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we’re different in print. In case you hadn’t noticed, you’re looking at PhotoED magazine’s FREE digital edition. Here, we’re sharing some different stuff than what’s happening in our print issue. Just FYI.

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CANON EF 16-35mm f/4L IS USM Lens CANON EF 24-70mm f/2. 8L II USM Lens CANON EF 70-200mm f/2.8L IS II USM Lens CANON EOS 6D Mark II Body BLACKRAPID RS-7 R-Strap Curved




Photo by ADAM BORMAN BEHIND THE SHOT: Adam is a photography student from NAIT based in Edmonton, AB.

* HEY, There’s MORE in

“The creative side of my work is just as important to me as the technical side. I love to work with design elements, artificial light, and digital manipulation in my photography. The Beatles have been a constant source of inspiration for me in both my life and my photographic work. This image, from my The Healthy Alternative series, is inspired by John Lennon’s “Two Virgins” record cover. I have an inherently shy character. The blank and hidden faces in this series relate to my own experience with shyness. My colour palette and the disconnect between the subject and viewer reveal much about my own personality.” See more work by Adam on page 36, and online: + @bormanadam

“All photographs are accurate. None of them is the truth.” —Richard Avedon

our PRINT issue... Get it HERE.

EDITOR’S NOTE photo by:


PHOTOGRAPHS MANIPULATE US DAILY. Images can be altered on so many levels it’s curious that we collectively still see photographs as having any element of truth at all.

experts such as forensic digital video/image analyst Michael Plaxton (see page 18*) to dive deep into the code behind our images to prove which parts represent “truth.”

Through context, construction and staging, and with digital tinkering, images lead viewers down a path that doesn’t necessarily depict reality. I am infinitely fascinated by the range of possibilities, and am often challenged to discern what level of reality exists in a photograph.


With all of the ways image manipulation can occur, perhaps we should actually be asking ourselves which images don’t lie to us. This fall we’re looking forward to sharing the stories and images by Canadians leaving their comfort zones and travelling across borders to bring back the tales of their adventures. If you’ve got a unique photo travel story, drop us a line!

In this issue, I explore the ways in which Canadians approach image manipulation technically, conceptually, and creatively. Obviously Photoshop has played a large role in making image manipulation possible for many people, but the work involved in crafting a realistic and convincing manipulation takes years of mastery – see page 27* to be inspired by Natalia Osmolovskaya’s persuasive visual narratives. Thanks to new frontiers in artificial intelligence, computers are also becoming quite good at fabricating their own realistic images (see page 20*). We’ll soon need more technical

Follow us on Instagram, Facebook, and Twitter, and sign up for our e-newsletter to keep up!

Your editor, Rita Godlevskis

*page references in the Spring/ Summer 2018 print edition.


@photoedmagazine @PhotoEdCANADA @photoedmagazine

PhotoED Magazine is published 3/year, SPRING, FALL & WINTER See for subscription/advertising information. Publications Mail Agreement No. 40634032 PhotoED Magazine, 2100 Bloor St. West, Suite 6218, Toronto ON, M6S 5A5

This issue was made possible with the assistance of Canada Council for the Arts & The Government of Canada.

SPRING/ SUMMER 2018 ISSUE #52 ISSN 1708-282X




Ruth Alves Joshua Cameron


Alexis Marie Chute Dolores Gubasta Nicola Irvin Derek Leung Cece Scott Bob St. Cyr Timothy Starchuk


Deborah Cooper-Bullock



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Rita Godlevskis /


Joshua Cameron Nicola Irvin “Panda City” by Natalia Osmolovskaya






• Keynote Speakers • Live Demos & Tutorials • 2 Portraiture Photo Shoots Keynote Speakers:

Chris Pepper on Nature Photography

Photo: Chris Pepper

April 21, 2018 Edward Village Hotel 8:00am-4:30pm

• Wildlife Photography • B&W Printing Prep • Creating Timelapses

Johan Sörenson on Portrait Photography

Photo: Johan Sörensen

Tech Talk: Jason DiMichele sponsored by Panasonic

Hwy #7 and DVP

• Images for Competitions • Raffle & Door Prizes • Tech Talk & Sponsors’ Tables Pricing:

$90 GTCCC Members $85 before March 21 $115 Non Members $70 Students Includes Lunch and Coffee/Tea breaks Register online before March 1 and receive 1 free Raffle Ticket

