

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FOR ROGERS EDITOR Vickie Reichardt ART DIRECTOR Kim Rogers CONTRIBUTING EDITOR David Wright DESIGNER Jamie Gircys PROOFREADER Linda Gregg DIGITAL IMAGING SPECIALIST Nicole Duplantis CONTRIBUTORS Roberto Caruso, Ross Chevalier, Shanda Deziel, Diana Duong, Lora Grady, Zach Gibson, Tara Henley, Jaclyn Law, Stacey Phillip, Helen Racanelli, Robin Roberts, Chad Sapieha, 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



Congratulations to Nikita Sander (Toronto, Ont.), who submitted this stunning shot titled “Eastern Reflections” for our first challenge. Sander says of the photo: “This image features the reflection – captured in a small collection of trapped water – of a man as he overlooks the Atlantic Ocean, standing motionless on the smooth rocks of Peggy’s Cove, N.S., as if he himself is lost in his own reflections.”


Aperture: 2.8 ISO: 100 Shutter speed: 1/1000




CONNECT WITH US: Looking for all the hottest gear, deals, services and more? Visit us at! Join the conversation, share your work, and get the latest news and updates by following Henry’s social feeds at:

@HenrysCamera, or on


Corrections In the Spring 2018 issue of The Lens: • The photo on p. 52 should be credited to assistant manager Stephanie Nurnberg. • The image of the woman on a windowsill (p. 54) should be credited to Mary Frankruyter. The Lens regrets these errors. 4


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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 Some advertised items may not be available in all stores or on See store or for details. Rogers Media Inc. accepts no responsibility for unsolicited material. Rogers privacy policy is available at 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 Printed on FSC®-certified paper. The Forest Stewardship Council® supports environmentally appropriate, socially beneficial and economically viable management of the world’s forests.



COMING SOON: HENRY’S FIRST VANCOUVER LOCATION! Henry’s, Canada’s Greatest Camera Store, is thrilled to announce an exciting cross-country expansion with the opening of its first store


in downtown Vancouver later this year. Founded in Toronto in 1909, Henry’s currently operates retail outlets throughout Ontario, as well as locations in Nova Scotia and Manitoba, with more than 15,000 products available (in-store and online at for photo and video content creators of all skill levels. Slated to open in the fall, the new Vancouver store extends Henry’s national footprint, bringing the company’s expertise and enthusiasm to even more Canadians. “We are extremely excited to be coming to Vancouver, as so many fantastic creators live in the city, and we know many people have been asking when we’d be opening a location there,” says Gillian Stein, Henry’s CEO. “The beautiful landscapes – and the city itself – make Vancouver the perfect location for epic content. We’re proud that we’ll now be a part of more people’s creative journeys, and we look forward to meeting everyone when we open our doors.”



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ICONOGRAPHY Coming to bookstores this August: Amy Winehouse. Blake Wood (Taschen). When American photographer Wood met Winehouse at the peak of her career in 2007, the two became inseparable for the next two years. This hardcover book features 85 black-and-white and colour photographs – captured during some of the mercurial icon’s most intimate moments in London, Paris and St. Lucia – along with text by bestselling author and cultural critic Nancy Jo Sales.

The highly anticipated 2018 World Press Photo Exhibition makes its regularly scheduled pit stops in Montreal and Toronto this fall – from Aug. 29 to Sept. 30, and Oct. 2 to 22, respectively – before launching its final Canadian appearance in Chicoutimi, Que., in late October. In keeping with its mission to “showcase stories that make people stop, feel, think and act,” the annual Amsterdam-based touring show visits 100 cities in 45 countries. Included among dozens of award-winning images is the World Press Photo of the Year – the singular example of documentary photography that “captures or represents an event or issue of great journalistic importance” from the previous year.

The World Press Photo of the Year – “Venezuela Crisis” by Ronaldo Schemidt (Agence France-Presse), taken on May 3, 2017, In the stirring shot, 28-year-old José Víctor Salazar Balza catches fire amid violent clashes with riot police during a protest against President Nicolás Maduro, in Caracas, Venezuela.



Billed as the largest commercial drone event in North America – and inviting enthusiasts to “join thousands at the centre of the drone revolution” – The International Drone Conference and Exposition ( touches down in Las Vegas from Sept. 5 to 7. Attractions include more than 120 sessions, panels and keynote addresses, as well as 150-plus commercial vendors on the showroom floor of the Rio All-Suite Hotel and Casino. The groundbreaking, industry-acclaimed Women in Drones Luncheon is another big draw.


Burtynsky’s Environmental Eye Few photographers have documented the phenomenon of the human impact on our global environment as stunningly as Toronto-based Edward Burtynsky. In collaboration with filmmakers Jennifer Baichwal and Nick de Pencier, he’ll be launching two complementary multimedia exhibitions called The Anthropocene Project at both the Art Gallery of Ontario and the National Gallery of Canada on Sept. 28. Among other things, the shows will feature new Burtynsky photographs along such themes as resource extraction and climate change. “Lithium Mines #1, Salt Flats, Atacama Desert, Chile 2017” by Edward Burtynsky/courtesy Metivier Gallery, Toronto FALL 2018





How this fine-art photographer captures her fantastical images by DAVID WRIGHT / photography by DINA GOLDSTEIN

Over the past decade, Vancouver-based photographer Dina Goldstein has carved a unique niche for herself as one of the country’s most playful visual storytellers. Her staged tableaux vivants are lush, jarring, thought-provoking and whimsical. These stylized, satirical images often involve fictional characters posed in realistic situations, shining a spotlight on some puzzling aspect of the human condition. While her recent exhibitions have toured the world and earned Goldstein countless recognitions, she launched her career in the seemingly unrelated field of photojournalism in the early 1990s. She later turned her lens toward highrealism portraiture as a commercial photographer – calling her method “photoanthropology” – eventually leading her to what she does today. “As in my earlier documentary photography, my love of storytelling continues to be the cornerstone of my work,” says the Tel Aviv-born mother of two.

Goldstein’s projects entail equal measures of imagination, intuition and painstaking coordination, gobbling up months or even years from conception to completion. “First, I assemble my cast and crew,” she says, “and consult with my makeup and costuming team. l methodically scout out locations, as these will become permanent backdrops for my conceptualized scenarios.” Goldstein enlists local artisans to create the costumes and props; her shoots involve eager photography and art students – not to mention “volunteers from all walks of life.” Given her sprawling body of work, Goldstein says it’s hard to name a favourite, but the “Fallen Princesses” series will always have a special place in her heart. “It took me over two years to complete,” she says, “which I worked on while pregnant with my second daughter, Zoe. Just after giving birth, I had my first solo exhibition in 2009. I realized that my time is precious, so I made the decision to focus primarily on my art practice.”

“Ode to Frida,” 2002

@DINAGOLDSTEIN From the “Fallen Princesses” series

GOLDSTEIN’S ESSENTIAL GEAR HER CAMERAS: Goldstein loves her sturdy Hasselblad H3 digital for the exceptional image quality it renders, but her favourite is still the Fujifilm GA645 medium-format rangefinder film camera. “I take it with me when I travel and am always pleased with the particular look that I achieve with this camera.” She also uses a Nikon D800: “It’s an older model but solid, and these days I use it mostly for shooting video on set.”

HER LENSES: She calls the Hasselblad 80mm 2.8 “one all-around sharp and versatile lens,” and likes the Hasselblad 50mm 2.8 because “it’s just wide enough to include the components of a narrative without distortion.”

z “In the Dollhouse,” with Barbie and Ken

HER PHOTO-EDITING SOFTWARE: Goldstein works extensively with the Phocus image-processing program, which “works with Hasselblad while tethered and produces sharp outputs from the Hasselblad FFF files.”

HER COMPUTER: “It’s a 17-inch MacBook,” she says, citing the laptop’s portability as its handiest feature. “It’s great to take on location.”

HER CAMERA BAG: She uses a Lowepro backpack whenever she travels. “It’s large enough for my travel kit,” she says, “and small enough to feel comfortable.”

HER SENSOR BRUSH: Keeping her camera sensors clean is of utmost importance, and Goldstein relies on the Arctic Butterfly sensor brush to get the job done. “It’s very easy to use,” she says. From the “Gods of Suburbia” series

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ESSENTIALS Options abound when it comes to the lighting equipment for your portable portrait studio by BONNIE STARING



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GEARGUIDE Taking portraits on the go or in the studio – whether you prefer to use a split, loop, Rembrandt or butterfly lighting pattern – is a good way to establish yourself, build a client base or just keep your skills sharp. It’s also much easier to do when you have the portable gear that best suits your needs and budget.




