TIPS FOR UNBOXING VIDEOS, EVENT PHOTOGRAPHY & MORE
EXTREME MEASURES:
CAPTURING WILD WINTER SPORTS
CAITLIN CRONENBERG GETS
UP CLOSE & PERSONAL
+
THE NIKON Z7
FREE WINTER 2018
Made
in
Japan
FOR ROGERS EDITOR Vickie Reichardt ART DIRECTOR Kim Rogers CONTRIBUTING EDITOR David Wright
WINTER 2018_ISSUE NO.3
DESIGNER Jamie Gircys PROOFREADER Linda Gregg DIGITAL IMAGING SPECIALISTS Nicole Duplantis, Drew Maynard CONTRIBUTORS Chris Daniels, Jorge DaSilva, Shanda Deziel, Diana Duong, Zach Gibson, Lora Grady, Tara Henley, Jaclyn Law, Stacey Phillip, Robin Roberts, Chad Sapieha, Kevin Snow, Bonnie Staring DIRECTOR, CUSTOM CONTENT Christopher Loudon PRODUCTION MANAGER Michael Finley VICE-PRESIDENT, DIGITAL CONTENT & PUBLISHING Sarah Trimble 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 MANAGER David Braithwaite DIGITAL MARKETING MANAGER David Reid MARKETING COORDINATOR Sandro Verrelli SOCIAL MEDIA COORDINATOR Scott Jarvis The Lens is published four times a year by Rogers Media Inc. © 2018 Rogers Media Inc.
COVER IMAGE: CAITLIN CRONENBERG / THIS PAGE: SCOTT SERFAS
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. ®
26 IN EVERY ISSUE
FEATURES 10 HENRY’S HANDS ON The Nikon Z7
12 UNBOXING 101
Video-shooting tips
14 FABULOUS FOODIES
Instagrammers to follow
17 INTIMATE & INTERACTIVE
Photographer Caitlin Cronenberg on how – and why – she shoots fashion, celebrities and moments that move
ENTER OUR PHOTO
CHALLENGE
ON P. 37!
22 MASTER CLASS
A conversation with award-winning photographer Kristian Bogner
25 LET IT SNOW!
Holiday markets and winter festivals with magical photo ops
26 GOING TO EXTREMES
Winter-sports photographers discuss the risks and rewards of their work
30 PARTY: ON!
Event-photography tips from the pros
40 ANIMAL PRAGMATISM
Profiling prolific pet photographer Jason Krygier-Baum
5
NEWS & EVENTS
6
GEARING UP
8
GEAR GUIDE
Nadya Kwandibens
Indoor-event essentials
33 PHOTO GALLERY 39 STARTER KIT
Must-have gear for aspiring food photographers
42 WEBSITE-BUILDING TIPS 43 TECHNIQUE TUTORIALS
Improve drone shots, splits screens and more
48 ASK A HENRY’S EXPERT 50 FINAL FRAME WINTER 2018
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Developments by DAVID WRIGHT
NEWS | EVENTS | TRENDS | COMPETITIONS
CONTEST
COUNTDOWN Circle January 4, 2019, on your calendar: that’s the deadline to submit photos for the 2019 Sony World Photography Awards. Open to all levels of photographers, from beginners to pros, it’s considered one of the world’s top photo contests. Cash prizes range from $5,000 to $25,000, and the winner of the youth competition gets a trip to London to attend the awards ceremony and an exhibition at Somerset House, where their shots will be showcased. To enter and Photographer Phearun Yin earned 2nd place in the Cambodia National Award category at the learn more, visit worldphoto.org/swpa. 2018 Sony World Photography Awards for the above photo of two monks walking in the rain.
Call of the Wild
Few of us ever get to see zebras sipping water at an African lake or an orangutan climbing through Borneo’s jungle treetops, but photographers across the globe set out every day to capture such images and vie for top prizes in the Natural History Museum’s Wildlife Photographer of the Year competition. Catch the 54th annual exhibition of winning photos – chosen for their artistic composition, technical innovation and truthful interpretation of the natural world – at Toronto’s Royal Ontario Museum from December 1, 2018, to March 31, 2019. “School Visit” by Adrian Bliss, U.K.
TIMES SQUARE TIME CAPSULE In the late 1970s, street photographer and native New Yorker Langdon Clay set out to preserve for posterity the glitzy charms of 42nd Street between 7th and 8th avenues before gentrification changed the face of midtown Manhattan. Coming to bookstores in early 2019 is his timely tribute – Langdon Clay: 42nd Street, 1979 (Steidl) – which features 100 select images along with text by the photographer himself.
WAR-ZONE
DISPATCH
If you missed the first part of the Photography: First World War, 1914-1918 exhibition at the Art Gallery of Ontario, be sure to check out Part II, running from November 10, 2018, to April 14, 2019. Drawn from some 500 albums donated by a private collector, these sepia-tinged images document countless facets of the Great War – from huddled soldiers to shattered cities – with palpable immediacy. More than just a visual chronicle of a century-old conflict, this exhibition also highlights the then-budding relationship between war and photography itself. Unknown photographer: “Photographic room and detachment: reviewing surveillance photos,” around 1917-1918. © 2018 Art Gallery of Ontario.
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GEARING UP:
NADYA KWANDIBENS
The award-winning photographer shares the gear she uses to shoot her empowering images by JACLYN LAW photography by NADYA KWANDIBENS
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Nadya Kwandibens wants to challenge your perceptions. She’s the talent and entre-
preneur behind Red Works Photography (redworks.ca), which she established 10 years ago with a vision of portraying Indigenous peoples and cultures in a positive and empowering light. Kwandibens, who is Anishinaabe (Ojibwe) and a member of the Animakee Wa Zhing 37 First Nation in northwestern Ontario, is a self-taught photographer specializing in portraits and events. Her work has appeared in solo and group shows across Canada and the United States, and in June she won the 2018 Ontario Arts Council Indigenous Arts Award. One of her most compelling projects is Concrete Indians, a series of blackand-white portraits that focuses on urban Indigenous identity. “Indigenous people are very much aware of who they are and where they come from. Living in the city doesn’t hinder or suppress that,” she says. “Concrete Indians gives people an opportunity to express themselves and be proud of who they are.” Kwandibens photographs her subjects – many wearing their traditional regalia – in hard-edged urban settings, such as a subway station or the streets of down-
town Toronto. The images exude a striking blend of confidence and contrast, and a thrilling sense that the subjects are claiming the space around them. Her distinct style is also Kwandibens’ way of combatting the stereotypical “stoic Indian” pictures found in history books. “That type of imagery is still prevalent, but our nations are vibrant!” she says. “We’re full of laughter and humour. It’s [those] qualities that have made us so resilient.” When not on assignment, Kwandibens teaches workshops for youth, university students and community groups. She licenses her images to publishers, government agencies and others, and is developing a multimedia series that will explore leadership and nationhood.
@_ANISHINAABEKWE
KWANDIBENS’ ESSENTIAL GEAR HER CAMERAS: Kwandibens uses a Canon EOS 5D Mark II. “My first consumer-grade camera was a PowerShot point-and-shoot. Since I was familiar with the brand and its menu system, I stuck with it,” she says. “The image quality is excellent.”
HER LENSES: Kwandibens uses three lenses: a Tamron SP 70-200mm f/2.8 Di VC USD G2 telephoto zoom lens for concerts, powwows and other events; a Canon EF 50mm f/1.2L USM for portraits; and a Canon EF 17–40mm f/4L USM wideangle lens for everything else.
HER LIGHTING: “Mainly I use natural light. I watch how it bounces off buildings and other things for different effects,” says Kwandibens. “I don’t want to be too intrusive when I do portraits – it’s just me and my camera bag. I like to keep it that way.” If she needs more light, she uses a Canon Speedlite 580EX II.
HER COMPUTER: When she’s on the go, Kwandibens relies on a 12.9-inch iPad Pro and her “ancient” 17-inch MacBook Pro. “It’s like my best friend. It comes with me everywhere.”
HER PHOTO-EDITING SOFTWARE: Kwandibens subscribes to Adobe Creative Suite. “I do batch watermarking and minimal retouching in Photoshop, and my main editing in Lightroom,” she says. “I work on my iPad, and everything syncs when I flip open my MacBook.”
HER CAMERA BAG: “I like to keep things pretty simple,” says Kwandibens. “My Lowepro StreetLine SL 140 bag doubles as a purse. It’s waterproof, it has all these pockets, and I can fit my iPad in there!” OPPOSITE PAGE: Tee Lyn Copenace in a Toronto subway station. THIS PAGE (clockwise from top): attorney Brooke Pinkham and her infant son; Winnipeg’s Jonas Soosay and Tyra Cox; award-winning hoop dancer Ascension Harjo.
