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VOLUME 18, NO. 2 · AUTUMN 2009 · $ 6.98




Natural Splendour TAKING A HIKE WITH

Darwin Wiggett Peter Burian’s

Photo by Gilles Delisle

Tips for Travel Photography

PM40040669 Return undeliverable Canadian addresses to 22 Telson Road, Markham, ON, L3R 1E5


PLUS: Tamron’s 18-270mm Using the Travel Lens of the Year Better video with your Camcorder or DSLR




VOLUME 18, NO. 2 · AUTUMN 2009 · $ 6.98




Natural Splendour TAKING A HIKE WITH

Darwin Wiggett Peter Burian’s

Tips for Travel Photography

PM40040669 Return undeliverable Canadian addresses to 22 Telson Road, Markham, ON, L3R 1E5


Softer details, greater expression.

PLUS: Tamron’s 18-270mm Using the Travel Lens of the Year Better video with your Camcorder or DSLR

Cover photo by Gilles Delisle “Blue-spotted salamander, St-Bruno, Quebec.” Nikon F5, 200 Micro-Nikkor lens Fujichrome Velvia 1 sec f 18. Publisher Jacques Dumont Editor Norm Rosen Graphic Design Jean-Denis Boillat Contributing writers/photographers Peter Burian Samantha Chrysanthou Gilles Delisle Darwin Wiggett ADVERTISING Jacques Dumont Published by

Zak Media 189 Rue Alfred-Desrochers Saint-Augustin, QC, Canada G3A 2T1 Tel: 418 871 4294 Fax: 418 871 4295 PHOTONews is published four times a year (Spring; Summer; Autumn; Winter) by Zak Media for Amplis Foto, and distributed to 40,000 photography and video enthusiasts throughout Canada. All rights reserved. Reproduction of any material appearing in this magazine in any form is forbidden without prior consent of the publisher.

The world’s first 1:1 macro APS-C size lens featuring a maximum aperture of F2*. The powerful light-gathering wide aperture opens up creative possibilities for detail-rich expression. A lens ideal for portraiture and macro-photography, producing high-quality images with outstanding brightness and clarity. *Lens designed for digital SLR cameras with APS-C size sensors. Based on present Tamron research (May 1, 2009)

SP AF 60mm F/2 Di II LD [IF] MACRO 1:1 (Model G005) Compatible mounts: for Canon, Nikon (with built-in AF motor) and Sony

Subscription rates: One year (4 issues) $27.92 CDN, two years (8 issues) $55.84 CDN. Single copy price: $6.98. © 2009 PHOTONews Magazine, Zak Media Printed in Canada ISSN 1185-3875 Canada Post Publications Mail Agreement No. 40040669 Undeliverables to: Amplis Foto, 22 Telson Road, Markham, ON L3R 1E5 Amplis Foto 22 Telson Road, Markham, Ontario, Canada L3R 1E5 Tel: 905 477 4111 Fax: 905 477 2502

The Dawn of a New Era Welcome to the first issue of the new era for PHOTONews Magazine, with enhanced content and visual appeal designed to provide Canadian photo enthusiasts with a forum for the presentation of their best work, and a reference guide to the equipment and techniques that will open new avenues for creative expression. In this issue, and in the months to come, you will find many photographic concepts, illustrating the various styles and techniques appropriate to each season. Our team of expert professional and amateur photographers will show you some of their best work, and explain how you can achieve similar results – whether you are a novice photographer with basic equipment at your disposal, or a seasoned hobbyist with a full complement of gear. Our goal is to help you see the full spectrum of photo opportunities in the world around you, and guide you as you explore the many ways to put your subjects into perspective. To this end, we have gathered together a core group of Canada’s finest photographers, and given them their assignments – the objective – to identify and de-mystify photographic adventures that Canadian enthusiasts can enjoy right after reading each issue of PHOTONews… their mandate is to answer two questions – “what will you be photographing this weekend? and “how will you achieve the best results?” Each issue of PHOTONews will showcase selected Canadian photographers in a section