Compatible with TTL (“through the lens” metering) autoflash, the TT685 offers optical and wireless transmissions to create the desired lighting effect. Use as a master flash to trigger other speedlights or as a slave to receive flash signals.

Add light-shaping capabilities and point-and-shoot ease with the A1 Air TTL. The round-headed flash provides natural-looking light with a soft falloff. Includes dome diffuser, bounce card, wide lens, gel kit and soft bounce, which all mount with a click.



Achieve a correct flash exposure, even in complex lighting environments, with this all-in-one 600W outdoor flash. Features full highspeed sync (HSS) and TTL with X1 trigger. The rechargeable battery delivers up to 500 shots at full power.


Shoot without restraint, thanks to Air TTL, HSS, cordless design and wireless controls. The powerful 500W off-camera flash shapes your light, even in broad daylight. Delivers up to 20 flashes per second and fast recycling times of 0.05 to 1.9 seconds.




Set up in a snap. The two powerful yet lightweight QS400II flash heads offer multiple triggering options, modelling lights and Bowens front accessory mounts. Kit includes two stands, softbox, umbrella, sync line, standard reflector and carrying case.

Control the moment with this two-monolight kit. Water-droplet shots appear frozen in midair with a flash speed of up to 1/63,000 of a second. Features Air TTL, HSS, built-in reflectors to maximize output, and recycles in 0.3 to 0.6 seconds.



THE MAGIC OF MODIFIERS Lighting is key to capturing a stunning image of your subject, and the best way to manipulate light is to use a modifier, which can alter the colour, direction, intensity and quality of the light in your portrait.


A softbox is an enclosure you attach around your light source. It has a panel attached to the front, which diffuses light to reduce shadows and create soft, even, flattering lighting. Softboxes come in a variety of shapes and sizes, and are great for portraiture and product photos.

Beauty Dish

A beauty dish is composed of two parts: a small metal plate, which goes in front of your flash head, and a large curved “dish” onto which light is reflected. Beauty dishes create a more concentrated “pool” of light that can create dramatic effects/shadows on your subject’s face.

Strip Light

A strip light is a type of softbox that’s long and narrow, which creates a “strip” of light that can be positioned to showcase a more defined area of your subject. Strip lights give you greater control over the shape of your light and are ideal for creating highlights when taking portraits.


Reflectors, which can be handheld or mounted on a stand, are versatile tools that help you bounce light in a specific direction. Usually white, silver or gold, they affect the colour of light reflected back onto your subject,and are especially useful when shooting portraits outdoors.

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Sony’s new full-frame a7 III will impress professionals and hobbyists alike by CHAD SAPIEHA / photography by ROBERTO CARUSO

Full-frame mirrorless

cameras tend to fall into two categories: wildly powerful shooters made (and priced) for professionals; and efficient, effective models meant for everyday consumers. Sony’s new a7 III manages to blur this line, delivering the still and video performance of a camera you’d typically find in a studio – it actually features components and systems from higher-end models in Sony’s lineup – while coming in at a price that allows serious hobbyists in the picture. It’s a blazingly fast and robust camera that can satisfy a professional and, simultaneously, take an avid amateur to the next level.


A marked upgrade to the a7 II, this back-illuminated Exmor R CMOS sensor delivers twice the readout speed – and nearly twice the processing speed to boot. What does that mean for photographers? Improved sensitivity, reduced noise and wide dynamic range, not to mention the ability to capture 14-bit RAW-format images in silent and continuous modes. It’s bar-raising performance that also delivers deep versatility. 12


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Milliseconds can mean the difference between capturing the perfect moment and snapping just another photo. That’s why the a7 III’s hybrid autofocus – which reduces the time needed to lock onto a target by half, while doubling tracking accuracy in low-light situations – is such a boon for fast-action shooting. Its focal-plane phase-detection system has 693 AF points, covering 93 percent of the image area. This phase detection combines with 425 contrast AF points to create Sony’s proprietary 4D FOCUS system. Add in improved Eye AF – to instantly focus on a subject’s eyes, when desired – and taking blurry, poorly timed shots may well fade away into your past.

SONY FE 28-70MM F/3.5-5.6 OSS LENS Buying the a7 III as a kit will net you Sony’s reliable FE 28-70mm f/3.5-5.6 OSS, a terrific everyday full-frame lens suitable for a wide variety of shooting situations. It sports Sony’s renowned SteadyShot optical image stabilization, delivers a lens-specific 28-70mm zoom range, and has a seven-bladed aperture iris that creates more natural-looking defocused shots. And at just 295 grams, it won’t break your back as you tote it around the city or on hikes through Canada’s autumn wonderland.


Sony’s engineers have all but perfected a means of compensating the camera shake from the movement of your hands while shooting high-resolution stills and video. How? By providing stabilization on five axes, including the pitch and yaw that happens in just about every shot, the X- and Y-axis shifts that become most noticeable when you’ve zoomed in on distant subjects, and the roll that typically affects low-light and video shooting. You’ll even see the stabilization effect in the live-view image pre-shutter release, which means what you see is what you shoot.


A new high-capacity NP-FZ100 rechargeable battery delivers more than twice the power capacity of the a7 III’s predecessor. It’s been CIPA-rated for 710 shots per charge under average shooting conditions, which gives it the best life of any battery currently used in mirrorless cameras. And if that’s not enough juice, add-ons such as the VG-C3EM grip and NPAMQZ1K Multi-Battery Adapter Kit will let you extend your photo session with two or four extra batteries, meaning you’ll be able to take thousands of shots before recharging. FALL 2018





The a7 III actually captures much more image information than it needs for 4K video – 2.4 times more, to be exact. It uses the entire width of its full-frame sensor, oversampling scenes to produce brilliant 4K video in terrific detail, with instant HDR playback on supporting TVs. And with the ability to capture 120 frames per second in Full HD (up to 100 Mbps), the a7 III can output slow-motion footage that ramps down playback by a factor of five, while remaining smooth, bright and crisp. 14


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The a7 III’s new EVF (electronic viewfinder) is crystal clear – thanks to its reproduction of 2.36-million dots’ worth of information – and boasts a ZEISS T* coating to cut reflections. It’s also nearly twice as fast as its predecessor, with the delay between startup and image reproduction reduced by an impressive 40 percent. Paired with a three-inch 922,000-dot tilting LCD monitor, this is a camera equipped to easily frame any subject.


The a7 III’s high-tech components make possible an impressive 10 frames per second of continuous 24.2-MP shooting with either a silent or mechanical shutter – and with no drop in the performance of autofocus, auto exposure or image stabilization. As well, it can keep this speed up for 177 standard JPEG shots, 89 compressed RAW shots or 40 uncompressed RAW images. And the dual card slots mean you can double your storage capacity or use a second card to automatically back up the first.



DELIVER How to choose the right type of tripod for your shooting needs by CHAD SAPIEHA

After a camera and lenses, the most important piece of gear serious shutterbugs need to consider is a tripod. Tripods provide an instant boon to image quality by eliminating camera shake and facilitating sharper images, especially in low-light settings. But which one do you need? Some are made for studio setups, others are geared for hiking around rocky autumnal landscapes, while many are designed to be easily toted almost anywhere. Here’s a look at the three main varieties of tripods and the type of photography for which each one is best suited.



Studio tripods are typically designed for specific types of cameras and/or shooting scenarios, and are geared primarily toward professional photographers. Many tend to be heavy-duty, made of very strong materials – in some cases stainless steel – and are capable of supporting weighty camera and video rigs while still maintaining agile and precise movement.



Travel tripods deliver plenty of versatility and are light enough to carry easily. Their heads facilitate smooth, quick and precise adjustments, and their legs are often made of high-

quality lightweight materials – such as carbon fibre – to provide reliable stability within a set payload range. Look for one that can easily support your heaviest camera and lens combination.



These wee tripods are small enough to fit inside your everyday bag. Some have rigid legs, while others sport flexible wiry or magnetic limbs that allow for more creative positioning. Be sure to pay attention to head mounts and recommended payload limits, though – some can handle entry-level DSLRs, but many are meant for compact cameras only.


Tripod heads can be purchased separately from legs and tend to come in three types: pan-tilt, ball and gimbal. Pan-tilt heads have handles for smooth vertical and horizontal movement; ball heads allow for up to 360 degrees of movement with a single locking control; and gimbal heads are meant primarily for providing stability for heavier gear, including professional DSLRs and very long lenses.