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INDOOR-EVENT
ESSENTIALS Everything you need to capture impressive images at parties, receptions and corporate events
ISTOCK: FRANCKREPORTER
by BONNIE STARING
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GEARGUIDE
Adaptability, mobility and managing variable lighting are essential when shooting parties, conferences, celebrations
or ceremonies indoors. This equipment will help you easily navigate through crowds to snap stunning shots, whether you’re just starting out or are upgrading your gear.
GETTING STARTED
CANON EOS 80D
The EOS 80D goes beyond the basics with a 45-point all-crosstype AF (autofocus) system that provides high-speed, precise AF in any kind of light. Take candlelit or varying-light shots at the brightest moment with the flickerdetection system.
GODOX WITSTRO AD360II TTL FLASH
Ideal for off-camera lighting, the AD360II features an autofocusassist beam for capturing sharper low-light images. The built-in Godox 2.4G wireless X system fully supports TTL functions. Delivers up to 450 full-power flashes per battery charge.
SIGMA OS 1770MM MACRO F/2.8-4 CANON
Snap stunning macro shots of food and drink with this compact lens, featuring a Hyper Sonic Motor (HSM) for quiet, accurate highspeed focusing. It comes with a petal-type lens hood and delivers superior image quality throughout its zoom range.
CANON SPEEDLITE 430EX III-RT FLASH
Whether up close or at a distance, the 430EX III-RT has the power to illuminate your subject. Use the built-in catchlight panel to brighten faces, or employ other features to enhance contrast, adjust colour temperature and soften flash intensity.
ROGUE FLASHBENDER 2 LARGE SOFTBOX KIT
Reduce constrast and specular highlights while softening light with this versatile softbox kit that packs flat for ease of transport. Use as a reflector, gobo or snoot with on-camera or off-camera flash to help shape and control your lighting.
FOR EVENTPHOTOGRAPHY ADVICE FROM THE PROS, SEE P. 30!
GETTING SERIOUS
BODY
LIGHTING
LENS
FLASH
MODIFIER
Powerful and versatile, this 30.4-MP full-frame camera lets you master low-light conditions with an ISO range of 100-32000 (expandable to 50-102400). Easily switch between still photos and 4K (24/30 fps) or Full HD video (frame rates up to 120p).
This eight-piece kit is ready for on- and off-camera lighting. Two lightweight 250W heads and a lithium-ion battery pack are made for portability, so you can manoeuvre easily. Features TTL and HSS, and delivers 20 flashes per second.
CANON EOS 5D MARK IV
PROFOTO B2 250 AIRTTL LOCATION KIT
Built for the demands of pro shoots, this durable zoom lens boasts the latest advances in optical lens design, including a high-speed CPU for silent, superfast autofocusing, and optimized lens coatings to improve colour balance and reduce ghosting.
CANON EF 24-70MM F/2.8L II USM
The revolutionary 470EX-AI features an auto-intelligent (AI) bounce function that calculates a shot’s ideal bounce angle and automatically swivels to it. Offers a broad distribution range and a low-light AF assist beam for stellar lighting effects.
CANON SPEEDLITE 470EX-AI FLASH
The Lightsphere Universal-Cloud turns almost any on-camera flash into a diffuser. Fills an indoor space with soft light for naturallooking tones and shadows. Also works with the Lightsphere AmberDome and ChromeDome accessory domes.
GARY FONG LIGHTSPHERE UNIVERSAL-CLOUD
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MIRRORLESS MASTERY Nikon ushers in a new era with the Z7 – and a new lens mount that opens the floodgates for major gains in optical performance by CHAD SAPIEHA
Nikon is beginning its second century in business with A BEAUTIFUL VIEW a bold, new mirrorless camera. The Z7 – and its more affordable sibling, the Z6 – are the first cameras to employ Nikon’s brand-new Z mount: a lens system with a wider flange, which paves the way for better-performing lenses while letting you keep using your existing collection of F-mount glass (with the aid of an adapter). Paired with a small but ingeniously constructed weatherproof body and a powerful, new electronic viewfinder, the Z7 is a visionary step toward the future of Nikon photography.
The Z7’s electronic viewfinder puts forward a strong argument for mirrorless. With virtually undetectable lag, it provides 100-percent frame coverage with an image composed of about 3.7 million dots. The image is bright, the detail immense. And veteran photographers are sure to approve of little details such as the flare-reducing, fluorine-coated eyepiece-protection window, and the way the eyepiece extends outward to keep the user’s nose away from the back of the camera.
THE Z MOUNT
TRUE DIGITAL WIZARDRY
Nikon’s first new lens-mount system in nearly six decades has an extraordinarily broad mount diameter – 55mm – designed to facilitate a new generation of lenses focused on maximizing natural light. The company’s new and upcoming Nikkor Z lenses will be able to bathe bigger image sensors with more light from edge to edge more efficiently, giving professional photographers and enthusiasts the power to capture more visual information and create better shots.
A GORGEOUS BODY It may be a new camera, but the Z7 still feels like a Nikon. Its small yet durable magnesium-alloy body has great ergonomics, including a perfectly formed grip with a brilliant little thumb nub, and a finely tuned mix of intuitive physical and touchscreen controls. Its large 2,100kdot tilting monitor is complemented by a topside LED ideal for midnight starlight shoots. Added bonus: it uses the same batteries as other high-end Nikon cameras.
Nikon’s new Z-mount lens system creates potential for great new lenses – such as the Nikkor Z 50mm f/1.8 S (see opposite page). And in order to make the most of this improved optical performance, Nikon has created the powerful, new EXPEED 6 image-processing engine. Combined with a 45.7-effective-MP FX-format backsideilluminated CMOS sensor, the Z7 can take advantage of all the light it captures in every frame for extraordinarily resolved images.
FILM LIKE A PRO The Z7’s robust video functions make it easier to shoot professional-grade video. Pros can capture full-frame 4K 10-bit N-Log footage with beautifully natural tones and gradients. And with extra features – such as the ability to shoot and effortlessly switch between 30fps and slow motion, plus time-lapse footage captured at 8K resolution – the video possibilities are almost endless.
For shooters on a tighter budget, Nikon’s more affordable 24.5-MP Z6 packs much of the same punch as the Z7. It has a similarly compact design, uses the new EXPEED 6 image-processing engine in tandem with Nikon’s FX-format backside illumination CMOS sensor and delivers terrific high-sensitivity performance (ISO 100-51,200). It also provides an outstanding video toolkit suitable for both amateurs and professionals, which includes support for 4K UHD/30p video and the ability to convert footage to slow motion in post-production.
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KRISTIAN BOGNER
MEET THE NIKON Z6
HANDSON
MUST-HAVE ACCESSORIES Mount Adapter FTZ This genius adapter seamlessly facilitates the continued use of more than 350 F-mount lenses on Z-system cameras with no degradation in image quality. It also supports autofocus and auto exposure for many F-mount lenses, with no loss of speed.
Nikkor Z 50mm f/1.8 S This lens delivers blazing-fast autofocus, is remarkably quiet and creates a stunning bokeh effect even at short focusing distances. And with exemplary resolution across the entire frame, the Z 50mm easily earns its designation as a prime lens.
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GEARGUIDE
OUT OF THE
BOX
The secrets to shooting engaging, professional-quality unboxing videos
T
here’s something irresistible about watching unboxing videos, the YouTube phenomenon that gives viewers the vicarious thrill of opening a new product – so much so that the most popular channels boast millions of subscribers. The Lens tapped Matt Watts, Creative Director and Producer at Viva Media, a video-production company in Toronto, for advice on shooting your first unboxing video... or your 50th.
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ISTOCK: VGAJIC
by JACLYN LAW
CHOOSE YOUR GEAR You’ll get great quality and control with a digital SLR. “My favourite is the Sony Alpha A6500, a fantastic interchangeable-lens camera,” says Watts. “It shoots in 4K and full HD, up to 120 frames per second, so you can get that crisp, high-end look.”
CLEAR THE CLUTTER Find a clean, tidy space to set up your shoot. “You want people to focus on the product, not the messy junk all over your desk or workbench,” says Watts. “You could use something as simple as a table in plain white, black or another solid colour. Texture is nice, too, like a rustic wood surface.”
VIEW FROM THE TOP Use two cameras: one facing the table and one above it. The top-down perspective is what separates unboxing videos from review videos. To avoid shaky hand-held shooting, consider getting yourself an inexpensive tripod
or stand that can be used to angle your camera downwards.
LET IT SLIDE To elevate your videos even more, invest in a camera slider that attaches to your tripod or stands on the table. “A slider adds parallax motion, and those gliding shots give videos a high-end touch,” says Watts. “The barrier to entry is low, and the production value is super-high.”
MAGIC MICS For sound, your camera’s microphone might do a passable job, but you’ll get really crisp, clear audio with a lavalier/ lapel mic clipped to your shirt. “Lav mics are relatively inexpensive,” says Watts. A camera-mounted solution is another great option. He likes RØDE’s VideoMic Pro: “It focuses on whatever’s in front of it and rejects a lot of background noise.”