that we call “The Best of The Best”, where a single image will be presented with a clear and concise explanation of how the photograph was created. At the outset, these images will be selected by our staff from the portfolios of Canadian photographers whose work we are familiar with… in months to come, it will be expanded though our website forum and gallery to include the work of PHOTONews readers. PHOTONews will be neither a technique nor a portfolio publication, but a combination of both… we will showcase exciting new products and explain why they are worthy additions to your photo gear, and we will show you how to use them to achieve new levels of excellence in your work – after all, the main reason to invest in new camera equipment and accessories is to improve the quality of images beyond what you can do with your current equipment. So sit back and enjoy the issue, and then visit our totally revamped PHOTONews website – sign up for free access to the Flickr® group, post a few pictures, and enter our contest… it’s an interactive adventure in creative photography that I am sure you will enjoy very much! Norm Rosen Check out the website at Visit the Flickr® group – photonewsgallery/

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Autumn 2009 | 3


Gilles Delisle Montreal photographer Gilles Delisle captures the splendour of nature, and shares his techniques with Photo News readers. Sea stacks, Olympic National Park, Washington. Canon 1Ds MkII; 17-40 lens (set at 24mm); 2 stop Singh-Ray HH split neutral density filter; 15 sec f/16. The calm waters and exquisite light make a dusk (or after sunset) image worth the effort – Photo by Gilles Delisle

Take a Hike!


Darwin Wiggett and Samantha Chrysanthou explore Banff National Park to check out the new lightweight tripods and monopods.

4 | PHOTONews

Travelling Tips


When Peter Burian heads off on assignment, he carries the gear a pro needs to capture the ideal image… we take a look at what’s in Peter’s camera bag this month.

Hollywood At Home


Whether you shoot with a camcorder or a video DSLR, stability and light are the keys to better results. Here’s how to take better video with today’s cameras.

Photo Gear


New flash and light management products help you produce pro quality results with portable equipment.

Reader’s Gallery

A new forum for your best images!


©Gilles Delisle

Final Frame


Take a shot at celebrity in our PHOTONews contest!

Autumn 2009 | 5


A New Look for PHOTONews! Since 1991, PHOTONews has provided readers with a window on the latest developments in photography, courtesy of Amplis Foto, the Canadian distributor of photo and video products, including Manfrotto, Tamron, Metz and Tamrac. This issue marks a renaissance for PHOTONews, which has been transformed by the publishing experts at Zak Media into an enthusiast magazine, with a new crew of expert staff and freelance contributors. In their hands, the latest products will come alive, as we share insights into the nuances of lighting, composition, and the selection of photographic equipment. Publisher Jacques Dumont’s passion for photography has been the driving force behind this transformation. Jacques is a former Publisher of Photo Digest Magazine, and Photo Selection. Jacques will also produce a French-language version of PHOTONews, available in Quebec, and by request throughout the country. The editorial content for PHOTONews is the domain of Norm Rosen, a photographer, teacher, and magazine editor with almost 40 years

experience. Norm brings an energy and enthusiasm to PHOTONews that will revitalize the magazine – after all, it takes a photo enthusiast to understand the needs of Canada’s avid photographers! Our graphic designer, Jean-Denis Boillat, brings a European flavour to the new PHOTONews magazine. Jean-Denis views the magazine as a gallery in print, presenting images Canadian photographers will look at and say “that’s why I enjoy photography!” This issue features the work of Gilles Delisle, whose passion for nature photography has been the focus of many publications, including National Geographic and Audubon Magazine. Darwin Wiggett answered our challenge to field test the new generation of lightweight tripods by taking a hike through some of Canada’s most scenic National Parks with his co-writer, Samantha Chrysanthou. Peter Burian, author of several of the popular Magic Lantern guides to DSLR cameras, and articles in all of Canada’s leading photo magazines, describes how he selects his gear for a variety of assignments in the special report “What’s in My Bag”.

You can play a part in the rest of the story… PHOTONews isn’t just about the work of our staff and contributing photographers – it is about your photographic achievements as well – every issue will include a gallery of images from our readers. In the digital era, the Reader’s Gallery has gone high-tech, with the creation of a Flickr® Group, where you can post your favourite pictures and interact with readers throughout Canada. It’s fun, it’s easy, and it’s FREE – check it out at It is our goal that every reader will share our enthusiasm for photography. When you put this issue down we hope that you will say to yourself “I enjoyed reading that magazine… I learned something new today, and I know what I’m going to photograph this week!”