Other Presenters/Instructors: Bill Drummond • Ron Goodlin • Leif Peterson • Harvey Rogers • Bharat Mistry

For more information and to register, visit

Sponsored by:


Photo by Rita Godlevskis


CALL FOR SUBMISSIONS DEADLINE: MONDAY, JULY 9, 2018 This FALL we’re looking to showcase

The PhotoEd GUIDE to Photography is a 128-page magazine-format learning and teaching resource. The GUIDE provides a quick start to basic tools & techniques, and ideas for new explorations.

get it online:

CANADIANS ABROAD: Travel adventures + international projects. Share your work with us! Drop us a line with a link to your online portfolio or email the editor with your story and low-res samples of your images. —


only $20/year




A C . D E O T O


SPECIAL OFFER Save 25% on all metal prints up to 20x30” until May 31st. Use code: PHOTOEDMETAL25 Visit | | 1-800-897-1844 | Edmonton, Alberta

• Trade show • Portfolio reviews • Workshops • Speakers • 2017 Pictures of the Year Gala

Photojournalism 2018 Conference Toronto, Ontario • April 27 - 29, 2018 Visit:

imAge cOurTesy 10 photo ED Of The cAnAdiAn Press, PhOTOgrAPhed by mArk blinch



NOTHING TO SEE HERE Seriously, we looked. Canada doesn’t make much of a mark when it comes to scandal and image manipulation. However, we can recommend a few pretty interesting international reads. From historic to contemporary and from conceptual to technical, these resources will make you think twice about images.

BRONX DOCUMENTARY CENTER Altered Images Exhibition

This exhibition by the Bronx Documentary Centre in 2015 now lives on through the gallery’s website. This collection of images showcases 150 years of widely circulated documentary images with a common trait - they have all been posed or manipulated in some way. All is not always as it seems.


FAKING IT Manipulated Photography

Before Photoshop

by Mia Fineman, $67. Perhaps contrary to popular belief, photographic manipulation did not begin with the release of Photoshop 1.0 in 1990. Through this book, based on the New York, Metropolitan Museum of Art exhibition of the same name, author and curator Mia Fineman takes readers on a field trip through the history of photographic manipulation. Bringing to light manipulations within historical political, cultural, and documentary photography, this book is an entertaining and enlightening read.

Available on

Author of Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace, this guy is internationally regarded as the most distinguished voice in the colour correction and enhancement field. GLYN DEWIS

Author of The Photoshop Workbook: Professional Retouching and Compositing Tips, Tricks, and Techniques, this guy is on the Photoshop World Instructor Dream Team. Yes, that’s a thing.

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The story behind Tim Starchuck’s Excel spreadsheet photograph is BEST VIEWED in high quality PRINT. Get yourself a copy through better bookstores across Canada or buy it online NOW: 12 photo ED

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With its gold exterior, the Lomo’Instant Yangon is reminiscent of stunning sunsets over the glittering domes of this ancient city. With three different shooting modes and tons of creative features including unlimited multiple exposures, Color Gel Flash Filters and a built-in wide-angle lens, this Burmese beauty will be your perfect new experimental companion. ($139 value)

Survey closes June 1, 2018, and prizes are restricted to residents of Canada. One survey/response per person, per email address. photo ED 15

CANADIAN PHOTOGRAPHY COMPANIES MAKING WAVES ONLINE If you think you know the stock photo industry, it might be time to think again. We asked two Canadian companies, Shutterstock Custom and Unsplash a few questions. BY NICOLA IRVIN

A photo on the Unsplash platform.

UNSPLASH We asked team member Annie Spratt What differentiates Unsplash from other photo companies? One of our co-founders, CEO Mickael Cho, wrote an article that touched on this recently. In his words, “We didn’t start Unsplash to reinvent an industry. We started Unsplash because we thought it might be useful. Unsplash is a community where anyone can share high-resolution photos for anyone to use freely. It began as a Tumblr blog with ten photos we had leftover from a photoshoot. Instead of letting our photos sit dead in a hard drive somewhere, we thought it would be better if they were put to use to move other creative projects forward. A freelance designer could grab an image to pitch a mockup or demo. An entrepreneur strapped for cash could put a website up with a nice background photo to attract potential customers. We believed the good from giving our images away would far outweigh what we could earn if we required payment or credit.” Does Unsplash have a signature style? There’s no signature style for photos submitted to Unsplash. We focus solely on promoting the best quality photos. Since joining the editorial team in 2016, I’ve noticed that the photos submitted and displayed on the New feed often reflect the current trends in photography, from subject matter to editing style. This accounts for our coherent aesthetic, along with the more authentic and soulful nature of the photos, as compared to generic stock photos. How do photographers benefit from contributing? There’s no definitive answer to this question, but to better understand the benefits we need to first look at the different kinds of photographers who choose to contribute. We surveyed our community in 2017, and discovered that the vast majority of photographers contributing consider themselves, as I myself do, a “hobbyist photographer.” In my experience working on the community team, many of the hobbyists are people who 16 photo ED