ON THE RECORD LIGHT IT UP Good lighting is essential. Without it, even videos shot with a top-notch DSLR can look lacklustre. Choose your setup based on the feel you’re aiming for – do you want clean and bright? Moody and dramatic? Or something in between? “The key is to have nice, even, diffuse light without harsh shadows,” says Watts. He suggests three-point lighting: a key light in front of or beside the camera, and a fill light on either side.
GET YOUR GEAR
Four must-have tools for your next unboxing video
Cameron CS-10 C-Stand Grip Arm Kit 10.5' This versatile chrome-plated light stand extends from a height of 57 inches up to 129 inches. It also boasts a 2.5-inch grip head, a 47-inch arm and a detachable base.
RØDE Lavalier Microphone This discreet lav mic delivers maximum mobility with minimal visibility. Includes cable-management clips, and a mini-furry to reduce audio interference created by wind.
Westcott Basics LED 3-Light Softbox Kit This kit includes three Edison-style 500-watt constant lights, two collapsible soft boxes, a six-inch reflector, two 6.5-foot light stands and a three-foot backlight stand.
Open Box Cameron 120cm CF Camera Slider w/Case Add smooth and precise professional-style tracking shots to your videos using this lightweight slider with carbon-fibre rails. Includes carrying case. Sold exclusively at Henry’s.
Watts recommends recording audio externally – to a separate device – so you have it in case there’s a problem with your video. “I use the Zoom H1, an awesome little recorder that uses micro SD cards,” he says. “Plug in a lav mic and record your session straight to that.”
KEEP IT REAL A huge part of the unboxing genre’s appeal is its authenticity. Unboxing stars cut through a product’s marketing hype and offer a critique of its design, build quality, functionality and price. “People go to unboxing videos for an unbiased, user-centric review of a product,” says Watts. “A good unboxing video doesn’t have sponsorship or branding.”
EXPRESS YOURSELF As the saying goes, “Be yourself; everyone else is already taken.” The best YouTube unboxers let their personalities shine in the content they create, often through humour. “It adds a little connection to the video,” says Watts. “You can sit down and enjoy it and take in the whole experience.”
THE FINAL CUT When editing your video, keep it simple, snappy and product-focused. Avoid flashy effects and transitions – instead, keep viewers engaged with voice-over commentary and alternating camera angles. You can speed up portions of the unboxing process, but don’t cut anything out – viewers want to open the product, even the plastic wrap, with you. And how long should your video be? “As long as the content is still relevant,” says Watts. “Don’t fluff things up or throw in unnecessary shots just because you think they’re cool. Cut the video the way the viewer would enjoy it.” WINTER 2018
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FABULOUS FOODIES
5 Canadian food photographers you should be following on Instagram by VICKIE REICHARDT
We’ve all seen it: restaurant diners whipping out their smart-
phones to take photos of the meals just placed in front of them. But the true art of food photography goes beyond a quickie snapshot – it involves finesse, flair, food styling and attention to the most finite of details. Whether you’re looking for inspiration, motivation or just some culinary escapism, these five photographers are serving up mouth-watering images that look good enough to eat.
Kerrie Ahern @kerrie_ahern Ahern is a recipe tester, food consultant and stylist living in Montreal, whose feed celebrates the textures and colours of food alongside the joy of preparing and sharing meals. She prefers to shoot with natural light and says, “Images are a way that I can inspire people to try something new, learn about food... or make them hungry!”
FANTASTICFEEDS
Karlynn Johnston @thekitchenmagpie Johnston’s feed is colourful and fun. A blogger and the author of the cookbook Flapper Pie and a Blue Prairie Sky, she frequently pairs food with eclectic dinnerware and serving bowls. “I love styling food with vintage props that I find while thrifting and antiquing,” says Johnston, who shoots with a Canon 5D Mark III and a 24-70mm f/2.8L lens.
Emma Choo @vancouverfoodie Vancouver’s Choo is a full-time foodie and travel-content creator, who started shooting food as a hobby in 2010 and who now snaps “any and every dish I consume!” Armed with her Canon EOS 6D or PowerShot G7 X Mark II, Choo wants her shots to be stirring. “I love how food photography can evoke a desire – to hunger or to thirst.”
Jessica Emin @eatwithjessie Emin is a Halifax photographer and food stylist, who shoots with a Nikon D700 and 50mm lens. Her photos range from meticulously planned client shoots to spontaneous moments in her own kitchen – which sometimes delay dinner. “All of a sudden we’re eating cold food because I decided to take photos of it,” she says with a laugh.
Elizabeth Tharakan @ elizabeth_tharakan Toronto-based stay-at-home mom Tharakan uses a Canon 7D and 17-40mm f/4L lens – and started her feed by default. “I slowly started styling and documenting the recipes that I cook,” she says, “and fell in love with food photography.” She typically shoots desserts against a dark background, which helps the detail in her dishes stand out. WINTER 2018
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ONE FOR THE ROAD
Cameron Obsidian Series camera bags are lightweight, versatile, and discreet to keep your gear safe during your adventures.
EXCLUSIVELY AT
HENRYS.COM/CAMERON
INTIMATE
& INTERACTIVE How photographer Caitlin Cronenberg has blazed her own trail shooting evocative images of celebrities, fashion and on-set moments by SHANDA DEZIEL photography by CAITLIN CRONENBERG
Actor Bill Skarsgård in a 2015 shoot for Essential Homme
T
he day Caitlin Cronenberg was to photograph Drake for the cover and liner notes of his 2016 album Views, there was a freak snowstorm. She needed to be at Langdon Hall in Cambridge, Ont., early in the morning, so she loaded her gear, her then-four-month-old son, a nanny she had hired for the day and two assistants into her parents’ station wagon, which she had borrowed. “It was the biggest shoot of my life,” Cronenberg says over coffee at Toronto’s Four Seasons Hotel, “and the car wouldn’t start.” After a bit of panicking, she frantically moved everyone and everything into an Uber for a ride that cost $300. “When I got there,” she says, “it was 25 below and my batteries were dying and then I hear, ‘Okay, get ready for the helicopter to arrive with Drake on it.’” Anyone who’s seen the artwork in Views knows that all 11 of Cronenberg’s shots of the rapper worked out beautifully, includ-
ing the much-admired cover image of Drake perched on the CN Tower. “Drake’s easy to work with, very friendly. He’s about Toronto, so we had that connection – and we’re both Scorpios,” Cronenberg says with a laugh. The youngest child of filmmaker David Cronenberg and late director/editor Carolyn Zeifman knows something about staying true to your roots. “My dad’s a big Toronto advocate, never moved, always stayed here. I appreciate that.” Cronenberg also lives in Toronto – with her husband and three-year-old son, Wolfy – but spends a lot of time travelling to photograph actors at film festivals and for fashion spreads in W, Esquire and the New York Times. What’s striking about Cronenberg’s work is the intimacy she is able to capture – she says she’s looking for the “moments in between the moments.” WINTER 2018
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THIS PAGE (from top): Drake takes in the Views; actress Mia Goth. OPPOSITE PAGE: Actress Sarah Gadon.
According to Jessica Ennis, a Toronto- and New Yorkbased art director and production designer who’s collaborated with Cronenberg on multiple projects over the years, “Caitlin has a quiet authority. She’s not loud in the way some photographers are. She stays calm and it draws the subject in.” Cronenberg’s interest in photography started after the summer of Grade 7 – and her time at an overnight camp. “I absolutely hated camp, but they had a photography program and I learned how to develop in a darkroom,” she says. “It was love at first sight. I got really excited about the physical process of creating photos.” By Grade 9, she was living in her high school’s darkroom. “I would come out in a daze, the red light scorched into my brain. My school work suffered.” Cronenberg went to Ryerson University for fashion design, but photography remained her passion. When she was 19, she took photos of her friend, Canadian Idolwinner Ryan Malcolm, for his website. Soon after, Post City Magazines reached out to publish one, and Cronenberg asked them for a job. She started shooting for them during her last year of fashion school and continued after graduating, also taking assignments from Hello! Canada and shooting bar mitzvahs every weekend. “I was living at home at the time and using my dad’s Nikon D70,” says Cronenberg. “He would pack it for me, charge my batteries, and leave me a note that said, ‘Have a good shoot.’ All I had to do was pick up the bag on my way out the door. It was very, very sweet.” In 2010, Cronenberg self-published Poser, her first book of photographs, which is filled with nude images of family, friends and strangers. “Basically, every time I met someone I asked them if I could take naked pictures of them,” she says. “In the book, you can see that I’m fascinated by bodies, the shapes and sizes, as well as piercings, surgical scars, regular scars and twins. I guess it runs in the family.” Eventually Cronenberg ended up on film sets, as well. But, she says, she had 20 credits as a set photographer under her belt before she went to work on two of her father’s films, Cosmopolis and Maps to the Stars. “I love movie stars, crew, actors, the camaraderie of being on set, the whole vibe,” she says. “And being a still photographer
WHAT’S IN HER BAG? Cronenberg’s must-pack gear includes equipment essentials and helpful extras: • a Nikon D850 • Nikon 35mm and 85mm prime lenses, and a Nikon 70-200mm lens • a lens-cleaning cloth • memory cards • measuring tape
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Robert Pattinson in a 2012 shoot for L’Uomo Vogue
is good practice for how to be invisible when you shoot.” But she moved on from that world in order to concentrate on the elaborate and cinematic stories she can tell in fashion and narrative-based photography projects. “I learned through Caitlin that fashion photography is like filmmaking,” says Sarah Gadon, the star of the CBC/Netflix series Alias Grace, who met Cronenberg on the set of Cosmopolis. “The way she shoots involves storytelling, which is more approachable for an actor. Traditionally, fashion photographers have been men, and they just tell you what to do and don’t really care about what you have to say; but Cait is collaborative. And she’s fascinated by women and what makes them tick.”