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PICTURE Immerse yourself in 360-degree photo and video by JACLYN LAW


hile browsing online, have you ever stumbled upon those super-cool photos and videos that show every direction – up, down, all around – and then wondered, “How did they do that?” Chances are, those images and clips were created with a 360-degree camera. Here’s a primer on these clever gadgets, how they work and what they can do.


HOW DOES IT WORK? A 360 camera will have either a single lens (such as a 240-degree fisheye lens) or multiple lenses (two or three, facing different directions). For those with multiple lenses, software automatically “stitches” the images together into spherical pictures or videos. Ideally, the “seams” where the images meet are undetectable. Other ways to create 360-degree content include smartphone apps, a DSLR camera with a wide-angle or fish-eye lens and a panoramic tripod head, or a cluster of action cameras, 16


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Once you’ve mastered the basics, up your game using these techniques. BRING A TRIPOD This helps keep the camera still, adjust its height and prevent image distortion. To keep your shots clear from unwanted obstructions, try to get a compact model with no protruding parts.

USE A TIMER OR REMOTE Choose a camera whose smartphone app has one or both of these features. They’re handy if you want to control your camera wirelessly or just delay image capture.

SCOUT YOUR LOCATION If using a multi-lens camera, avoid having an object or a person near the spot where the images will meet – the seam will be more obvious when they’re stitched together.


As its name suggests, a 360 camera shoots everything around it, in all directions (i.e., 360 degrees) in one shot. These cameras create immersive, high-definition photos and videos that deliver the look and feel of virtual reality (VR), enabling viewers to see and experience places and events in a deeper way. By comparison, a regular camera captures about 90 degrees. Then, viewers can personalize their experience and actually look around (within the image or video) by clicking and dragging the image on a screen, using a VR headset to view, or viewing via a mobile device that automatically orients itself within the image or clip.

such as GoPros. However, purposebuilt 360 cameras offer a compelling combination of superb image quality, convenience, affordability and ease of use that’s hard to match.

HOW DO I USE IT? Most 360 cameras are easy to use – you take a picture or start shooting a video simply by pressing a button. There’s no display screen: you use your camera’s smartphone app to preview shots, change shooting modes, toggle noise reduction, etc. To view your photos and videos, you transfer the files to the app using Wi-Fi or a USB cable. Some 360 cameras also display content on TVs (the camera becomes a de-facto remote control) and computers (with a PC app). Most camera brands have proprietary editing software. For example,

Ricoh’s Theta series has two smartphone apps, THETA+ (for photos) and THETA+ Video, for editing and easy posting to social media. Facebook, Messenger, YouTube, Vimeo, Twitter and Flickr support 360-degree content, and other platforms may follow. If you want to live stream to Facebook, YouTube or Periscope, choose a camera with that feature.



WHAT CAN I DO WITH IT? Using a 360 camera, even beginners can create awe-inspiring photos and videos – and the possibilities are endless. Whether you’re shooting a panoramic cityscape, capturing beautiful fall colours on a nature trail or snapping your kids’ photos on the first day of school, a 360 camera will make anyone looking at your images or video feel like they’re right there with you.


Ready to go 360? Give one – or all – of these three cameras a try.


Safari POV 360 Degree Camera This camera’s two bright, fast f/2.0 lenses help minimize image distortion and maximize the field of view. Use the Safari Connect 360 app to control the camera with your mobile device, and capture your adventures as 1080p videos or 5-MP still-image files.

See It 4K 360-degree videos and 14MP 360-degree still images.

Hear It 3D 360-degree spatial audio.

Share It Easily share images



Record your world in stunning, realistic detail. This action camera is loaded with advanced features, including 4K video shooting, shake correction, and VR-compatible 360-degree spatial audio recording. 3D MICROPHONE TA-1



GoPro Fusion

This next-level camera shoots pro-quality spherical photos and 5.2K30 video, with help from gimbal-like stabilization. Multiple mics capture 360 sound. The Fusion is also waterproof to five metres and responds to voice commands. © 2018 Ricoh Imaging Americas Corporation

PART I: LENS LINGO When discussing lenses, there are a few key terms to know. APERTURE: The aperture of a lens works like the iris in your eye (opening and closing to allow light in) and, in conjunction with the shutter speed, controls the exposure of your photo. The larger the aperture, the more light the lens allows in, and the more shallow the depth of field (see below). Aperture is measured in f-stops: a smaller f-stop number (e.g., f/1.4) actually creates a larger aperture, while a larger f-stop number (e.g., f/22) produces a smaller aperture.

FIELD OF VIEW: This refers to how wide an area (left, right, top, bottom) will be captured in a photo. A narrow field of view means your subject fills most of the frame with very little background visible. A wide field of view means your subject is smaller and much more of the background can be seen in the frame.

DEPTH OF FIELD: Controlled by the aperture and focal length of your lens, the depth of field determines how much of your image is in focus. A shallow depth of field means only the foreground or background is in focus (while the other is blurry), while a large depth of field allows both close-up and faraway subjects to be in sharp focus in the same frame.

FOCAL LENGTH: Measured in millimetres, focal length determines the field of view a lens can capture, and how magnified the image will be. As focal length gets longer, the field of view gets smaller and magnification increases.


A back-to-basics primer to help you understand different camera lenses and what they do by ZACH GIBSON The world of camera lenses can be a confusing and overwhelming place for

beginners, hobbyists and, sometimes, even for photographers who have been shooting for years. Whether you’re looking to buy your first lens or just need a refresher on which one does what, we’ve got you covered. 18


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A PRIME LENS has one fixed focal length (so you can’t zoom in and out). Typically lighter and more compact, prime lenses tend to have a larger aperture, so they work well for low-light photography. They also deliver a shallow depth of field, making them great for portraits where your subject is close to the camera.

A ZOOM LENS refers to any lens with a variable focal length (so you can zoom in and out), which means multiple focal lengths can be achieved all within one lens. Zoom lenses tend to be larger and heavier than prime lenses, but deliver greater versatility and convenience: you only need to carry one lens instead of packing multiple prime lenses.



All lenses fall into one of two categories: prime or zoom.


PART III: SIX SHOOTERS There are six main types of lenses, each suited to different photographic needs.











A standard lens most closely replicates what the human eye sees – thereby creating natural-looking images – and typically has a large aperture that allows in a lot of light, which helps when you want to shoot without using a flash. TYPICAL FOCAL LENGTH: 50mm GREAT FOR: general-purpose photography, shooting portraits

These behemoths are like telephoto lenses on steroids: attach one to your camera and you can easily take close-up photos of subjects from very far away, which is handy when shooting animals in the wild. TYPICAL FOCAL LENGTH: 300-800mm GREAT FOR: nature photography, sporting events

A macro lens allows you to position and focus your camera very close to a subject (e.g., a flower stamen, an insect, a piece of jewelry) to capture extreme close-ups and minute detail. TYPICAL FOCAL LENGTH: 60-180mm GREAT FOR: nature photography, product photography



Using a telephoto lens allows you to magnify your subjects so that they appear close up, even when you’re at a distance. They’re ideal for situations where you’re not able to get too close to your subject(s). TYPICAL FOCAL LENGTH: 70-200mm GREAT FOR: nature photography, weddings, sporting events

Looking to add a bit of creativity and fun to your images? A fisheye lens is a type of super-wide-angle lens that captures a field of view up to 180 degrees, creating a cool distorted image with a rounded appearance. TYPICAL FOCAL LENGTH: 10-17mm GREAT FOR: panoramas, abstract photography

A wide-angle lens captures a very wide field of view, allowing you to feature more proverbial real estate within your frame. It also allows you to shoot in tight spaces (e.g., in a small room) and still capture a lot of your surroundings. TYPICAL FOCAL LENGTH: 25-35mm (wideangle), 10-24mm (super-wide-angle) GREAT FOR: landscapes, group photos, architecture


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DRONE DYNAMOS 5 Canadian drone photographers you should be following on Instagram by DIANA DUONG

Drones have come a long way in a short time, quickly

becoming one of the most popular ways to capture the world from a new angle. Between providing stunning vantage points and improving accessibility, drones are allowing photographers across Canada to shoot the vast landscapes that were previously viewable only from planes or helicopters. Here are five Canadian photographers who are using drones to blaze new trails in aerial photography.

Jon West @jonbeeotch For Vancouver-based West, everything is influenced by his 15-year-old daughter, Amelie, who has a mental disability. “Parenting her forces me to stop, stand back and look at the bigger picture and what matters,” he says, “which is what aerial photography does.”