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Brilliant performance. Exceptional design. Amazing value. At $1,599, this printer has it all: For the most demanding photographers, a Like the Osprey in Ron Kube’s Reader’s Gallery photo, we are flying high at PHOTONews… Check the website at, and our interactive Flickr® Group at or send us an e-mail at Osprey in Flight. – Ron Kube from Calgary used a Nikon D80 with a 70-300mm lens to capture this Osprey taking off from its’ nest on top of a transmission tower south of Cochrane, Alberta. Shot at f/5.6, 1/640 second at ISO 250.

professional level printer, compact in size and capable of producing exhibition-quality prints up to 17” x 22” • Epson UltraChrome K3® with Vivid Magenta Ink for breathtaking colour and phenomenal black-and-white output • AccuPhoto™ HD2 technology for smoother colour transitions, and outstanding highlight and shadow detail • Unsurpassed quality from the combined elements of an Epson printer, paper and ink. Pretty sweet, huh? To learn more, visit Manufacturer Suggested Retail Price. Epson, Epson Stylus and Epson UltraChrome K3 are registered trademarks and Epson Exceed Your Vision is a registered logomark of Seiko Epson Corporation. AccuPhoto is a trademark of Epson America, Inc. All other trademarks are properties of their respective companies. Copyright 2009 Epson America, Inc.

6 | PHOTONews


Congratulations to the winners of the quarterly PHOTONews Challenge!

full HD movie camera

1. Sleeping Tiger… John Vallis, Vancouver, BC, Sleeping Tiger, Masi Mara region of Kenya. John Vallis used a Nikon D80 to quietly photograph this sleeping tiger using the reach of a 120mm focal length. Setting the camera to ISO 400 allowed an exposure of 1/60 second at f/5.6.

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optical image stabilizer

2. Cool Bird! This ptarmigan posed for Gordon Parsons, who used a Panasonic DMC-TZ1 to freeze the image at 1/500 second, f/7.1, ISO 80. Gordon used the continuous focus mode and the auto image stabilizer for this close encounter at 43mm focal length.

Flexline 250

3. Egyptian Adventure Claudio Bacinello captured this image of the Pyramids of Cheops, Chephren and Mycerinus in Giza with camels in the foreground with a Nikon D2Xs, 20mm lens, f/8.5 at 1/180 second, ISO 200, using the normal program and pattern metering mode.

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4. Splash! Russ Beinder’s subject made a big splash for the camera… but Russ didn’t get wet – he used a 200mm lens on his Nikon D700 to shoot from the dry side of the pool! Catch action like this at 1/1250 second, f/2.8 at ISO 200, aperture priority program with pattern metering mode.

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Don’t miss our Autumn PHOTO News Challenge – see page 34 for details, and post your best shot at the PHOTONews Flickr® group…

Autumn 2009 | 9

How to Choose the Perfect Backpacking and Travel Tripod By Darwin Wiggett and Samantha Chrysanthou

Take a Hike! We love to hike and travel and take photos, and we hate to be burdened by heavy gear, but as much as we would like to leave our tripods behind and have the freedom to handhold our cameras, we find that tripods are absolutely necessary for our style of photography. 10 | PHOTONews

We make many long exposure photos because we shoot in low light and use small apertures (e.g. f16) for greater depth-of-field. Tripods let us hold the camera steady at any shutter speed to give us needle sharp photos for publication. Our continual quest is to find the perfect tripod - compact, lightweight but stable and durable. The solution is to have more than

Two Jack Lake, Banff National Park, Alberta Canada. Canon EOS 1Ds Mark III, Canon 24mm TSE lens, Gitzo Mountaineer GT2542L tripod. ©Darwin Wiggett

one tripod, and to select the tripod legs and head that are most appropriate to each assignment. For hiking, our prime considerations were weight and size. There are five critical factors to consider when purchasing a backpack/travel tripod - if you are looking for the ultimate travel tripod, then your task is to strike the perfect balance for you between the following five factors:



For backpacking and travel we recommend that you select a tripod that weighs less than 5 pounds (2.27kg) complete with the tripod head. Anything heavier than this and you will likely leave the tripod behind especially when you go backpacking or hiking - that extra five pounds can be a back breaker after five hours of walking on steep terrain! For airline travel, you need to keep your weight down to a minimum to meet luggage restrictions. Tripods can be made of different types of materials including aluminum, magnesium, basalt and carbon fiber. Carbon fiber tripods have proven to be the lightest types of tripods yet they retain great stability, durability and rigidity. The latest Carbon fiber tripod legs cost more than other types of compounds but in our opinion the savings in weight is worth the extra cost. For travel and backpacking we wholeheartedly recommend carbon fiber tripods. The heavier the tripod the heavier the load it can bear. If you use a digital point and shoot camera, then you can get away with a featherweight tripod. But if you use a heavy camera like a Canon EOS 1Ds Mark III or a Nikon D3x with big lenses (like a 70-200mm f/2.8), then you are going to need a heavier tripod that can bear the burden of big gear. Be sure to check the specification sheet for any tripod you are considering to see if it is up to the task of holding your biggest camera and lens combination.

Everything else being equal, the heavier the tripod the more stable it will be. Long lenses and heavy cameras require more stability. Stability can be increased to a degree by using strong materials like carbon fiber and rigid leg locks. Also, many tripods offer a center column hook so that you can add a weight like your camera bag or sling of rocks to increase stability by increasing weight. The fewer the leg sections you have on your tripod, the more stable the tripod becomes. For example, a three leg section tripod will be more stable than a four leg section tripod all else being equal.

Samantha with her daypack and the Gitzo Traveler GT2580TQR tripod strapped to the side of the pack. ©Darwin Wiggett

Autumn 2009 | 11

The tripod feet should be soft rubber with the option of a screw-out toe spike. Soft rubber transmits less vibration through the legs and grips well on slippery surfaces thereby making the tripod more stable. The metal spike adds weight but can be useful for stability especially on ice. The lower the tripod is to ground, the more stable it is. Look for a tripod that allows you to get as low as possible, especially for nature and macro photography. When extending the tripod legs, always begin with the thicker leg sections, as they are the most rigid. Extend the center column only if you need additional height, or if you have to position the camera to the side for access to your subject.

if we do have to service the tripod, we prefer to be able to perform this task ourselves with little fuss. Having to send a tripod back the manufacturer or dealer for servicing is frustrating both in terms of time and cost. Durability is sometimes hard to predict, so we always ask photographers who have owned a particular model of tripod for a long time for their input.


The Manfrotto 055CXPRO4 tripod with the center post in horizontal position for macro photography. ©Darwin Wiggett

Compactness One of the big considerations for a travel and backpack tripod is how compact the tripod is when completely folded up. A compact tripod will fit more easily in a pack or suitcase. The more leg sections a tripod has the more compact it will be (but at the cost of less stability). The shorter each leg section, and the shorter the tripod, the more compact it will be. Some tripods, like the Gitzo Traveler Series, are super compact not only because they have short and numerous leg sections but

The Manfrotto 055CXPRO4 tripod with the center post in horizontal position for shooting in tight places. ©Darwin Wiggett

12 | PHOTONews

also because the legs fold 180 degrees back up and around the tripod head and center column making these some of the most compact tripods available.

Durability With modern materials and new manufacturing methods, tripods are strong, light and fairly durable. But durability remains a concern for travel photographers: we have seen too many grown men cry from broken tripods that had been beaten up by overzealous baggage handlers! Tripods with plastic components seem especially susceptible to breakage. For photographers who spend a great deal of time battling the elements outdoors, resistance to rain, snow, salt and sand is also a concern. Check to see if you can take the tripod apart for ease of cleaning, service, and replacement of parts. Are the leg locks robust? Are loose components liable to fall off or snag in vegetation? Is the tripod rustproof? If you shoot in sand, salt water or snow, how well do the leg locks resist sand and mud? Do the leg locks have rubber or silicon gaskets to prevent intrusion of the elements? Will the gaskets snap in frigid weather? How much maintenance is involved in keeping the critical joints tight, smooth and working? We like tripods that require little maintenance;