GET YOUR GEAR
That’s why Gadon signed on to be part of The Endings, Cronenberg’s recently released second book of photography, co-created with Ennis. Twenty-eight well-known actresses (including Julianne Moore, Keira Knightley and Tatiana Maslany) volunteered their time for the project. And the resulting collection of photographs – showing women in the throes of post-breakup emotion – are moving and haunting. “I really aim to create something that gives the viewer any feeling beyond, ‘Oh, that’s nice,’” says Cronenberg. “When I was little, certain photos brought me to tears. I hope I can do that. I’ll work my entire life to try to do that.”
FOR MORE OF CRONENBERG’S WORK, VISIT HER WEBSITE AT CAITLINCRONENBERG.COM.
Amp up your next fashion-photography shoot with this equipment
PROFOTO SOFTBOX RFI 3' OCTA This octagonal softbox has a reflective silver interior and double-layer diffusers, as well as colour-coded speedrings and Velcro attachments that make for super-easy assembly and disassembly. PROFOTO B10 STUDIO LIGHT This versatile off-camera flash is the smallest and lightest in Profoto’s lineup, delivering five times the power of a speedlight. Compatible with more than 120 light-shaping tools and all Profoto Air Remotes. SAVAGE PORTABLE BACKGROUND STAND KIT Get consistent and creative backdrops using this portable stand, which opens to 10'6" wide by 8'10" high – and collapses to 44" for ease of carrying. Includes a roll of 53" white seamless paper.
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TIPS FROM THE PRO 1. BREAK THE ICE “I like to disarm [subjects] right away by being superfriendly, smiling, telling a joke.” 2. GO DEEPER “It’s nice to get to know people during hair and makeup. Sit down and have a chat. It’s about reading your subject and respecting their wants and needs.” 3. USE THE WARDROBE “With actors, I like to get them into character in their clothes, discuss what kind of attitude the clothes bring. They need to feel like they’re wearing these clothes, not the other way around.”
Panasonic Lumix – Nothing is out of Reach Since 2008, Panasonic has been making class-leading Mirrorless cameras. Panasonic engineers have always reached for the impossible — striving to exceed customer expectations. The Lumix G series cameras have come a long way in the last 10 years. While listening to customer feedback, we’ve managed to enhance many features — better auto focusing, motion tracking, low light capability, colour reproduction, user interface, accessibility and image stabilization — delivering a powerful, easy to use camera. You dared to dream. Panasonic made it possible. Lumix G series — step into the future.
MASTER CLASS A conversation with third-generation Master Photographer Kristian Bogner, who discusses his talented family, the challenges of his work and the gear he uses to get it done by ROBIN ROBERTS photography by KRISTIAN BOGNER
Portrait of a girl in Pushkar, India 22
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WHAT’S IN HIS BAG?
Climbing Antarctica’s Mount Vinson
Kristian Bogner’s destiny seems like it was predetermined by his genes. His grandfather was a Master Photographer, who owned a photography business in Germany and was a best friend of Ernst Leitz, founder of Leica cameras. Bogner’s father, also a Master Photographer, was one of the founding members of the Professional Photographers of Canada Association. And his mother, a wedding and portrait photographer, was one of the first women in Canada to earn the Master Photographer designation. Bogner started shooting weddings with his parents when he was eight and, in high school, had his Photoshop work of a Landsat satellite featured on the cover of Time magazine. Just before graduating from university, he was offered a $70,000 contract from the Niagara Parks Association – which he turned down. “I wanted to go out west and live in the mountains,” he says. Today, 42-year-old Bogner – who does live in the mountains of Alberta – is a three-time Commercial Photographer of the Year for
BOGNER HAS A FEW MUST-PACK ITEMS FOR HIS SHOOTS: Canada, a 2015 Master Photographers International Commercial Photographer of the Year, and a Nikon Canada Ambassador. His work spans portraiture, architecture, nature and extreme sports.
WHAT WAS IT LIKE GROWING UP IN A PHOTOGRAPHIC FAMILY? My dad was extremely technical, and my mom was good at capturing that emotive, creative imagery. When I was super young, my dad taught me how to discharge flashes, know my guide numbers and exposures, how to change film on a Hasselblad RB67. That way, he could [shoot] one wedding and I could do another with my mom. My grandfather passed before I was born, but I learned from him indirectly. I grew up surrounded by his work, [admiring] the quality of his black-and-white portraits. His ability to be a master in the darkroom and as a photographer [was] passed down to my dad and then passed down to me. I always thought I’d make my grandfather proud with the work I’m doing.
• two Nikon D850s and one Nikon D5 • Nikon 70-200mm 2.8 FL VR, 14-24mm 2.8 and 28-70mm 2.8 VR lenses • two to four Nikon SB-5000 flashes • Lowepro Whistler 450 AW pack • Manfrotto 055CXPRO4 or Manfrotto Befree tripod • silver/white reflector • a DJI Ronin-M gimbal and Atomos Ninja Inferno monitor when shooting video
WHAT’S BEEN YOUR MOST DIFFICULT SHOOT SO FAR? Climbing Antarctica’s Mount Vinson with injured veterans for the True Patriot Love Foundation. I was there to photograph and film the ascent, which took two weeks. It was -65C at the top, one shutter froze and one of my hard-drive enclosures didn’t work at that elevation. And I carried 85 pounds of gear – including two Manfrotto tripods, solar panels and a Goal Zero Sherpa 100 kit to charge my cameras – in a 105-litre pack. WINTER 2018
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A moment on the streets in Rajasthan, India
AND THE MOST REWARDING? I went to Rwanda at the beginning of 2018 to work on a project, and was shooting cinematography and stills on a relatively small budget. I could only bring [basic] gear. There was a lot of travel between villages, so I invented my own apparatus to carry this heavy camera with full gimbal and monitor. It was worth it, though. My video was released at the World Economic Forum and the World Crypto Conference in Zurich, and it’s raising millions of dollars for cook stoves and water filters for the poorest Rwandans.
WHAT ARE SOME OF YOUR GO-TO TECHNIQUES? Shooting sports at the peak [of the action]. Being respectful while shooting faces of people in different countries. Sometimes, showing them the image you’re shooting encourages them to be patient and participate more willingly. Using a macro lens for landscape shots. Shooting at the golden times of sunrise and sunset. When I go on any shoot, I try to assess the subject, ask: “How does it make me feel?” and “How do I want others to feel when they see the photograph?,” and let that guide how I’m going to light the image. I don’t light the subject based on a technique I learned somewhere.
the colour and vibrancy, and sharing it with others. I also love photographing a person and reflecting back the beauty I see in them. Showing someone a great photograph of themselves can be transformational. If you see something in someone, capture it and share it with them; it can be very powerful.
WHAT DO YOU HAVE COMING UP? I have a lot of projects that are interesting, and I’m doing a lot with video right now, which is pushing my capabilities. I like being able to combine photos and video together. I might be doing a mountain-bike shoot in Utah soon, and there may be a private-jet shoot coming up. Those are always fun because they’re really technical.
WHAT HAVE YOU LEARNED ABOUT YOURSELF THROUGH YOUR WORK? That happiness is an inside job. It’s not based on what you have or what you do for a living, it’s just who you are. And that’s something I learned in various places around the world: having to build a shelter in the tundra for a week or having to deal with super-dangerous situations; to drop off cliffs on my skis or hang out of a helicopter to get to a shoot. Photography has helped push me through my fears and limitations. And there’s always the gift of that great shot at the end of it.
WHAT DO YOU LOVE ABOUT WHAT YOU DO? I love capturing the beauty of the world, 24
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VISIT KRISTIANBOGNER.COM TO SEE MORE OF HIS WORK.
TIPS FROM THE PRO You can improve your shooting through lighting. Bogner offers these three suggestions.