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West’s daughter and a friend playing on a mural


The Cape Breton, N.S., shoreline

A lentil field at dusk

Patti Sopatyk @pattisopatyk

Gary Brinton @brintonphotography

A self-described “Prairie girl with a drone,” Sopatyk has always been inspired by the beauty and extremes of her home province, Saskatchewan. She uses a compact DJI Mavic Pro to show off the seasonal beauty of the area from an entirely new perspective.

Brinton, who lives in Halifax, is a real-estate photographer who already had a love of landscapes when he realized using drones could add something fresh and new to his images. “[The drone] releases me from the commercial aspect of photography.”

A beach in Phuket, Thailand

An airplane converted into a home in Oregon

Brayden Hall @braybraywoowoo After backpacking through South America for six months, Vancouver-based Hall developed a passion for photography – with drones. “A lot of my drone photography [is from] a slightly elevated angle to get more depth of the landscape and to show more scale.”

Alicia Campbell @dronegal Toronto-based Campbell’s current specialty is wedding photography, but landscape and nature are her first loves. She used a Phantom 4 for a year but switched to a DJI Mavic Pro in order to travel lighter when it came time for a trip to Southeast Asia last winter.

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ONE-SHOT WONDER How renowned photographer George Pimentel rose to the top of the red-carpet game – and why he’ll always remain loyal to his roots by SHANDA DEZIEL / photography by GEORGE PIMENTEL



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George Pimentel’s relationship with Robert De Niro

has come full circle. The renowned photographer and the Hollywood actor were at a media event for Nobu restaurant last year when they got to reminiscing. Pimentel explained how he’s been shooting celebrities for 25 years, but it was his photo of De Niro at the 1993 Toronto International Film Festival (TIFF) première of A Bronx Tale that started his career. At that time, Pimentel was a twentysomething wedding photographer, working at his father’s west-end Toronto studio. A fan of 1970s Hollywood films, he thought there’d be nothing cooler than to get a shot of his favourite actor. “I went down to the Elgin Theatre,” says Pimentel. “I’m there with my Hasselblad, I’m scared, I have butterflies. But I get to the red carpet and am standing on the curb when the security guard sees me with my camera, thinks I’m media, and ushers me to a spot.” With a bit

José Pimentel in his studio in 1992

Pimentel on the Golden Globes red carpet in 2016

of patience and luck, Pimentel got a shot. When he processed the black-and-white film back in his father’s darkroom, he had captured De Niro at his best: relaxed, with that mile-wide smile (see opposite page). “In that dark room,” Pimentel recalls, “I said, ‘This is what I want to do.’” Flash-forward to 2018 and Pimentel gets a chance to show De Niro that original photo. “I told Bob, ‘This changed my life. If I didn’t take this photo, I wouldn’t be here. It’s been a dream and an honour these last 25 years travelling the world, but this was the first photo I took.’” De Niro pulled Pimentel in for a picture together and said, in that Goodfellas drawl, “Don’t get sentimental, don’t make me cry.” These days, you’ll find Pimentel on the most exclusive red carpets and at the biggest internationally newsworthy events. He recently embarked on a marathon three-week trip shooting the Met Gala in New York City for HELLO! Canada, the Cannes Film Festival for WireImage, and the wedding of Prince Harry and Meghan Markle for Maclean’s. “He’s the best entertainment photographer in Toronto,” says Jeff Vespa, the L.A.-based co-founder of WireImage, who met Pimentel on the TIFF red carpet almost two decades ago. “Back before digital, we called him ‘One-Shot George.’ He would have the Hasselblad and he’d take one shot, and it’d always be great.” Pimentel gives the credit to his dad, who would send him off to shoot weddings in Toronto’s Little Portugal neighbourhood. “My father always said, ‘When you go to the bride’s house, save on film, don’t shoot too much, less is more.’ Your eye becomes sharper.” FALL 2018



Denzel Washington at the 2014 première of The Equalizer

Nicole Kidman stopping for a selfie in 2016



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WHAT’S IN HIS BAG? On the go, on the red carpet or in the studio, Pimentel has several pieces of essential gear: • two Nikon D5 bodies • a Nikon 24-70mm lens • a Nikon 70-200mm lens • a Nikon SB-910 flash • a V900 flash bracket • his Hasselblad, of course

Pimentel would squeeze into a room with 12 bridesmaids and find the right spot. “Everything was about the one shot.” The family legacy Pimentel is carrying on actually goes back to his grandfather, Francisco, who had a portrait studio in his Azores island village in the 1930s and ’40s. Pimentel still has Francisco’s glass-plate negatives, and while giving a tour of his studio he gingerly takes them out of their box, holds them up to the light and marvels: “It was primitive back then: he’d use a skylight; there was no electricity. He would have to coat these in emulsion.” Francisco had three sons, who all followed in his footsteps, opening up a photography studio together in Kensington Market when they immigrated to Toronto. After 10 years, the brothers amicably parted ways and Pimentel’s father, José, opened up the Dundas West studio that George has now made his own. “He picked the venue because it was across the street from a church,” says Pimentel. “Here I was, Sunday mornings, with the little girls lining up in their communion bridal dresses, my dad taking numbers, and me shooting them with an image of Jesus over their shoulder.” For a couple of years after he took that first photo of De Niro, Pimentel tracked down many of his favourite actors – with info from autograph hounds and limo drivers – and shot them in black and white with his Hasselblad, as a hobby. Then in 1995, he was convinced to show his work to Flare magazine. They were floored – and Pimentel has been in demand ever since. “Magazines would call with great assignments to foreign places,” Pimentel recalls. “But I would have to say, ‘I can’t, I have a wedding to shoot.’” Pimentel tears up thinking about how his father would tell him to go, that he would shoot the wedding. “But he was too old,” says Pimentel. “And I couldn’t

Kristen Stewart giving a wink in 2012

A CLOSE CALL At 2 a.m. on March 31, 2017, a car drove into the front of Pimentel Photography, the studio that had been in Pimentel’s family for 43 years. While no one was hurt, the front of the building was demolished and the beautiful window display – featuring a portrait of Jake Gyllenhaal – was smashed. Pimentel was shooting the Junos in Ottawa that day and only heard about the incident the next morning, on April Fool’s Day. Back in Toronto, a fireman told him that the car had also hit a gas pipe and caused a leak. “I had nightmares afterward, waking up in a cold sweat,” says Pimentel. “My life’s work could have gone up in flames.” Pimentel used the insurance money to rebuild the front window, get a new paint job and renovate the unfinished basement. In that new downstairs space, he’s slowly organizing decades’ worth of his and his father’s photos.

go back to this innocent young couple and say, ‘Sorry, I’ve got to shoot the Cannes Film Festival.’” Eventually he wound down the wedding-and-Communion business and took a full-time spot on the red-carpet circuit. At that point, he replaced the velvet curtains and gold frames in his father’s studio, and lined the walls with shots of Mel Gibson, Gwyneth Paltrow, Sophia Loren, Al Pacino, Ryan Gosling and many others. FALL 2018



Bill Murray braving the elements to greet his fans in 2014

TIPS FROM THE PRO Pimentel has some advice for other photographers looking to score amazing red-carpet shots.

1. Be confident. “Confidence is everything,” he says, “whether it’s a basic charity event, a community photo or the Oscars.”

2. Be prepared and comfortable with your technology. “Have your settings ready. If you’re fumbling [with your camera], they’re going to lose respect for you.”

3. Get the shot in camera. “These days, photographers just shoot and worry about [perfecting images] in Photoshop,” he says. “Why spend the time? Look at exposure and settings beforehand, and make sure it’s perfect on your display screen.”

4. Be in control. “People love direction, so give it to them. Make them feel glamorous.”

In order to start shooting for WireImage in 2001, Pimentel happily embraced digital. But to this day, he’s never without his Hasselblad, just in case there’s an actor or director he wants to add to his collection. “His work is more elevated,” says Vespa of those black-and-whites. “They are super-classic photos. He 26


FALL 2018

treats it like his art, which is different than the rest. We don’t think of red-carpet photography as art.” With 100 people in a typical photo pit and only seconds to shoot, somehow Pimentel captures the world’s biggest stars in stunningly candid moments or as if they’re posing just for him. Even he can’t explain it. “Is it this energy that I have?” Pimentel asks. “Do I project that I’m serious or is it my voice, my aggression?” According to Canadian actress Amanda Brugel (The Handmaid’s Tale), who’s been on the other side of Pimentel’s camera countless times, Pimentel’s “bombastic, loud and energetic, hilarious and inappropriate.” And he’s the reason she’ll never forget her first red carpet. “I thought, ‘Who is this crazy man screaming at me?’ But he was so supportive at the same time: he was giving me hints on where to pose and how to turn and where the light was. It was an incredible introduction to the storm.” These days Pimentel is trying to do less shouting on the carpet. After all, so many of Hollywood’s biggest stars now recognize him and are apt to give him the shot he needs. But no matter how comfortable he gets with the likes of Nicole Kidman and George Clooney, he insists his roots remain in that studio across the street from the church. “Every once in a while, one of my father’s old customers will walk in with a tattered old photo, looking for a new print,” he says. “Of course, we do it. This community is who I am. I can be myself.”