have used photos from Unsplash on their own projects and then decide to dip their toes in the water to contribute to give something back to a community that has previously supported them. There are professional photographers sharing photos on Unsplash as well. Contributors share photographs to make an impact and our aim is to push the impact of their imagery like no other platform ever has. Today, a photo featured on Unsplash is seen more than a photo on any other platform. It’s a fast way to get your work in front of a lot of people, many of those people being other creatives. We have many contributors land paid freelance gigs as a result of being discovered via their Unsplash profile. That’s the beauty of Unsplash, you don’t need to come with an audience or have an agent to be great. We bring an audience to you and give you a chance to make real creative relationships. Is’s content curated or are algorithms involved in promoting some images over others? Every day our team looks at every single photo submitted. Submissions are typically reviewed within 24 hours, but review time can depend on how many we have at the moment. When a photo is reviewed, it undergoes a number of checks. If the photo you have submitted appears elsewhere on the Internet already, we may be in touch for some additional information. After verification, we’ll tag your photo in one of four categories: 1. Rejected, 2. Approved, 3. Searchable (these photos are a subset of the Approved photos and appear on a contributor’s profile, as well as being searchable) and 4. Promoted (these photos are a subset of the Approved photos and appear on a contributor’s profile, as well as the New feed). This human connection with the photos from the very start is a very important part of how we nurture our community. It makes

us aware of both existing and new contributors and allows us to be better equipped to recommend people for opportunities to work with partners on special campaigns. Unsplash prides itself on providing free visual content. Explain briefly how, in turn, Unsplash remains profitable? Unsplash doesn’t generate any revenue at the moment, but we will be experimenting with monetization projects this year. How can photographers, hobbyists or professionals, become involved with Unsplash? Head to our website! You don’t have to contribute photos to be part of the community. You can use it in a way that suits you. If you are undecided on whether contributing a photo is for you, just join for inspiration. What can photographers look forward to from Unsplash that will continue to disrupt the industry? Like every industry, the photography industry is ever-evolving. We’ll keep on listening and reacting to our community, the contributors, and the users to lead us forward.

SHUTTERSTOCK CUSTOM We asked Kristen Sanger, Director, Content and Creative What differentiates Shutterstock Custom from other stock photo companies? We look at the stock photo industry as complementary to what we do at Shutterstock Custom. Brands and agencies will always have a strong need for stock creative assets, and that remains the core business for Shutterstock. However, many of our customers have a growing need for visual content that’s custom shot to match their brand guidelines and creative briefs. This is how Shutterstock Custom started. We differentiate ourselves by working with customers to create authentic branded visuals for their business in a scalable and efficient way. We use our resources smartly mixed with our technology platform to take the hassle out of traditional production methods. Does Shutterstock Custom have a signature style? We take our creative direction from our customers via the creative briefs they submit using our platform. Producing 100% original content that’s styled exactly the way our customers want it is what makes our business unit unique.