1. PAINT WITH LIGHT Get dramatic results with vibrant colours by using a long exposure to “paint” the subject with different light sources, such as flashlights, Glow Sticks or coloured gels.
2. GO OFF-CAMERA With high-speed flashes and radio-sync options, “you can add some off-camera directional light to your images, even outdoors.”
3. EXPAND YOUR HORIZONS “Don’t repeat the same techniques. Try something different each time you go out and shoot.”
LOCATIONSCOUTING
No need to pack your camera away when temperatures drop. Take advantage of wintertime photo ops at these six celebrations from coast to coast. VANCOUVER CHRISTMAS MARKET (Nov. 21 - Dec. 24, 2018) Vancouver, B.C. This holiday wonderland features two mustshoot attractions: the ornate Christmas carousel and a “walk-in” Christmas tree made up of 36,000 lights. Fuel up on delicious savoury and sweet snacks, and then find mascots Holly and Jolly for some photos with the kids.
vancouverchristmasmarket.com FESTIVAL DU VOYAGEUR (Feb. 15 - 24, 2019) Winnipeg, Man. Canada’s largest winter festival celebrates its 50th anniversary in 2019. Capture the action at fiddling and jigging competitions; see how entrants measure up at the beard-growing contest; or take a spot at the finish line to snap the winner of the Wild Winter Canoe Race. heho.com
TORONTO CHRISTMAS MARKET (Nov. 15 - Dec. 23, 2018) Toronto, Ont. This annual event offers plenty of great locations for photos, including a life-size gingerbread house and the 14-foot-tall “Heart of Christmas” sculpture. And be sure to stay until it’s dark for shots of the light displays and the market’s massive Christmas tree. torontochristmasmarket.com
WINTERLUDE (Feb. 1 - 18, 2019) Ottawa, Ont. This event’s 41st edition will feature myriad photo ops for you and your camera: ice sculptures, skaters on the Rideau Canal, a snowman-building contest – and where else can you train your lens on elaborate dragon boats competing on ice? ottawatourism.ca/winterlude
COURTESY OF TORONTO CHRISTMAS MARKET
CARNAVAL DE QUÉBEC (Feb. 1 - 17, 2019) Quebec City, Que. Say bonjour to Bonhomme at one of the oldest winter events in the country. Keep an eye out for the Knuks in their brightly coloured costumes, step inside Bonhomme’s ice castle or grab a prime spot to shoot the lights and spectacle of the carnival’s nightly parade. carnaval.qc.ca
LET IT SNOW!
Grab your camera and get outside to enjoy the season at these winter festivals and holiday markets by VICKIE REICHARDT
HALIFAX LIGHTS FESTIVAL (Dec. 1 - 9, 2018) Halifax, N.S. Looking for beautiful bokeh? You’ll find it at the Splendour in the Park light show, which is set to holiday music. You can also capture charming photos of the small fry as they get up close with nature at the petting zoo or ride on the Holiday Train. downtownhalifax.ca/halifaxlights
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LIVING ON THE EDGE Being an extreme-winter-sports photographer is a job that marries risk with reward by KEVIN SNOW
It takes a unique kind of individual
to strap on a pair of skis and hurtle down the side of a mountain at speeds most of us have never reached in a car. Or to be a snowboarder carving a path through pristine snow, while performing jaw-dropping aerial manoeuvres. The same can be said about the photographers who shoot these extreme athletes, battling the winter elements and traversing dangerous terrain, all in the name of capturing stunning photos and video of some of the fastest, most breathtaking sports in the world. The inherent risks that come with the professional territory are not lost on the photographers themselves. Simply getting to a location on a mountain is only one part of the job. So are the unpredictable – and often bone-chilling – weather conditions, which these skilled shooters have grown to accept. Take Vancouver-native Scott Serfas, for example. He’s been shooting winter sports professionally since 1994, and his snowboarding photos have been published around the world. Despite the unpredictable nature of his career, he can’t picture himself doing anything else. “There’s a danger element to it that gets me excited, but it’s more than that,” he explains. “I like being outdoors, in the backcountry, where no one has ever been. We get to shoot things with nobody around, and present those images to the world.”
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Serfas uses a Canon EOS-1D X and an array of Canon lenses, from a 15mm fisheye to a 600mm f/4L, and says the rigours of his work have become second nature. “It’s tough, but it’s also all I know, so maybe I have a skewed idea of what is normal,” he says. “When I discuss what I go through to get a shot with other photographers, they seem to be blown away. So, I guess it’s far from normal.” Getting that perfect shot often brings on a unique set of circumstances, says awardwinning photographer Robin O’Neill. Based in Whistler, B.C., O’Neill has built a diverse outdoor-sports portfolio that includes shots she nailed while hanging out of a helicopter. Helicopters are typically used for ski movies and photo shoots that involve complicated lines – and in situations where the photographer and client understand the best shots will need to come from high above. “First, you’re flown in to a base-camp area by heli,” explains O’Neill, who favours a Canon 5D Mark IV or 1D X Mark II with a Canon EF 2870mm lens. “The prep time to get the heli ready can take up to an hour, so it’s not done for every shot. The doors need to be removed and hidden from sight, so they don’t get caught in the rotor wash [wake turbulence].” Being securely roped in before takeoff is also key, to ensure safety throughout the flight.
ROBIN O’NEILL
TIPS FROM THE PROS When it comes to extremewinter-sports photography, these suggestions will help you nail the gnarliest shots.
1. A POP OF COLOUR
“There have been times when I’ve been hanging out of the helicopter for long periods of time… it’s a little intimidating at first, but the end result is totally worth it.” – Robin O’Neill
Providing contrast is important when shooting against snow. “[Having] athletes wear brightercoloured clothes and composing your shot against trees help,” says Crane.
2. PROTECT YOUR GEAR Use a hood to keep your lens free of any moisture or falling snow. O’Neill also packs some HotShots boot warmers to keep her camera’s body warm in extreme-cold situations.
3. YOU NEED SPEED Szanto suggests using a camera that has good tracking on fastmoving subjects and a relatively high frame rate. “When shooting, I usually use a shutter speed of at least 1/1000,” she says, “and it helps to use shutter priority to increase efficiency.”
4. SAFETY FIRST
ROBIN O’NEILL
When it comes to backcountry shooting, both Szanto and Crane stress the importance of taking the proper AST (Avalanche Skills Training) courses, and O’Neill recommends always packing LED flashlights and headlamps.
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MIKE CRANE
“There have been times when I’ve been hanging out of the helicopter for long periods of time and am completely out in the open as we’re flying around,” O’Neill says. “It’s a little intimidating at first, but the end result is totally worth it.” Getting pushed to the limit is routine for extreme-sports athletes, and it’s also par for the course for the photographers who track their every move. Mike Crane has travelled the world on a variety of photography assignments, but he settled down in Whistler in 2006 to turn his attention to full-time work. He’s shot everything from bobsled to heliskiing and, like Serfas, has developed a particular affection for snowboarding over the years. Crane, whose go-to camera is a Nikon D5 or D810, appreciates being able to explore these unique outdoor landscapes with world-class athletes, and understands that it takes more than just a keen eye to capture those once-in-a-lifetime moments on film. “Shooting human-powered adventures in the backcountry is demanding,” he explains. “You’re responsible for carrying your normal camping necessities along with safety equipment and all of your camera gear. I even opt for f/4 lenses for the huge weight savings versus my 2.8 glass.” Ottawa-born adventure photographer Laura Szanto, who’s scaled mountains and leapt into glacier-filled lakes as part of her work, concurs. “Snowboard photography definitely requires some stamina,” she says. “If you want to shoot a steep couloir off a peak that you scouted weeks before, you have to be able to actually get there, while carrying more gear than everyone else.” Szanto typically uses a weatherproof Nikon D850 camera along with a telephoto 70-200mm or a wide-angle 20mm lens. For his part, Crane does his best to stay one step ahead of his competition whenever he has some downtime. “Staying fit is key, and I utilize the large amount of computer time photographers have to do by working at a stand-up treadmill desk,” he says. “Even in the office, there is no time to sit still.”
GET YOUR GEAR Pack this must-have equipment on your next trek to a backcountry shoot
Sigma 120-300mm F2.8 Sport HSM OS Nikon Ideal for shooting outdoor high-action sports, this versatile telephoto lens is equipped with a hypersonic motor and optical stabilizer to ensure sharp and beautiful images.
Lowepro Whistler 350 AW This all-season lightweight backpack fits your camera and multiple lenses, and features a trademarked harness system with targeted padding and support to keep you comfortable and your gear secure.
Manfrotto XPRO A4 4-Section Aluminum This steady monopod provides smooth movement in all directions, and is equipped with a Quick Power Lock system and rubber leg warmers for a secure setup every time.
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PARTY: ON!