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ROLLING WITH IT A conversation with cinematographer Lindsay George, who discusses her work, the gear she considers essential and what it’s like being a woman in a male-dominated field by ROBIN ROBERTS

As a child and throughout her teens, cinematographer Lindsay George hoped to become a professional modern dancer. But soon after graduating from high school, while attending The School of Toronto Dance Theatre, George’s carefully choreographed life changed direction. Part of the curriculum included photography courses, which sparked something she couldn’t find on the dance floor. So, George hung up her ballet slippers, packed her bags and headed west to study film at the University of British Columbia in Vancouver. She graduated in 2006 and, just one year later, won a Leo Award for her work on the short The Porcelain Man. Today, George – who’s been nominated for an array of awards – works in a variety of media, including documentaries, music videos, movies and television. Her recent projects include the TV series Colony and the Charmed reboot, as well as the feature film Prodigals, which earned her a 2018 Leo Award nomination.



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WHAT WAS YOUR BIG BREAK? Winning the Leo when I was so young was helpful because awards validate your status. Also, I was chosen as one of “10 [cinematographers] to Watch” at the Toronto Film Festival in 2010.

YOU’VE WORKED IN JUST ABOUT EVERY MEDIUM. WHAT ARE SOME HIGHLIGHTS? Colony was a highlight. Once you get up to a certain

budget level, there are a lot of toys you get to play with. Also, the locations tend to be amazing. And Prodigals is premièring at a bunch of festivals, and [working on] that was definitely a highlight.


don’t have [money for] lifts or cranes. Prodigals, which was shot in Vancouver, moved to Sault Ste. Marie, Ont., with a smaller crew and budget.

Tempest Storm (2016, Shotglass Productions)

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THE PRO George offers up some suggestions for aspiring cinematographers. • T ry before you buy [gear]. “That way you can experiment [with various types of equipment].” • T reat everything like a learning experience, and diversify your skill set. “It’s important to understand what a lamp operator, second camera assistant or a focus puller does.” • A bsorb other forms of art and creativity, and apply them to your work. “I go to as many museums as I can, I go to a lot of dance performances.” • G et out there. “Travel a lot and take those [experiences] back with you.”



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Beauty Mark (2013, Miles Mook Productions)

So, instead of shooting natural moonlight in Vancouver, which we wouldn’t be able to replicate in Sault Ste. Marie, we ended up shooting all the night stuff with a sodiumvapour lamp, which is like a streetlight [and] has a warmer feel to it.


shoot around it sometimes. Or have rain covers to keep the actors dry. It comes up a lot in Vancouver because a lot of the places [filmmakers] are replicating are not Vancouver, so you have to be aware of the environmental concerns when you’re [shooting] a show that’s not supposed to be set in a certain place.

HOW DOES EACH MEDIUM DIFFER? With the smaller independent shoots, you can be a bit more out-of-the-box when it comes to style. Music [video] has a very stylized feel, because there’s no narrative through line and you can be a bit more

creative with the look. With TV shows and features, once you establish a look at the beginning, you make that a through line. But that’s not to say you can’t be just as creative when it comes to style.


a single camera, but you have to shoot them in a way that it feels like you’re using multiple cameras. Also, listening to people talk, knowing the appropriate time to pan. My goal is always to make photography look beautiful, but with a documentary the goal is also to ensure you get the content. You don’t have the ability to light: you have to make the shot look beautiful without being able to create environment.

HOW HARD IS IT TO BREAK INTO AND SUCCEED IN THIS INDUSTRY? This industry is 100 percent based on your reputation and people recommending you for work. Because I was one of the only women in



GET YOUR GEAR For steady, professional-looking footage, you’ll need to use gimbals and stabilizers. These options will help enhance your next shoot.


DJI Osmo Mobile 2 w/3 Axis For smooth and stable motion, this lightweight hand-held smartphone gimbal offers nifty features such as built-in Zoom Slider, ActiveTrack, Motionlapse, Timelapse and Slo-mo.


George says she upgrades her gear often, but not her lenses. “The lenses are valuable no matter [how often] the camera changes.” Her three essential pieces of gear are: • a Canon C300 Mark II camera • Zeiss Super Speed and Cooke S4 lenses • Litepanels Astra 1x1 LED Bi-Color light


Ikan Pivot Angled 3-Axis Gimbal the electrics department, people remembered me. [But] when I joined the camera union, people didn’t know my name, didn’t know where I came from, so I had to prove myself all over again. It’s about getting producers to know your name, to give you the call.

HOW IS YOUR APPROACH DIFFERENT AS A FEMALE CINEMATOGRAPHER? A lot of actresses are thankful to have a woman behind the camera. There are things I notice that a guy wouldn’t. The other day on Flash, I was doing a close-up on a girl, and her shirt was quite low and I could see her bra. I told her to pull it up and she thanked me. Guys [don’t] pay attention to that stuff.

IS THERE ANY PUSH TO DIVERSIFY THE INDUSTRY? There hasn’t been a huge push

to diversify crew, especially in the camera department and the electrics department: they’re both still male-dominated. But when they finally do diversify, it will

balance out with different temperaments, work styles and personalities, which will be better for the industry as a whole.


started lamp operating to further my skills in lighting, because as a director of photography it’s so important to understand lighting. Many people come up through camera as directors of photography but don’t understand how to light, and that’s a real disservice to the photography in general. With bigger-budget shows, it’s really important to know the tools and how to utilize them. Working as a cinematographer or a camera operator is a really interesting balance of artistic and technical prowess. Someone can talk about the creativity aspect of a shot, but it all comes down to the execution, how to make this idea come to fruition. I love that aspect of it: it’s a real problem-solving job.

The hand-held Pivot supports a wide range of cameras, from DSLRs to cinema-grade. The angled arm captures unobstructed views, and the pressuresensitive joystick allows you precise control over movement.


Rhino Ultimate Slider Bundle This heavy-duty, compact and versatile bundle boasts the Rhino Motion feature for ultra-responsive real-time slides, as well as the Rhino Arc for automated, motorized panning. FALL 2018



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NATURAL WONDERS Incomparable photo adventures await in northern Manitoba BY JANE CANAPINI

POLAR BEAR PHOTO SAFARI Looking into the eyes of the region’s most celebrated predator can’t help but give any photographer an adrenaline rush. These powerful white bears are one of the reasons why shutterbugs from around the world flock to Churchill every October and November, the peak months of the bears’ annual migration. The concentration of polar bears near town makes for inimitable photo opportunities, and local outfitters such as Great White Bear Tours offer plenty of ways to see them. Day-trippers can head out in specially designed tundra

BELUGAS IN CHURCHILL Don your wetsuit, mask and snorkel, drop into the waters of Hudson Bay and before you know it a pod of smiling white whales will be swimming alongside and below you, whistling and singing to one other. For capturing underwater images of belugas, you can’t get any closer than this, and Tens of thousands there’s no better place to start than the mouth of the of beluga whales Churchill River. Tens of thoumigrate to northern sands of belugas migrate to Manitoba every year this area every year in July and August, giving photogin July and August, raphers the rare opportunity a rare opportunity to share the water with these to share the water gentle, curious creatures. If you’d prefer to remain with these gentle, dry, there are plenty of other curious creatures options, including kayaking alongside the whales or opting for a guided boat tour. Experts vehicles that offer a warm such as Churchill-based Lazy interior – plus an elevated Bear Expeditions offer summer viewing platform, which allows packages that include superbly guests to snap away out in the curated whale-watching excuropen beyond reach of the bears sions. Or for an even more person- that often venture right up close. alized experience, book a private Great White also organizes charter with Sea North Tours. special photo tours led by a

photographer/ naturalist, with fewer guests on board to allow more room for equipment and positioning for the best angles. SLEEPING WITH BEARS For an even more immersive experience, book into the Tundra Buggy® Lodge operated by Frontiers North Adventures. The “lodge” is actually a chain of rolling vehicles with a lounge, dining car and two sleeper cars that are parked on the tundra farther from town, near where the bears congregate. Outdoor viewing platforms connect each car, so you can photograph bears day or night, and a panoramic rooftop observation deck is ideal whenever the aurora borealis appears. WALKING WITH BEARS For even closer encounters, travel outside Churchill to the exclusive fly-in lodges operated by Churchill Wild. Nanuk Polar Bear Lodge and Seal River Heritage Lodge are both included in National Geographic’s “Unique Lodges of the World” and are ideally located for bear viewing. In fact, it’s not uncommon to have bears come right up

to the fenced perimeter and to the lodge itself. Churchill Wild is the only outfitter that offers walking safaris with polar bears, enabling adventurers to get within 100 metres of these magnificent animals. Churchill Wild also schedules dedicated photo safaris in October and November, many led by award-winning photographers. JOIN THE HERD In addition to beluga whales and three species of bears (grizzly, black and polar), northern Manitoba is home to moose and Arctic wolves, and is also on the migration route of the barren-


FILMING POLAR BEARS at eye level on the tundra, setting time-lapses of the aurora borealis as it dances across the horizon or snapping beluga whales in Hudson Bay – whatever adventure you choose, oncein-a-lifetime photo and video ops await in northern Manitoba.