An image created by Shutterstock Custom for Mike’s Hard Lemonade

How do photographers benefit from contributing to Shutterstock Custom? Getting regular commercial work is not always easy for photographers, particularly at the beginning of their careers. Working with Shutterstock Custom gives photographers the opportunity to work with some of the world’s biggest brands and shoot amazing content. They come out of a project with great work for their book and money in their pocket. We take care of the pitching, billing, and briefing with clients. We also handle the post-production, curation, and delivery of the images. Creatives are passionate about creating content, not necessarily the business side of photography. We take care of the business and let them focus on creating. What is the difference, and what is the relationship, between Shutterstock Custom and Shutterstock? Shutterstock Custom is a business unit within Shutterstock. In the summer of 2017 Shutterstock acquired Toronto-based startup Flashstock, which has since been rebranded and integrated as Shutterstock Custom. While Shutterstock is a leading global technology company offering a creative platform for high-quality assets (images, video, and music), tools, and services, Shutterstock Custom provides enterprise customers with branded images and video on-demand, on-brand, and on-brief. In your own words, Shutterstock Custom is “revolutionizing how brands create visual content.” Can you explain how Shutterstock Custom is shaking things up? Shutterstock Custom has been shaking things up from our early days. We were one of the first businesses to really understand the challenges brands were having trying to manage multiple shoots around the country and around the world. We realized the value of utilizing a global creator network to help businesses execute their projects. We built a proprietary technology platform, processes, and business to effectively bring brands and creators together. Disrupting how marketers think about creating visuals is fundamental to our business mission. How can photographers, hobbyists or professionals, become involved with Shutterstock Custom? At Shutterstock Custom we look for talent first. We have three tiers to match photographers’ skill levels, with project matching tailored to their individual skill set. Photographers apply with their portfolios online. In an application, they identify what they like to shoot, their gear, and things they have access to. They then go through a strict portfolio review and genre certification before being commissioned. What can photographers look forward to from Shutterstock Custom in the future? We stay ahead of any new platforms advertisers may want to use and evolve new media types and offerings. We now offer photo, video, GIF, cinemagraphs, vertical video, 360 degree, and digital animation. Expect us to offer the latest media types and to keep evolving with content consumption.





experiments with a rare roll of film that works on a whole other spectrum.

I’M ALWAYS excited about the experimental opportunities analog processes offer my fine art practice. Years ago, I purchased a roll of Kodak Ektachrome Infrared (EIR) 35mm, colour transparency/slide film. I don’t know why I waited so long to use it but, somehow last year, I felt the time was right. Working with infrared film is not like working with regular film because it is sensitive to a different part of the electromagnetic spectrum (700–900 nanometres [nm]). In other words, this film is sensitive to a different type of light than the human eye and requires special handling and special lens filters. Your camera cannot have infrared sensors or a small window in the film back. I use my Nikon FM2n. 18 photo ED

You need filters. One of the differences between colour and black and white infrared film is that with colour I can use a yellow (Cokin 001) or an orange (Cokin 002) filter while composing and focusing normally through the lens, but black and white infrared film requires a very dark filter, such as the Cokin 007, requiring composition first in the viewfinder, and then affixing the filter to take the shot. Kodak recommends loading and unloading the film in total darkness to avoid fogging the film. I loaded my EIR film in moderately low lighting and did notice a little fogging on some of the slide frames. Lesson learned: pay attention to manufacturer’s instructions.

IN A WORLD WHERE SOCIAL MEDIA THROWS A PLETHORA OF SHARP, COLOUR, AND BLACK AND WHITE IMAGES BEFORE OUR EYES ON A DAILY BASIS, IT IS NICE TO FIND SOMETHING A LITTLE DIFFERENT WITHIN THE REALM OF IMAGE MAKING THAT STILL STAYS TRUE TO TRADITIONAL PHOTOGRAPHIC PRACTICE. Once the camera is loaded and you have filters, a sturdy tripod, and a cable release, you are ready to shoot. Arresting images will involve lush vegetation, especially deciduous plants, under bright sunlight. The chlorophyll in plants reflects light radiation. Infrared films (black and white and colour) record the reflected light radiation from the pigment cells of chlorophyll as highlights (whites) or tints and shades of red in colour. My understanding is that EIR film was invented during the early 1940s to assist the U.S. forces with air photo interpretation. It has since found other uses in forestry surveying to ascertain tree health, and to record documents and paintings when looking for overpainting or alterations. However, my interest in this film was purely to explore the artistic effects of false colours on familiar scenery. Unfortunately, I do not have the exposure data, but as I think about it, I don’t know if having such information is really useful. The lighting conditions for the types of scenes others may photograph under may not be exactly the same, so my exposure data may not translate into someone else’s photography. Follow the recommendations that come with the film. Look for information from reputable sources and use a good light meter. The in-camera meter in my Nikon proved to be adequate. Kodak recommends 1/60 @ f/16 for black and white, with a deep red filter under direct sunlight and 1/125 @ f/16 for colour IR film with a deep yellow filter under direct sunlight. Because EIR film has been discontinued and is difficult to find, I felt it was important to find subject matter that would really work well with this precious roll. Who knows, perhaps it would be one of the only times I would be able to experience such a rare film and I did not want to waste the opportunity. I knew the place would be in the natural surroundings of lower Vancouver Island and during the summer when the days are sunniest. Thus, I chose to work in two different locations, one at Royal Roads in Colwood, British Columbia, and at the Finnerty Gardens in Victoria, British Columbia.