Tips from the pros on covering the season’s best and brightest big-scale bashes by TARA HENLEY / photography by KATY CHAN
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W
hether it’s capturing the magic at lavish galas, chic corporate celebrations or sparkling soirees, event photographers are run off their feet, but the enviable gig does not come without its challenges. The Lens talked to the pros to get their top tips and tricks.
ADVANCE PLANNING Combining glamour, excitement and high-adrenaline settings – not to mention fabulous guest lists – event photography is clearly a dream job. Photographer Stephanie Leblond has been on the beat since 2005, covering standout events, including the 100th anniversary Grey Cup gala in Toronto. “From the production side of things,” she says, “it’s important to really understand the timing of everything and how to position yourself at the right place at the right time.” She recommends spending ample time with the project’s technical director and entertainment producer well before the event. Make venue visits, nail down expectations and get a sense of the schedule, and the stakeholders – from media teams to sponsors – who’ll want access to photos. Katy Chan, another seasoned event shooter, agrees. She’s been shooting professionally since she backpacked across Europe with her trusty Canon Rebel XTi in her 20s. A decade later, she’s worked for prestige clients such as Sotheby’s, and hobnobbed with the likes of the astronaut Chris Hadfield and actress Jessica Chastain. Chan recommends obtaining event timelines; visualizing lighting, floor plans and vantage points; drawing up shot lists; checking and rechecking packed gear; and ensuring batteries are fully charged. She’ll sometimes also request that stools or ladders be placed at strategic points in the venue where she knows extra height will help nail a shot. “No matter how much you plan, there’s always something that you didn’t quite expect,” she points out.
LIGHTS, CAMERA, ACTION Special events often include professional lighting designers, so conversations with those teams ahead of an event are crucial here, too. “My purpose is to capture the event as it’s seen by the eye,” Leblond says. As such, she doesn’t generally add light, but instead uses low-light techniques to capture the light as is – such as shooting with a tripod and a long exposure. Chan, meanwhile, likes to bring continuous lighting. “It’s a trick I picked up from a videographer at a wedding,” she says. “I’ve shot corporate events where there was no additional lighting in a windowless space, so we only had the fluorescent lights from the ceiling – not the nicest lighting setup. So, we now rent some continuous lights to help give the space some life and ambience.” And to capture standout moments in a sea of people, Chan opts for stealth stakeouts. “I naturally scope out people who are really enjoying themselves,” she explains. “I keep an eye on them and wait for moments where they’re interacting with the brand activation. Or I wait for the strobe light to land on them on the dance floor. I already have an idea of how the image will turn out in my mind – what the backdrop is – and I just wait for the opportunity.”
BIG TIPS FOR SMALL-SCALE EVENTS Whether it’s a birthday party, baby shower or your family’s holiday celebration, here’s how to snap great shots at your own event.
1. CIRCULATE EARLY AND OFTEN. Begin taking photos at the start of your event. You’ll have more natural light (if it’s a daytime celebration), more guests in attendance and a tidier environment. 2. COMPOSE YOUR SHOTS. Aim for tight framing with no more than three people at a time, so you can capture detail and emotion.
3. BOUNCE YOUR FLASH. Angle your flash away from your subjects and toward the ceiling, wall or another nearby surface to avoid the “red eye” effect.
4. DON’T FORGET TO INCLUDE YOURSELF. Use a tripod and your camera’s self-timer or remote shutter release to give you time to get into a few shots, too.
GO-TO GEAR When she’s packing for events, Leblond favours versatile gear: two lenses, a Canon 24-70mm f2.8 and also a 70-200mm f2.8. “They cover such range and they’re so fast,” she says. “In all situations, I can do a great job with those.” For extremely large events, she’ll also pack a wider lens – a Canon 14mm f2.8 – and if there’s a portrait station planned, she’ll also pack an 85mm. Whatever the event, she says it’s vital to bring backup gear, including extra flashes, memory cards and batteries. “You have to be prepared for anything,” she stresses. “Nikon D750 and D700 24-70mm [lenses] will be your best friend for most of your events,” says Chan. “[It’s] a good zoom that allows you to be more versatile.” She suggests 70-200mm lenses to get close to your subject without disturbing them, and 50mm and 35mm lenses for capturing details or moody portraits. Her other must-have? An external flash with Gary Fong diffusers. WINTER 2018
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SNAPSHOTS In our last issue, we asked you to show us what “sparkle” means to you. Here are some of our favourite submissions!
OUR PHOTO CHALLENGE #2 WINNER! Congratulations to Brendon Fidek (Invermay, Sask.), who submitted this comtemplative shot – called “Starlit Ride” – of his cousin resting on his ATV. Aperture: 2.8 ISO: 3200 Shutter speed: 30 seconds WINTER 2018
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“Carnival Bright” by Jensen Wong (Markham, Ont.) Aperture: 1.8 ISO: 1000 Shutter speed: 1/200
“Kitchi” by Morgan Stone (Ottawa, Ont.) Aperture: 1.8 ISO: 100 Shutter speed: 1/2000
“Frozen Bubble” by Carl Schueler (Alliston, Ont.) Aperture: 9 ISO: 100 Shutter speed: 1/40
“Dewdrop Magic” by Kimber Leigh (Vancouver, B.C.) Aperture: 5.6 ISO: 100 Shutter speed: 1/160
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“Sparkling Dragonfly” by Paula Brown (Ottawa, Ont.) Aperture: 20 ISO: 400 Shutter speed: 1/200
“Last Climb of the Day” by Bradley Spence (Surrey, B.C.) Aperture: 14 ISO: 100 Shutter speed: 1/500
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“Persian Cat” by Alireza Bibak (Aurora, Ont.) Aperture: 7.1 ISO: 100 Shutter speed: 1/250
“Shine Bright” by Jane Khomi (Mississauga, Ont.) Aperture: 6.3 ISO: 200 Shutter speed: 1/2.5
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 #3: “GEOMETRY” A series of sensational shapes? Amazing angles? Perfectly pleasing patterns? How do you interpret the theme of “geometry”? 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 Wednesday, December 5, 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.
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ALTER YOUR STATE OF DRIVE
The reimagined Lexus ES shatters preconceptions. The redesigned exterior offers a preview of the thrilling performance ahead and a driver-focused cockpit draws you in with stunning detail and advanced technology. The ďŹ rst-ever F SPORT package impresses with bold styling and enhanced driving dynamics with Adaptive Variable Suspension. And with two new powertrain options, including a Self-Charging ES Hybrid, you can choose to make less of an impact with all the style. The result is a vehicle that’s every bit exhilarating as it is luxurious.
LEXUS
ES
STARTERKIT
MUST-HAVE
FOODSHOOT GEAR Cook up stunning shots with this essentials kit that caters to foodies by LORA GRADY
Whether you’re snapping pics of a
STOCKSY: MAXIMILIAN GUY MCNAIR MACEWAN
lavish holiday dinner for your social-media feed or you’re an aspiring food photographer looking to take your career to the next level, these six awesome (and affordable) pieces of equipment will help you create the most drool-worthy images.
[1] SIGMA 24-70MM F2.8 DG OS HSM ART LENS
[4] VANGUARD VEO 2 235AB ALUMINUM TRIPOD WITH BALL HEAD
This versatile full-frame standard zoom lens provides great image quality. Its optical stabilization system helps compensate for shakiness – so you’ll get sharper images – and it’s specially designed to minimize flare and ghosting.
This portable and lightweight tripod boasts fast set-up and has a multi-action ball head with lock, pan and friction-control options. Rock-solid leg positioning lets you shoot from all kinds of creative angles, including overhead shots that require a boom.
[2] SIGMA ART 70MM F2.8 DG MACRO LENS
[5] APUTURE AMARAN AL-M9 COMPACT LED LIGHT
This macro lens offers high resolution with a smooth, quiet autofocus function. Ideal for shooting in low light and for throwing backgrounds out-of-focus, it’s also dust- and splashproof, making it perfect for restaurant shoots.
A pocket LED fill light is a must when shooting in bistros and restaurants. The AL-M9 has nine powerful SMD bulbs with adjustable brightness up to 900lux. Capture detailed close-ups – even by candlelight.
[3] APUTURE LED RING FLASH AHL-HC100 CANON
[6] LASTOLITE TRIGRIP 30" REFLECTOR IN SILVER/SUNLITE
Achieve more-natural colour rendering and higher coverage on a small area with this 100beam ring flash. Use in full or half mode for both flash and ambience, and control light output using the three-level (1/4, half and full) brightness wheel.