Clockwise from left: The magnificent northern lights; iconic polar bears; up-close with a beluga whale.

ground caribou that travel through here en route to the Northwest Territories and Nunavut. The chance to photograph one of these herds, which can number in the thousands, is becoming increasingly rare and only a few outfitters offer guests ecosafari excursions to the migration grounds. Ganglers Eco-Adventures has mapped a new fly-in excursion to their North Seal River outpost on Courage Lake, located directly in the path of the caribou migration. When they aren’t filing past the lodge itself, the herds are usually within 70

kilometres or so, and Ganglers fly guests out to see them. Come September, Churchill Wild’s Arctic Safari organizes two-day “glamping” excursions at their Tundra Camp in the Barren Lands. Each day, head out in search of caribou and other wildlife against a backdrop of spectacular fall colours. LIGHTS FANTASTIC No photographer’s bucket list for northern Manitoba would be complete without the northern lights, and Churchill ranks among the foremost locations on earth to experience this spectacular phenomenon. With 300 days of

aurora borealis activity every year – and little moisture in the air thanks to a frozen Hudson Bay – Churchill is the premier spot to see the aurora dance, especially in February and March. AURORA PODS Wait for the light show to start in comfort in a heated, glassenclosed Aurora Pod, a specially designed vehicle operated by Natural Habitat Adventures that offers panoramic views of the sky. Then, once the lights appear, head outside to capture them at their best. Since the Aurora Pods are mobile, they can be positioned for optimal shots, both near the boreal

forest to provide foreground interest and out on the wide-open tundra. To maximize your photo opportunities, NatHab offers an exclusive, 10-guest-maximum Northern Lights Photography Tour led by an expert photographer-naturalist. Whether your focus is magically lit night skies or up-close encounters with magnificent fauna, for photographers from novice to pro, northern Manitoba ranks among the world’s most thrilling destinations. For expert advice on mapping an unforgettable northern Manitoba experience, visit:



PHOTOGRAPHY Everything you need to know to capture incredible images and video this autumn by TARA HENLEY

Fall is a photographer’s dream. With its

bold visual palette and crisp weather – not to mention fewer shutterbugs in the field once the temperatures begin to drop – autumn is an ideal time to shoot. From harvest celebrations and family fun to the annual explosion of jewel-toned leaves across the country, it’s no wonder the season is a favourite for the snap-happy among us.


FABULOUS FOLIAGE Nothing beats the vivid colours of trees in September and October (and even into November, depending on where in Canada you live), leaving photographers raving about reds, oranges and yellows that truly pop. But capturing all this splendour takes some planning and prep. Toronto-based photographer Arash Moallemi says the season can be short, depending on where you are geographically, and it’s important to research the ideal time to head out. “If you’re travelling to an area to shoot fall colours, make sure you’re familiar with how [that location’s] season works,” he advises. You should also double check weather conditions, which can change quickly at this time of year. Stephen Hui, a Vancouver-based photographer and author of 105 Hikes in and Around Southwestern British Columbia, says he uses macro lenses for close-ups of leaves, trees and small animals, bringing out texture and contrast, but he’s also partial to wide-angle lenses for a broader field of view, which allows you to capture the splendour of a fall forest from the ground to the sky. “Having a great wideangle lens to capture a huge landscape, with all the multicoloured leaves, can be spectacular,” he says. Using longer lenses (70-200mm) can also be helpful, allowing you to isolate pockets of brilliant colour from a distance. If your shot includes moving water, such as a stream or waterfall, try using a long exposure and adding a neutral density (ND) filter to capture a sense of movement. To mitigate against common fall-weather issues such as rain, Hui says packing plastic camera coverings is key and suggests continually wiping any moisture off your lenses to avoid water spots on photos. Another must-pack item? A polarizing filter, says Moallemi, which helps remove excessive glare and light reflections on leaves – and enhances the contrast in clouds and skies – in your shots. “You can get deeper, richer colours [that way],” he says.

FALL FESTIVITIES Colourful celebrations – from harvest parties and Thanksgiving dinners to fall fairs and Halloween – are another great opportunity

to take out your camera and capture some fabulous festive fun. Philip Leung, a Toronto filmmaker, CBC producer and videographer, says autumn offers tons of video ops, and new technology is ideally suited to the season. “There are these great new small cameras – like the Panasonic GH5 or the Sony a7 III – that can handle low light,” he says. “You could go to a fair and, without any lighting whatsoever, still shoot these gorgeous images, regardless of [the amount of ] daylight. And at night, when the fair is lit up by the games and the rides, there would be zero concerns about shooting in low light. No longer will you have to carry around extra LED lights.” Sarah Tacoma – a photographer based in Kimberley, Ont., who teaches workshops to amateur shutterbugs looking to document family lives – agrees that lighting is key to creating fabulous fall keepsake pics, whether it be on Halloween or at Thanksgiving gatherings. “The main things I suggest to students are: find the right light and find the right moment,” she says. When shooting in homes, Tacoma recommends using natural light, catching subjects near windows whenever possible, with light falling on faces. She tries to avoid using flashes, but if it’s absolutely necessary for a shot, she opts for a hand-held or standmounted flash, pointing it up at the ceiling. “That allows for the light to bounce down nicely and evenly on everybody.”


HIDDEN-GEM SPOTS • So-called “leaf-peepers” love the shots on offer in Ontario’s Algonquin Provincial Park, which boasts more than 2,400 picturesque lakes, and is located between the Ottawa River and Georgian Bay. • The larch forest in E.C. Manning Provincial Park is legendary in the fall, making it ideal for snapping iconic autumn photos. Located in the Cascade Mountains, the park is a threehour drive from Vancouver. • Nova Scotians are so serious about fall leaves, they even have a hashtag for it. Just search #NSLeafWatch and scroll through stunning images from all over the province, including the awe-inspiring Kejimkujik National Park and Historic Site.

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GET YOUR GEAR If you’re heading out to capture the splendour of the season, be sure to pack these awesome products in your camera bag.


SIGMA DG 55MM WIDE MULTICOATED CIRCULAR POLARIZER This fabulous filter helps eliminate glare and reflections, as well as haze, and improves colour and tonal saturation.

LUSTROUS LIGHT Hui recommends taking advantage of the “golden hours” during sunrise and sunset, 36


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which can further amplify the already-mindblowing hues of the season. He loves the fact that, in fall, what might otherwise be considered problem conditions – such as dim, overcast skies – can be transformed into photographic gold. “Cloudy is actually great for photos, especially taking outdoor portraits,” he says. “Clouds are like nature’s diffuser. They diffuse the light and remove that issue of harsh sunlight on skin.” And for landscapes, fog – another photographic challenge – can make for very dramatic shots. He’s also partial to polarizing filters to enhance colours, and recommends experimenting with the “cloudy” white-balance setting to make photos warmer. “Take advantage of backlighting from the sun to get bright, striking backgrounds where it might otherwise be dull,” he adds. “And if taking portraits, don’t necessarily use the lowest aperture – you actually want to see that foliage in the background.” Regardless of whether you’re shooting during the day, at night, in the sunshine or on an overcast day, Moallemi believes fall is prime time to get arresting shots. “Find a beautiful park in the city or, if you’re lucky enough to be able to get out into the country, go on a nice hike,” he suggests. “Just go out for two hours and explore nature. It’s kind of like fishing: you just go out and see what you can get!”


COKIN Z-PRO FILTER HOLDER This handy carrier features three slots, so you can stack multiple filters for different effects, giving you greater versatility in your shooting.