Once your precious film has been exposed, wind it completely back into the film casing and seal it in the film canister it came in. Have it processed promptly. The film MUST NOT be processed like regular colour slide film. You must ensure that your lab offers the E6 process for slide film and that the lab can turn off the machine’s infrared sensors (otherwise your colour infrared slide film will be ruined). Since my local labs were not able to accommodate my needs, I sent the film to The Lab in Vancouver, which did a wonderful job. For black and white however, I simply process and print the film normally in a darkroom. After my film is scanned, I digitally clean up dust spots, crop images, and tweak the contrast and levels. Other than that, I do not engage in much manipulation. The images you see here are not far off from the original transparencies and negatives. Overall, using this film was a wonderful experience that I would like to continue exploring as the results are really exciting, however, with a dwindling film supply, repeating this adventure may not be possible. Converted digital cameras (expert camera hackers required) offer a possible alternative to film that also produces some very interesting results. In a world where social media throws a plethora of sharp, colour, and black and white images before our eyes on a daily basis, it is nice to find something a little different within the realm of image making that still stays true to traditional photographic practice. RESOURCES: Although you won’t be able to pop into your local photography shop to find colour infrared film, black and white is still an option (for now). Get on it before that’s gone too! Rollei makes an infrared black and white film and ILFORD makes a pseudo-IR film (SFX) that should be readily available. Retailers such as Beau Photo (Vancouver) and Henry’s (national) still carry limited stock.

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PEOPLE BEGIN THEIR ADVENTURES in photography in their own unique ways. Some do it gradually, tentatively. Others do so with a bang. Maybe the excitement starts with an appreciation for interesting imagery. Or, perhaps, the discovery of an old, yet operational camera at a garage sale. Maybe you have been testing the waters of photography for a while now — or perhaps you dove right in — yet you wonder at the title of “emerging photographer.” Does it apply to you?

This year, InFocus Photo Exhibit teamed up with PhotoED Magazine to offer an Emerging Photographer Award. We defined “emerging” as a person of any age and educational background who is within the first five years of their photographic practice. We live in a visual world saturated with photographs. Never before have cameras been so easily accessible, nor have photographs been so easy to share. We could drown in all of the images floating around on the Internet. However, with the 20 photo ED

proliferation of photographs, what sets apart a mediocre image or photographer from a truly great one? Great imagery is what I’m on the hunt for when curating InFocus and co-judging the Emerging Photographer Award. I’m also looking for image-makers with distinct voices and perspectives. One of my favourite photographers, Ansel Adams, writes so beautifully about image-making that I wish to share his quotes about becoming a noteworthy emerging photographer throughout this article. As I cull the images, the following things attract my attention: 1. NEXT-LEVEL TECHNIQUES. With advancing technology

dwindling the learning curve for new photographers, I look for images that employ technique to the service of a greater purpose. I want to see that the photograph was captured intentionally, with a specific result in mind. Art is the difference between someone who points and shoots, and someone who thinks, points, and


“My approach to photography and image-making aims to push the boundaries of reality for the viewer. My self-portrait for the InFocus exhibition combined my love of image-making with performance art. I documented the process of painting my face as a tribal mask, periodically taking photographs throughout. I soaked my face in freezing cold water allowing the makeup to glaze down my face, into my eyes

and mouth. I then incorporated overlay textures from abstract expressionist paintings to blur the viewers’ perception of the real and contrived components. The final image is intended to convey an intense and intimate energy. My fascination with surrealism inspires me to create works using the infinite possibilities of digital manipulation. By incorporating incamera effects, image composite, and digital painting techniques, I explore the opportunities of computerized realities.” See more:

RUNNER UP: AIDEN GUERRA “BeyondTransition” This image was also featured at the InFocus exhibition.

shoots. I like to see images that utilize the fundamentals of photography — shutter speed, aperture, lighting, focal length, ISO, composition, etc. — to create an image, not just record it. For example, landscape photographers who understand light, are patient, and adjust their cameras to bring the setting before them to life. Or, portrait photographers who experiment with tintype or daguerreotype processing, bring an old technique into the present, making it fresh.

all of these things together to create images that can stand up in the history of photography, maybe even the history of all art, as visually interesting to our overstimulated 2018 minds. While many photographers may capture the same sunset scene, very few can do so in a way that elevates that image to art. Accomplishing this is the magic of the next-level photographer.