This collapsible, reversible reflector is lightweight and features a sturdy triangular design with an ergonomic handgrip, allowing you to easily reflect light into awkward spots using one hand, while you shoot or style food with the other. WINTER 2018
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ANIMAL
PRAGMATISM
Photographer Jason Krygier-Baum on how he runs a business that caters to furry, feathery and scaly subjects by CHRIS DANIELS / photography by JASON KRYGIER-BAUM 40
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BUSINESSSAVVY
H
ow do you capture the essence of a dog, cat, bird or even a fish in a studio photo? Jason Krygier-Baum has created a thriving small business out of his photography skills and his lifelong love of animals, figuring out the answer to that question with every pet he meets. Once, he pulled out a vacuum cleaner for a dog with a penchant for chasing the household appliance. He helped a fish swim around more actively by temporarily dropping another fish into the fishbowl. And, of course, Krygier-Baum always makes sure to have the treats on hand that will get his photo subjects wagging or purring the most. “I’ll do almost anything if that’s what brings the animal joy and elicits the kind of photos I’m trying to create,” says Krygier-Baum. “What’s unique about my animal photography is that I focus on studio work as opposed to on-location, day-in-thelife photography.” Behind the Toronto home he shares with his two cats (Walter and Hazel) and a rescue dog (Ella), Krygier-Baum has created a 300-square-foot animalfriendly studio. Lighting booms are wall-mounted to keep the floor free of hazards, and baskets of squeaky toys and other noisemakers are on hand to get the animals to turn, look or react in a certain way. There are also precious few small spaces in which camerashy animals (especially cats) can hide. While Krygier-Baum does commercial work, most of his clients are art lovers and collectors looking for portraiture to memorialize beloved pets. Some do so by requesting coffee-table albums or greeting cards that showcase their animals, but most order large wall pieces. “What I create for my clients is often the least expensive art they will have on their walls, yet the most cherished,” he says. Krygier-Baum launched his company after having studied animal behaviour at the University of Toronto. Piqued by the immediacy of digital film, he spent a year at Pi Media shooting room sets for Sears before merging his two loves – photography and animals – into one business. He approached doggy daycares to offer their clients on-site portrait sessions – and to test the viability of his business idea. “I wanted to see how many people would sign up, what type of photo packages they would buy, and if they’d tell their friends,” Krygier-Baum explains. That eventually gave way to Jason KB Animal Photography, launched with business partner and animal trainer Angus McAuslan, about 10 years ago. Krygier-Baum shoots with a Canon 5D Mark III, and uses Canon EF 24-70mm F2.8L II USM and EF 70-200mm F2.8L IS II USM lenses. His team also includes photo assistants and summer interns. Word of mouth helps keep business flowing. Krygier-Baum hangs his portraiture at veterinary clinics, pet stores and dog parks around Toronto,
and online marketing has become increasingly important in reaching his target customer. Krygier-Baum also shoots animals for corporate clients, such as Canadian Tire. He broke into the commercial side of animal photography by researching the local advertising agencies working with petrelated brands. “Then I contacted the art directors working on those brands to try to set up a meeting and show them my portfolio.” While photographing animals is what he loves most, Krygier-Baum points out it represents only about 10 percent of his time as a small-business owner. Marketing, meeting with clients for preshoot interviews, tinkering in Photoshop, delivering orders, filling out paperwork and keeping his business plan up to date chew up most of his time. He now plans to expand his budding horse-portraiture repertoire and credits continuing-education business courses for a big part of his success. “It’s not the most talented photographers who are the most successful,” he says. “Hands down, it’s the ones who are the best at business, because otherwise your photography is just a hobby.”
TO SEE MORE OF KRYGIER-BAUM’S WORK, VISIT JASONKB.COM OR FIND HIM ON INSTAGRAM (@JASONKBPHOTO).
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WORKINGFILES
5 TIPS FOR A SENSATIONAL SITE
How to build a user-friendly website that showcases your talent by BONNIE STARING
For content creators, a website is as necessary as a camera: it helps showcase your work, build your brand and attract customers. Platforms such as Squarespace and Wix make creating a site easy, but figuring out what to include can be challenging. Here are some strategies that will help.
1. FIRST IMPRESSIONS MATTER What you display on your site’s landing page – and how it’s arranged – will determine the likelihood of a visitor venturing further. Keep your homepage clean, concise and clear, and organize images or videos into separate galleries based on theme and/or subject matter.
2. KEEP NAVIGATION SIMPLE AND STRAIGHTFORWARD If it takes multiple clicks to get to your portfolio or contact information, you run the risk of visitors abandoning your website.
Avoid superfluous visual effects or complicated navigation, which can be distracting or frustrating for site visitors.
3. INCLUDE THE ESSENTIALS Site visitors will want to see your work, learn more about you and, hopefully, get in touch. Use common terms – such as “Portfolio,” “About” and “Contact” – in your site navigation to avoid confusion. Also, include buttons or widgets that connect visitors directly to your social-media channels.
4. LESS IS MORE Display only your best work – you don’t need to feature everything you’ve ever shot. Place your strongest work at the beginning of your gallery or reel for the most impact, and include a short description about each project to give visitors a peek behind the scenes and a sense of your process.
• For image-file size, aim for a balance between resolution and load
time: 500 KB to 2 MB (per image) is recommended. • Keep your demo-reel length between 01:00 and 02:30. • To speed up video load times, embed files using an external player,
such as YouTube.
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Boost the likelihood of your site turning up at the top of search-engine results by using specific (rather than broad) terms in your site’s metadata and “About”-page content. For example, instead of “wildlife photographer,” try “Canadian coastline wildlife photographer.” Free tools, such as Google’s Keyword Planner, can give you some ideas so that you – and your website – are easily findable.
ISTOCK: XIJIAN
5. MAXIMIZE SEO (SEARCH-ENGINE OPTIMIZATION) KEYWORDS
TECHNIQUETUTORIAL
4 WAYS TO IMPROVE YOUR DRONE SHOTS
D
rones have made aerial shooting simpler and more accessible than ever before. But, as with any kind of photography, better technique yields better results. B.J. Hjelholt, the Video Production Manager at Toronto-based video agency Big Red Oak Inc., offers some tips.
Tips and tricks to take your aerial photography to the next level by CHAD SAPIEHA
2. ENLIST A PARTNER
4. USE ND FILTERS WHEN FLYING OUTSIDE
Have someone else pilot your drone while you shoot. “It’s safer and you’ll end up with more useable footage if one person focuses on flying and a second person controls the camera and gimbal,” says Hjelholt, who recommends using DJI Inspire and Mavic Pro dual-operator systems.
Neutral-density (ND) filters reduce the amount of light entering the lens and can help you avoid overexposed images or footage. “With an ND filter, you can bring the shutter speed down to a more manageable number and reduce undesirable strobing that may appear,” explains Hjelholt.
JON WEST
1. START SIMPLE “Don’t attempt shots beyond your skill,” says Hjelholt, who recommends plenty of practice and taking courses from a qualified drone instructor to learn how to fly safely. “Mastering the skill of flying a drone for video use can be tough. Modern drones are pretty easy to fly out of the box, but a fair amount of skill is required to create compelling footage.”
3. SHOOT IN D-LOG... IF YOU CAN Shooting in D-Log is basically the drone-video equivalent of capturing RAW image files; it allows more flexibility in post-production when performing tasks such as colour grading. Check to make sure your camera’s codec (compression software) can handle D-Log, though – some can’t.
Hjelholt stresses that all drone operators should fly legally. Drones are regulated by Transport Canada, so make sure you check the government’s website to avoid risking liability. “Whether amateur or pro, you must know the rules for flying a drone in your area,” says Hjelholt.
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VICTORY LAPSE
Tips and tricks on capturing winning time-lapse imagery
T
ime-lapse photography is a
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technique that allows you to shoot a series of single images at set intervals so that, on playback, you’ll see a process – clouds moving across a sky, sunrise, autumn leaves changing – that would normally take hours or days, speed up into seconds or minutes. Calgary-based cell-biologist-turnedcommercial-photographer Dr. Robert Berdan, who takes budding shutterbugs on expeditions to the Arctic to capture time-lapse footage of the northern lights, says the process is fascinating to watch and easy to do.
use your camera’s built-in interval timer or time-lapse mode. The subject(s) you choose to shoot will determine the lenses to use. “Mushrooms [growing], for instance, would need a macro lens,” says Berdan. “For northern lights, I use a wide angle with a wide aperture, f/2.8 or f/1.4, to allow a lot of light. For a narrow field of view, say a squirrel going in and out of a burrow, you might want a telephoto.” Ensure your batteries are fully charged (or carry a battery pack), and that you have room on your camera’s memory card (more than 32 GB).