HOYA 62MM VARIABLE NEUTRAL DENSITY FILTER This fantastic filter not only helps to darken images, it also allows you greater control over your depth of field.


Tacoma swears by gear that aids mobility, allowing photographers to capture special moments on the fly. “Make sure your camera is easy to access,” she stresses. She favours Manfrotto’s backpacks for outdoor adventures, and Peak Design camera bags for situations when she needs to carry extra cameras and lenses. She also recommends Holdfast camera straps, which feature rings for tripod mounts. “This allows the camera to slide up and down the strap, avoiding the hassle of moving and adjusting the strap all the time if you wear it across your chest,” she explains. “Holdfast also makes a harness that resembles a cowboy’s double gun holster. It not only allows me to carry two cameras – hands-free – but also looks amazing.” And, she’s quick to add, don’t forget to pack a simple tripod. “Something sturdy and compact. For long exposures or when you want to jump in the photo yourself, it’s a must. Throw on the self-timer, or a remote trigger, and you’re good to go.” In general, she suggests using the aperture priority setting, on the lowest number available. “Your camera will make all the other adjustments, so that you have a well-exposed photograph,” she says. “You’ll still have creative control with your aperture, but your camera is doing the rest of the thinking for you.”


CHASING WATERFALLS Grab your gear to shoot captivating cascades at these breathtaking locations from coast to coast by VICKIE REICHARDT

There are plenty of famous waterfalls all across Canada – Niagara Falls, anyone? – but if you’re looking for something more unique, step off the beaten path and onto one of the hiking trails leading to these six spectacular wonders.

HELMCKEN FALLS Wells Gray Provincial Park, British Columbia This plunge waterfall (pictured) is located north of Kamloops, along the Murtle River – and at 141 m high is the fourth-highest waterfall in Canada. You can hike right to the falls on foot, or snap a panoramic shot from a public viewing platform along the lip of Helmcken Canyon.

KINUSEO FALLS Monkman Provincial Park, British Columbia


This 70-m cascade waterfall is located in the Northern Rockies, roughly six hours northeast of Prince George. Shoot from either of two key vantage points: the Lower Viewpoint Trail, to look down at the falls, or the more challenging Upper Viewpoint Trail, to shoot the falls straight-on.

PISEW FALLS Pisew Falls Provincial Park, Manitoba If you drive seven hours north of Winnipeg, you’ll find this stunning block waterfall, which is the second-highest in the province. Note:

these falls are a bit harder to reach – it’s a 22-km round-trip hike, which means a full-day expedition or overnight campout.

ALBION FALLS Hamilton, Ontario Hamilton is home to more than 100 waterfalls, and one of the most beautiful is this cascade waterfall located in King’s Forest Park. What Albion Falls may lack in height (it’s only about 19 m high) it more than makes up for in the number of crests and drops it contains.

INDIAN FALLS Indian Falls Conservation Area, Ontario You’ll find this lovely 15-m horseshoeshaped block waterfall along the Indian River in Owen Sound. A bit like a miniature version of Niagara Falls, its water flow gets lighter later into the fall season, and morning and early afternoon deliver the best light in which to shoot it.

UISGE BÀN FALLS Uisge Bàn Falls Provincial Park, Nova Scotia Pronounced “ish-kaban,” this 16-m-high cascade waterfall is one of the most beautiful in Nova Scotia. Nestled within a lush hardwood forest (great-fall-colours alert!) on Cape Breton Island, Uisge Bàn is easily accessible along park trails and takes only about an hour to reach on foot.

FALL 2018



SNAPSHOTS In our last issue, we asked you to show us what “reflection” means to you. Here are some of our favourite submissions!

“Nightlife” by Jason Huynh (Toronto, Ont.) Aperture: 2.0 ISO: 500 Shutter speed: 1/125 38


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“Unseen Faces” by Evan De Silva (Dartmouth, N.S.) Aperture: 4.5 ISO: 400 Shutter speed: 1/160

“On the Bubble” by Miguel Amante (Toronto, Ont.) Aperture: 8.0 ISO: 1600 Shutter speed: 1/2000

“Peggy’s Cove Lighthouse” by Laura Kirkpatrick (Halifax, N.S.) Aperture: 9.0 ISO: 100 Shutter speed: 1/80

“Contemplation of a Different Life” by Shannon Lee (Toronto, Ont.) Aperture: 5.6 ISO: 200 Shutter speed: 1/125

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“Morning Rush” by Seyran Mammadov (Toronto, Ont.) Aperture: 4.5 ISO: 320 Shutter speed: 1/500



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“Neon Reflections” by Alexander Decebal-Cuza (Winnipeg, Man.) Aperture: 2.5 ISO: 800 Shutter speed: 1/60

“Banff Light Show” by Christy Turner (Calgary, Alta.) Aperture: 2.8 ISO: 1200 Shutter speed: 8

“Grab My Hand” by Basit Sultani (Oakville, Ont.) Aperture: 1.4 ISO: 300 Shutter speed: 1/500

“Spanish Vespa” by Peter Clifford (Ottawa, Ont.) Aperture: 4.0 ISO: 200 Shutter speed: 1/300

“It’s a Colourful World” by Danica Zivanovic (Oakville, Ont.) Aperture: 9.0 ISO: 100 Shutter speed: 1/200

“Lovely Chameleon” by Helena Chu (Toronto, Ont.) Aperture: 6.4 ISO: 5000 Shutter speed: 1/80



FALL 2018

“A Blissful Beach Run” by Philippe Graham (Halifax, N.S.) Aperture: 9.0 ISO: 400 Shutter speed: 1/200

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 #2: “SPARKLE” The glimmer in someone’s eye? Sunlight bouncing off a lake? Breathtaking bokeh? How do you interpret the theme of “sparkle”? Grab your camera, get creative and start snapping! Then visit to submit your work. Deadline for entries is 11:59 p.m. ET on Sept. 6, 2018.


• 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

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FILMMAKER Whether you’re dreaming of Cannes or just shooting videos with your friends, these key pieces of equipment will help bring your vision to life by LORA GRADY

Looking to take your filmmaking to the next level? No need to break the bank to find the professional-grade gear required to get there. With the easyto-use products in this kit, you’ll have everything you need to achieve a sharper picture, comprehensive sound, and lighting for just about any environment, in studio or on the go.

[1] SONY ALPHA A6300 With cutting-edge 4D focus and the world’s fastest autofocus, this lightweight camera allows you to capture clear images, even with fast-moving subjects. Plus, it features multiple movie functions to help you up your game.

[2] SONY SEL PZ 18-105MM F4 G OSS LENS This handy lens provides great rendering and contrast at any focal length. Get super-smooth, quiet focus and a 6x zoom operation. OSS stabilization allows you to shoot in low-light environments, such as indoors or outside at night.

[3] RODE VIDEOMIC PRO+ WITH RYCOTE SUSPENSION This on-camera shotgun microphone is awesome for the



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on-the-fly filmmaker. It offers excellent recording clarity and digital switching, so you can capture better audio from the source and spend less time editing your sound.

[4] JOBY GORILLAPOD RIG A flexible rig that’s easy to take on location is a musthave. The GorillaPod allows you to mount your camera and two additional devices, such as extra lights or microphones.

[5] CAMERON 120CM CF SLIDER WITH VH40 PRO HEAD This non-skid slider is super-strong and made from lightweight carbon-fibre rails, which means you get professionallevel suspension and smooth, precise camera movement for more dynamic shots.

[6] APUTURE AMARAN AL-M9 COMPACT LED LIGHT Keep this super-thin, pocket-sized LED light in your kit to get adjustable brightness through nine high-efficiency bulbs. Its small size and built-in lithium battery make it perfect for capturing footage on the go.





GET YOUR VIDEOS NOTICED ON YOUTUBE Boost your followers and even attract advertisers by following these simple steps by HELEN RACANELLI


ou’ve posted some amazing videos to your YouTube channel. Congrats! Now it’s time to get those videos noticed and to attract more followers. With the right skills, dedication and patience, you can even monetize your channel through advertising and partnerships. Here’s how to level up on YouTube.

[1] CREATE A NICHE “It’s hard to build momentum with 10


random videos,” says Lubabah Bakht, Ottawa-based Director of Social Strategies and Branding at Mediaforce, a digital-marketing agency. YouTube success is about your personality and expertise, but your channel needs a clear focus and an overarching theme.

[2] MAKE YOURSELF EASY TO FIND Write good, clear titles, headers, descriptions and tags for your videos (which YouTube prompts you to create when you upload), so potential followers can easily find your content, says Bakht. Take it one step further by selecting a compelling thumbnail image that will encourage people to click on your video.