“You do not take a photograph, you make it.” —A.Adams

I am proud to announce that Justin Atkins of Ontario is the 2018 PhotoED Emerging Photographer Award winner. Justin attended the opening reception of InFocus Photo Exhibit in February 2018, at the Renaissance Edmonton Airport Hotel, where PhotoED editor Rita Godlevskis presented the award. Justin is a graduating student of the Sheridan College photography program. His photographs sparked our imaginations through his fusion of fashion, portraiture, and fine art. Bold, edgy, playful, and youthful, Justin’s imagery uses vivid colours to grab viewers’ attention. His images are fun and skillfully captured and his backgrounds are like paintings, creating depth and using psychedelic patterns. Emerging photographers are at a special place on their photographic journeys. They have not yet created for so long that they are tempted to regurgitate the same work over and over again; they bring fresh perspectives to an almost two-century-old art form. Fortunately, wherever you find yourself on the spectrum — from emerging to skilled hobbyist or professional — you can always challenge yourself to learn and grow. You can always take your technique, concepts, and aesthetics to the next level.

2. NEXT-LEVEL CONCEPTS. One of the gifts new photographers

can give themselves, and their images, is time to think. Visual communication has the potential to cause viewers to feel and to ponder the world around them. Photographers must do this feeling and thinking themselves, imbuing their work with higherlevel meaning, beyond just the creation of a pretty picture. Finding your voice as a photographer comes down to what you have to say (the concept) and how you say it (the technique), which results in a singular aesthetic. Photographers bring next-level concepts into their photography, for example, by creating a story around the lone roaming coyote and waiting for the animal to step into the frame, all to evoke the scale of Drumheller Hoodoos and the struggle of survival in Alberta’s Badlands. Or, photographers use thoughtfully chosen props in portraits to creatively convey the personalites of the people they photograph. “There is nothing worse than a sharp image of a fuzz y concept.”—A.Adams 3. NEXT-LEVEL AESTHETICS. Finally, when reviewing images,

I repeatedly ask myself, “How does the photograph arrest my attention? Does it make me feel? Do I long to see more? Do I wish I had taken it myself?” This is where the “eye” of the photographer comes into play. I want to believe that photographers have captured their subject intentionally, using the tool in their hands. They have pondered what they want to communicate, what feelings they wish to elicit, and what lingering thought they want to plant in their viewers’ minds. They have brought

“A good photograph is knowing where to stand.”—A.Adams

“You don’t make a photograph with just a camera. You bring to the act of photography all the pictures you have ever seen, the books you have read, the music you have heard, the people you have loved.” —A.Adams

The InFocus Photo Exhibit 2019 call for submissions will open this summer. Stay tuned for more info:

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RAW image straight from the camera

Image after processing in Lightroom

MAKING YOUR PHOTOS LARGER THAN LIFE: TIPS FOR EDITING IN LIGHTROOM VS. PHOTOSHOP? WHICH PROGRAM SHOULD I USE? ADOBE LIGHTROOM Simply put, you should be using both programs. The better quesAdobe Lightroom is an amazing tool that makes it easy to maximize the potential in your images. BY DEREK LEUNG

tion to ask is “When should I be using Lightroom or Photoshop?” In most cases, you’ll be able to use Lightroom, as the software offers all of the basic functions you will need for editing, including cropping, white balance, exposure, histogram adjustments, tonal curves, black and white conversion, spot removal, red-eye corrections, gradients, local adjustments, sharpening, noise reduction, lens profile corrections, vibrance, and saturations. If you’re looking to manipulate an image, require advanced healing tools, or want to create HDR (high-dynamic-range) photos, then you’ll need to use Photoshop. Unlike Lightroom, Photoshop can help you layer images, create composites, manipulate your photos at the pixel level, and more. Overall, Lightroom offers photographers enough general tools to edit their photos and the workflow is faster and simpler than Photoshop.