GEAR UP
SET UP
First, you’ll need a DSLR camera and a sturdy tripod. Newer DSLRs come with an internal intervalometer, which automatically triggers the shutter continuously at preselected intervals. You can also buy an external intervalometer, or you can simply
Shutter speeds, intervals and f-stops depend on the speed of your subject, time of day, and the amount of light and how it will change over the period you’re shooting. Fast-moving clouds, for example, would need an interval of two or three
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seconds, whereas a night sky would need about 30 seconds. For a bit of blur to give the impression of movement, set the shutter speed to around 1/50th of a second or all the way up to half a second. For daytime conditions, use shutter speeds longer than 1/100th of a second. Generally, you need to manually adjust the exposure settings and set the focus so all your shots are the same. “Normally you would lock the exposure for the brightest time [of your shoot],” says Berdan. If you expect the light to change, such as with a sunrise (brighter) to sunset (dimmer) time lapse, set the exposure to adjust, so you underexpose the bright and overexpose the dim. Tip: you may also want to cover your viewfinder to prevent any stray light leaking in and affecting your exposure. For a longer shoot, you’ll need to leave your gear outside for a few hours or overnight, so it’s important to protect
ISTOCK: CHBD
by ROBIN ROBERTS
TECHNIQUETUTORIAL
GET YOUR GEAR Enhance your time-lapse shooting with these key accessories
Rhino Time Lapse Slider Bundle This 42-inch ultra-light, portable motorized slider delivers smooth, precise movement. A built-in intervalometer lets you control your exposures, and its battery gives you up to seven hours of shooting on a single charge.
Cokin Creative 3 Full ND Kit M (P Series)
JPGs, you have to resize and crop your images because a high-definition video is 1920x1080, and most photos are a 3:2 aspect ratio – for example, 3000x2000 pixels – so you have to bring it down,” says Berdan. “Most time-lapse photographers suggest using JPG files because you can put more images on a memory PREP AND EDIT card, and they’re smaller and easier Once you’re done shooting, import your to work with. However, RAW files offer images to a program such as QuickTime greater flexibility when editing.” Pro, Adobe Lightroom or After Effects Next, decide how long you want your to do your assembling and editing. Crop movie to be (in seconds), then multiply 24 the images at the standard ratio of 16x9. frames per second (fps) by the number of “If you’re shooting RAW files or high-res seconds to get the number of overall frames you’ll need. Your final movie will have a frame rate between 15 and 30 frames BERDAN HAS A KEY TROUBLESHOOTING TIP: start in your per second. For example, a backyard, or somewhere local away from light pollution. 10-second video at 30 fps Then, test your equipment and check the battery. “Know equals 300 frames; a 15-secyour camera,” he says. “Otherwise, you could be in the dark [and you wouldn’t know] if you were having a problem.” ond time lapse at 24 fps would require 360 frames. your camera and lens from the elements. “If you’re shooting autumn leaves, for instance, you can’t just leave a valuable camera outside,” says Berdan, who recommends buying a blind to sleep in and be near your gear.
Reduce depth of field and increase exposure time without overexposing your images with this kit, which includes filters, an adapter ring and a flexible filter holder that won’t impede your camera’s movements.
Manfrotto MK055XPRO3 Vertical and horizontal column orientation, and intuitive leg-angle selectors mean this ultra-compact, lightweight tripod provides versatile positioning for stunning footage, no matter where you set up your camera. WINTER 2018
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FINISHINGTOUCHES
HOW TO
SPLIT YOUR SCREEN IN PREMIERE PRO Easily create professional-looking side-by-side video clips in minutes by STACEY PHILLIP screen can be useful for everything from explainer videos to interviews, sports reels and films. And with Adobe Premiere Pro, it’s very simple to do. The following steps will show you how to create a basic split-screen video using two clips of the same resolution. [STEP 1] Import two video clips to your Premiere Pro timeline and place them one atop the other in separate tracks. [STEP 2] In the Video Effects panel, adjust the Position value of the the Motion effect to split the screen into two equal frames – one for each clip. The numbers you need will depend on the resolution of the original clips, but if you’re working with a pair of standard HD (1920x1080) shots, setting the value to 1920x540 should do the trick. Now you just need to get your subject(s) centred in each clip. It’s easy! 46
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[STEP 3] In the Effects panel, click and drag the Crop effect onto your movie. It should now appear in your Video Effects panel. [STEP 4] To centre your subjects within their frames (and control the amount of screen real estate each clip is given), you’ll need to play with a few numbers in the Video Effects panel, including the Left and Right values under Crop, and the original Position number you altered in step #2. Keep tweaking until you have framing positioned the way you want it for each clip. [STEP 5] If your subjects move around in the frame within their respective clip, you may need to alter the cropping effect at a few different points along the timeline to keep them centred. [STEP 6] Then, simply apply finishing effects as you would to any other clips and save your work. You’re done!
STOCKSY: LAUREN NAEFE; UNSPLASH : CARL HEYERDAHL
A side-by-side video effect that juxtaposes two clips on a
H O L I D AY M A R K E T P L A C E
AMAZING GIFTS FOR THE CONTENT CREATORS ON YOUR LIST
LUMIX G7 MIRRORLESS CAMERA
The Lumix G7 is the ultimate all-in-one package for content creators. Features include: 4K 30p video-recording capability; fully articulating touch LCD screen; a live viewfinder; and two lenses (14-42mm and 45-150mm).
X100F PREMIUM COMPACT CAMERA
The X100F combines an elegant retro design with the latest digital technology – including a built-in ND filter, a 24.3-MP sensor and X-Processor Pro image-processing engine – to deliver exceptional image quality and mobility.
RAPID BOX SWITCH
The Rapid Box Switch light modifier is a convenient, collapsible, super-portable softbox that allows you to change between off-camera flashes quickly and easily. Comes in 10 light-modifier choices and 13 light-insert varieties.
LUMIX G 25MM LENS
This 25mm (50mm equivalent) F1.7 Lumix lens is ultraportable, lightweight (125 grams) and fits all micro-fourthirds mounts. Ideal for low-light situations, its wide aperture also produces beautiful bokeh for artistic portraits.
PROADVICE
ASK A HENRY’S EXPERT Get answers to your questions about technique, gear and more by JORGE DaSILVA
“Hot” pixels can appear in your photos when your camera’s image sensor heats up during a long exposure or when a high ISO setting is used, and will appear as tiny, bright pixels in the middle of other coloured pixels. “Stuck” pixels can appear on your camera’s rear LCD or on the image sensor. As the name suggests, these pixels are “stuck,” constantly emitting the same colour. “Dead” pixels have no power. On your camera’s rear LCD, a dead pixel will appear black. If the dead pixel is on your camera’s image sensor, it can appear in different colours photo to photo, but will consistently be darker among other brighter adjacent pixels. Dead or stuck pixels on a camera sensor can affect your photos, but because their effect appears in the same place of every photo some software applications can automatically remove them. Hot pixels are normal and can appear in different places over time, but once again image-editing software can be used to fix that. If, however, you have more than three dead or stuck pixels on the rear LCD, or more than five on the sensor, it might be time to replace your camera.
Whenever I take photos using my flash, the upper portion of the image winds up overexposed and the lower portion looks too dark. What am I doing wrong?
First, check the modes on your camera and flash. If you’re having this problem when using both your camera and flash in their automatic modes (“Auto” and “TTL,” respectively), have your gear inspected by a knowledgeable camera expert or repair facility. If you’ve chosen to use your camera in its manual mode, check your shutter-speed setting to ensure
it’s not set too high. The fastest shutter speed that can be used with flash is your camera’s “flash X sync speed,” and is usually between 1/180th and 1/250th of a second. Using a shutter speed faster than your camera’s flash X sync speed will create a dark band across the bottom of your composition – and the faster the shutter speed, the larger this dark band will be. To remedy this, try adjusting your shutter speed to a slightly slower setting and tweaking until you get the result you want.
Jorge DaSilva is Henry’s Learning Lab Instructor Trainer & Coordinator, and has been Henry’s principal provider of educational services since 2001. He has also taught hundreds of classes and presented at numerous trade shows.
Something you want us to cover? Tweet it to @HenrysCamera and we may choose it for our next issue! 48
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UNSPLASH/SAMI BOUDJELTI; JORGE DASILVA
What’s the difference between a dead, stuck and hot pixel in my camera?
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
FINALFRAME
ACTRESS ELEANOR TOMLINSON IN THE ENDINGS BY CAITLIN CRONENBERG “I love this shot so much because of the way it’s lit. I used our production vehicle to light Eleanor, and I just love the way it feels calm and frantic at the same time. The way the light shines through her dress makes her vulnerable, but she also looks like she is powering through. There is something about night that feels scary, but she seems strong.” – Caitlin Cronenberg
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M I R R O R L E S S R E I N V E N T E D A I N
N E W
B E N C H M A R K
I M A G I N G
P E R F O R M A N C E
Whether shooting stills or videos, the new full-frame Z series pushes the boundaries in imaging quality and lens capabilities, enabled by the all-new Z mount. Unleash full creative freedom with the newly designed NIKKOR Z lenses, or choose from over 360 compatible NIKKOR F lenses*. Experience revolutionary optical performance in a compact form factor today. U P TO 12 F PS | U P TO 493 A F P O I N TS | F U L L- F R A M E 4 K U H D | 5 AXIS VR | QUAD VGA ELECTRONIC VIEWFINDER *Limitations may apply to some lenses.