[3] UPLOAD CONSISTENTLY AND FREQUENTLY Post videos regularly to create a following. Weekly or twice a week is a common rule of thumb among top YouTubers. Being consistent also means establishing your visual branding. “Consider colour schemes, like using red in a thumbnail and always wearing a red shirt in the videos,” says Bakht.

[4] ENGAGE YOUR COMMUNITY In your videos, ask people what they want to see, and for comments, and always ask them to subscribe. As well, be sure to promote your content on social networks such as Instagram and Twitter. Remember: when it comes to growing your followers – and attracting potential advertisers and partnerships – it’s not just the quantity, but also the quality of your audience that counts.

[5] USE YOUTUBE’S TOOLBOX Get comfortable with YouTube Dashboard, says Bakht, which you’ll find on the landing page of your account’s Creator Studio tab. Here, you can access key analytics, such as your Top 10 videos, which can help you improve and tailor your offerings for your audience. Above all, keep learning, creating and uploading and you’ll be on your way to getting noticed and building subscribers in no time.

[6] COLLABORATE WITH OTHER YOUTUBERS Expand your audience and your reach by approaching fellow YouTubers whose content complements and enhances yours. YouTube’s free educational Creator Academy suggests recording and sending each other clips to splice into your own videos (it also has other great “collab” strategies for getting ahead in the YouTube game). FALL 2018





IFs have become ubiquitous on social media, yet most people settle for prefab animations they find online. But you don’t have to. If you have a series of sequential images, you can make your own GIF in just a few minutes using Photoshop. Here’s how. [STEP 1] Import a series of sequential images into Photoshop. Start by clicking the File menu, then Scripts, then Load Files into Stack. Browse your computer for the series of images you want to use, select them all, then click Open and confirm your choice by clicking OK. Your pictures will appear as multiple layers within a single image. [STEP 2] Open the Timeline panel by clicking the Window menu, then Timeline. In the centre of the Timeline panel, you should see a pop-up menu box. Click it and then select Create Frame Animation.

ANIMATED GIF Use Photoshop to create original, ready-toshare GIFs in minutes using your own pictures by STACEY PHILLIP 46


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[STEP 4] To save your work, click the File menu, then Export, then Save for Web (Legacy). Click the Preset drop-down menu and select GIF 128 Dithered, then click the Colors menu and select 256. Adjust any optional settings – such as resolution and how many times you’d like your GIF to loop – and then click Save to save your new GIF to your computer. Then, start sharing it on social!



[STEP 3] Click the menu icon (four horizontal lines) in the upper-right corner of the Timeline panel to bring up a pop-up menu, then click Make Frames from Layers. This will convert the layers of your image into the frames that will make up your animation. Click the “play” button at the bottom of the Timeline panel to watch a preview.





Easily maintain colour consistency throughout your footage by CHAD SAPIEHA

Few things reveal a novice video creator faster than a failure

to maintain consistent colours from shot to shot. But don’t worry: correcting clip palettes using Apple’s Final Cut Pro X is simple. Here’s how to quickly analyze and adjust colours. [STEP 1] Select a clip in a timeline of shots that requires colour correction. Then, adjust the playhead to display a frame in the viewer that will act as a good representation of the clip’s colour palette.

• COLOR CURVES: correct individual RGB channels by dragging lines. • HUE/SATURATION CURVES: precisely correct hue and saturation by dragging lines. [STEP 4] Apply additional corrections (as many as you like) by clicking the pop-up menu at the top of the Color Inspector panel and selecting a new type of colour correction. Perfecting colour takes patience and practice, but few fixes render more rewarding results in post-production.


[STEP 2] Click the Enhancements pop-up menu (the icon that looks like a magic wand with sparkles), then click Show Color Inspector to reveal the Color Inspector panel. [STEP 3] Click the pop-up menu at the top of the Color Inspector panel (it will likely say No Corrections) to reveal four types of colour corrections you can add. Click one to call up its associated interactive visualization – and then start tinkering. • COLOR BOARD: adjust tint, saturation and exposure by dragging control circles. • COLOR WHEELS: drag radial pointers to fix shadows, highlights.

Multiple clips that all contain similar problems can be fixed quickly by copying and pasting effects attributes. Just select a clip with the corrections you want to apply (to the others), click the Edit menu at the top of your screen, then Copy. Next, select the clip(s) you want to modify, click the Edit menu again, and then click Paste Effects to instantly copy over all of your corrections.

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Helpful hints for putting together a successful exhibition by BONNIE STARING

– for any photographer, especially when it’s the very first time. Don’t worry: there are several simple things you can do to increase your chances of booking a gallery show and making it more successful. Emily McInnes, director of EYE BUY ART and one of the former directors of Toronto’s CONTACT Photography Festival, shares helpful advice on getting the most out of your first (or next) show.

APPROACH GALLERY OWNERS THE RIGHT WAY Do your research to determine which galleries would be a good fit for your photos, and then email each gallery owner (or dealer) separately to introduce yourself and your work. “Never approach a dealer at an art fair,” warns McInnes. “It will backfire if you try to show someone your work [there].” Why? Because dealers make a substantial investment to be in attendance at art fairs, so they’re under pressure to sell, not look at, new work.

PRINT YOUR WORK Go big – think: 60" x 60" – with a choice print or two, depending upon the venue, and print the others in relatively large dimensions, too. “Photography on a big scale is what sells,” says McInnes. A huge print not only allows 48


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for a higher price, but will also help attract visitors if you’re exhibiting outdoors.

FIND YOUR FRAME Choose one style of framing and stick with it. A white frame with a white background, for example, lets your image command the space. McInnes suggests using a frame with a narrow profile and a thick depth that offers a tidier, more professional look.

CHOOSE YOUR ARRANGEMENT When setting up your display, try to give your pieces breathing room – unless overcrowding is a creative choice (e.g., arranging your work with the frames touching on a jam-packed salon wall). If you can’t hang everything at eye level, it’s better to go too low than too high.

CONSIDER YOUR ARTIST STATEMENTS McInnes shakes her head at photographers who feel their “work speaks for itself” and refuse to write the short statements presented alongside the images on display. “An artist statement is your opportunity to share a slice of the story about why you took that photo and what it means to you,” she explains. “It’s what draws people in further and makes the work come alive.”


Exhibiting your work in a gallery can be exciting – and daunting


ASK A HENRY’S EXPERT Get answers to your questions about technique, gear and more by ROSS CHEVALIER

If I’m shooting in digital, are colour-correction filters still necessary or even useful?

Colour-correction filters are not necessary for digital photography. Your digital camera captures the light as is, and applies a colour-correction preset, either directly to the JPEG or as metadata hinting in a RAW file. This process is called white balance. Automatic white balance is accurate over 90 percent of the time, and cameras offer options for shooting in conditions such as daylight, cloud, shade, tungsten and fluorescent light, as well as custom options right in the operating system. However, if you want to achieve the colour created by a correction filter as an effect, apply it using software in post-processing – attempting to do this on camera will result in the camera actively correcting for the “corrective” filter.


Which is more important when resolution matters most: sensor size or the number of megapixels, and why?

The more photosites a sensor contains, the higher its native resolution. This is measured in megapixels. And the larger the sensor’s physical size, the more photosites it can hold. This is what we think about when we talk sensor size. If everything were equal, we would go for the highest photosite count to get the best resolution, regardless of sensor size. However, the smaller the individual photosite, the more digital “noise” will be generated as light levels fall. Therefore, for the highest effective resolution without compromising low-light performance, it’s best to choose both a larger sensor and a higher megapixel count.

What’s the difference between optical image stabilization and in-body image stabilization, and which is better?

To counter the blurring effects of camera and lens shake, image stabilization is achieved by electronic and mechani-

cal elements within the lens (optical image stabilization, or OIS), or in the sensor within the camera’s body itself (in-body image stabilization, or IBIS). IBIS is a newer technology that eliminates the need for those in-lens stabilization motors and electronics, and therefore works with any lens mounted to the camera. Available on an increasing number of camera models, IBIS can offer up to five axes of stabilization, which isn’t available in lens-based optical stabilization systems, and it also provides greater opportunities for correction. That said, a proper camera-holding technique remains critical to lens and camera stabilization, regardless of the system a camera uses.

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! FALL 2018




BRADLEY COOPER AT THE TORONTO INTERNATIONAL FILM FESTIVAL, 2012 “He surprised everyone at the première [of The Place Beyond the Pines] by entering the fan area. The police and security were not anticipating this, but let it happen. [I had] such a great view, to see him surrounded by all his fans.” – George Pimentel



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