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First, let’s talk about the difference between saturation and vibrance. Both functions allow you to make your image’s colours more vivid, but the approach is different. When adjusting saturation, you are affecting the intensity of all of the colours within your photo. Vibrance is a smart tool that increases the intensity of muted colours without adjusting the well-saturated colours. If you want to make the colours pop a little bit more, increase the vibrance, but if you want to create a very colourful photo, increase the saturation.

At times, you may see a purple (or green) outline around your subject when you are shooting in a bright environment or when there is heavy backlight. The fringe is usually caused by the dark edges of your subject conflicting with the bright, illuminated background.

Another way to control colour is by using the “HSL/Color/B&W” section. The easiest way to control each individual colour in your photo is by selecting “HSL” and then the “Saturation” subheading. Adjusting the saturation here can give you an extra level of control over how you add colour to your photo. Some photographers use this subsection in Lightroom to create “Selective Colour” edits: a process through which your photo is black and white except for one colour or one section of your photo.

ADJUST YOUR TONE CURVE Lightroom’s Tone Curve can help you adjust shadows, midtones, and highlights, which changes the image’s overall contrast, intensity, and colour. When adjusting the Tone Curve settings, consult the histogram of colours in the background of the graph to inform your decisions. You can create points by clicking anywhere on the solid diagonal line to shape your Tone Curve. Underneath the solid diagonal line, you’ll see a dotted line, which represents your original curve; any points you set under this diagonal line result in decreased shadows, midtones, and highlights, and vice versa. The popular faded film look that you see on Instagram is created by adjusting the Tone Curve. This effect is created here; the Tone Curve has been adjusted to remove selected shadows from the photo.

To fix this, go to the Lens Corrections section of Lightroom and you’ll find a subsection for Defringe. Simply use the eyedropper tool to select the purple or green fringe in your image and, just like magic, it will be gone. You can adjust the “Amount” and “Hue” for the best possible results.

A FEW EXTRA TIPS Lightroom also has great tools for sharpening photos, reducing pixel noise, removing unwanted details with the Spot Removal tool, correcting red-eye, and much more! You can buy a number of presets online, or even download them for free. These presets are not one-click solutions, but they do offer great starting points if you’re looking to create a mood or special effect.

A FEW KEYBOARD SHORTCUTS TO HELP YOU IMPROVE YOUR WORKFLOW: Esc: Return to Previous View Space or Enter: Go to Loupe or 1:1 View Ctrl + – : Zoom Out Ctrl + = : Zoom In G: Grid Mode C: Compare Mode Ctrl + Shift + I: Import Images Ctrl + Shift + E: Export Images Ctrl + R: Show in Explorer F2: Rename File Backspace: Remove from Library F: Toggle Full Screen Preview

Shift + F: Toggle Screen Modes Ctrl + [ : Rotate Image Left Ctrl + ] : Rotate Image Right Ctrl + E : Edit in Photoshop Ctrl + Shift + C: Copy Develop Settings Ctrl + Shift + V: Paste Develop Settings Ctrl + U: Auto Tone V: Convert to Black and White R: Crop Mode Q: Spot Removal Mode M: Graduated Filter Mode Y: Before and After (Left/Right)

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HEY, If you’re digging this digital version - it gets even better for you in

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At Beau Photo, we’ve seen many changes over the years, but our commitment to all things photographic continues. An Exhibition of Instant Images April 4th - May 13th, 2018 Opening April 4th, 6 - 8PM Science World - Aurizon Atrium

FUSION 2018 The Craft Behind the Image

Saturday, May 5th, 2018 River Rock Casino Resort Richmond, BC

Cameras • Film • Digital • Rentals • Advice • Community

Immerse yourself in photography!

Beau Photo Supplies 1520 W. 6th Ave. Vancouver, BC 604.734.7771

Fusion 2018 is a full day of speakers, demos and an Industry Expo. Hear talks on travel photography, portraits, lighting, printing your images, and more. The Industry Expo will run from 10am to 5pm with displays and demos of the latest equipment.

Beau Photo beau1520 @beauphotostore


GALLERY Submissions by our readers

MARA GAJIC Toronto, ON Untitled from ‘Boundaries II’ @mmaragajic

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JEANNETTE BREWARD Port Hope, ON ‘Surreal’ @ohnettie


Vancouver, BC. From The Special series, Top image: “Storybook West Side” Above: “Vancouver Vanishes”

“Like any city, Vancouver has its myths and clichés. Being a lifelong resident of the Lower Mainland, these are as common to me as the north shore mountains, or #1 Highway. As a digital photo artist, the ability to extract and recompose elements allows me to explore these ideas. So while every subject in these images can be found within the Greater Vancouver area (unless they’ve already become victims of the city’s ever-reconstructing nature), none will be found in the context in which you see them here.” As such, The Special is not at all about the strict documentation of the city, but rather presents a crafted idea of it as it exists in our thoughts and memories. The flattened perspective of the buildings suggests reducing those structures to symbols, as a child would draw a house by placing a triangle atop a square, yet they maintain photorealism. The assembly of the pieces is done with the intention of creating a series of hyperreal, yet nostalgic little worlds, each of them distinctly and recognizably Vancouver.”

This page + following spread:


Seamus Gallagher is a photography student at Nova Scotia College of Art & Design. “My series, A space and place all for us, raises questions of what it means to exist in both digital and physical spaces. The installations constructed

in my photographs are virtual worlds I have rendered using gaming engine technology. By using digital aesthetics in a physical space, I aim to create images that force the viewer to question what is real and what is fabricated.� @shameusseamus

left: LIAM MACKENZIE Edmonton, AB ‘Untitled #1, #2, #3’ @liammackenziephoto right: MARTINE MARIE-ANNE CHARTRAND Aylmer, QC Top left: ‘Le Renard et les Lievres’, Top right: ‘Pour Dawn’, Left: ‘For Evan’ and, ‘Le Renard et le Corbeau.’

ADAM BORMAN Edmonton, AB from ‘The Healthy Alternative’ series @bormanadam

1. 3.

1. MAURICIO METZ Toronto, ON ‘Futura Revolution’ 2. GREGORY GEIPEL Vancouver, BC ‘Amsterdam Afternoon Commute’ @gregorygeipel 3. WILFRED KOZUB Edmonton, AB ‘Calendar’



4. DILLON ANTHONY Blissfield, NB ‘Moving Mountains’ @dillonanthony87

MARTHA DAVIS Toronto, ON. “Go where You Want to Go!” Martha Davis is a licensed teacher, children’s author, photographer and independent filmmaker. She has exhibited her photographs and screened her films nationally and internationally since 1978. Her children’s books have won awards and two of her films were nominated for Genie Awards. Martha’s work gives senior citizens the opportunity to travel anywhere in the world, virtually, through the magic of green screen photography. Martha reflects, “It’s great to watch the seniors cluster around the digital screen to view the photos, talking and laughing about where they’ve been or where they long to go. My project creates a sense of community in the seniors’ homes.”

From the Victoria School of the Arts photo class in Edmonton, AB, lead by Robert Wallace: Top left: KARA M. Right: SHAINA M. Below: SIAN G To see more work by these talented senior high students:


Want to share your work with us? Here’s how:

EPIPHANIE GUILLERME Toronto, ON. ‘Hybrids’ Digital composites. “Unknown #1 #2 #3, Sums of three people merged into one” “My hybrids are actually people who don’t exist, they represent someone and no one in the same time. Today, with the digital tools we have, it’s easy to change our identity, swap our faces or even become someone else. A rapid flow of data, pictures, thoughts and opinions. We have come to accept this discord between our digital and physical selves. My ‘Hybrids’ are the result of these multiple identities, a creation of Frankesteins, emerging from the shadows. These are individuals blurred into the crowd.”

IVAN’S CAMERA FOTO SOURCE shares an image by local New Brunswick photographer:

MAURICE MELANSON Misty Fire ”For several years now, a group of photographer friends and I have made our way to Grand Manan, New Brunswick, on whale- watching, siteseeing, and puffin viewing excursions. Norton is a regular stop along the way and it is common to see fog rising from the Kennebecasis River as the day breaks. On this particular morning, we arrived as the sun was coming up behind a wall of fog, making it look like the sky was on fire. This ended up being my favourite image from that trip.”

181 St. George Street, Moncton, NB, E1C 1V4 ph. 506. 857. 4018


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PhotoED Spring/Summer 2018 DIGITAL ISSUE  

Fake News to Fine Art - Photo Manipulations

PhotoED Spring/Summer 2018 DIGITAL ISSUE  

Fake News to Fine Art - Photo Manipulations