The ergonomics of the tripod dictate just how enjoyable the ‘sticks’ are to use. Darwin prefers a tripod that has rotation leg locks, extends above eye level without need of a centre post, and compresses to ground level quickly and easily. Samantha prefers larger, lever-type leg locks and leg controls for winter shooting because these controls can be manipulated easily even with mittens on. Samantha will sacrifice a little height in her tripod so she can carry less weight. One of our pet peeves about tripods is that some leg lock controls are small and finicky to use, or the leg controls easily pinch your hand when in use. We prefer tripods that have foam on the upper legs so that on cold days the tripod does not suck the heat from your hands. In the end, you have to balance weight, stability, compactness and durability to find a tripod that comes closest to your ideal. There is no perfect tripod for everyone, but by comparing spec sheets and trying out a few tripods in the store, and asking other photographers about their preferences it will soon become clear which tripod would be best for your needs. In preparation for this report, we took five carbon fiber tripods on our summer backpacking expedition – here is how the latest lightweight tripods measured up in our field tests…

Larch Valley, Banff National Park, Alberta, Canada. Canon EOS 1Ds Mark III, Canon 24mm TSE lens, Gitzo Mountaineer GT2542L tripod. ©Darwin Wiggett

Autumn 2009 | 13

Gitzo Mountaineer GT1541 Retail price $699.95 At 2.5 lbs (1.1kg), this lightweight performer was one of our favorite tripods. The latest versions of all Gitzo Mountaineer tripods feature the ability to remove the center post and get the tripod legs spread right down to ground level – we love that feature for macro and wide-angle compositions. This tripod extends to chest level without raising the center post and it is stable enough to carry a medium sized DSLR and most lenses up to about 200mm or a lightweight telephoto zoom. Samantha loves the lightweight feel, and the tripod is compact enough when folded to stow in a backpack (21 inches – 54cm). Gitzo Mountaineer GT2542L Retail price $849.95 Darwin wants a tripod that extends to eye level without having to use a center post. He also wants legs that spread so that he can get down to ground level and a tripod that offers solid stability to hold his heavy Canon 1 DS Mark III and his 300mm F4L lens. The GT2542L meets all of Darwin’s needs and yet remains surprisingly light at 3.1 lbs (1.41kg). The tripod is relatively compact, folding down to 24 inches (61 cm) so it can be carried in his backpack. Gitzo Traveler GK2580TQR Retail price $1089 The Gitzo Traveler is the most compact tripod in the class thanks to its revolutionary 180° leg folding system. This system accommodates a ball head (the Travelers Series 2 Head) inside the folded tripod legs and makes it the smallest folded tripod for its open size (16.9 inches, 43cm when folded). This tripod is robust enough for a heavier camera and lens, goes to chest height and as low as ground level without using the center post. Weight including the tripod head is 3.78lbs (1.72kg) - without the head this tripod weighs in at 2.68lbs (1.22kg). For those with a smaller camera, Gitzo makes

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Darwin shooting with the Gitzo Mountaineer GT2542L tripod with center post removed and legs splayed out for low level photography.

the GT1541 (above) in a Traveler version that folds down to 16.1 inches (41cm) and weighs in at 2.1 lbs (0.97kg). If we were traveling by air and wanted the most compact tripods possible we would opt for these tripods. Manfrotto 055CXPRO4 Retail price $624.99 This sturdy four-section tripod tips the scales at 3.6 lbs (1.64kg) - it is capable of holding heavier cameras and lenses and extends to eye level. This tripod features the Q90° quick center column system that allows the user to move the center post from vertical to horizontal position in seconds. Some photographers we know absolutely love the Q90° feature for low angle work and macro photography as it provides the ability to reposition the center post to horizontal. Not only does the flexibility of a horizontal center post make macro

©Samantha Chrysanthou


photography easier, the feature allows photographers to get their cameras into tight places and awkward spaces. Others find that the inclusion of a long center post makes the tripod longer and heavier than necessary (this tripod folds down to 21.5 inches, 54.5 cm).

Aero Speed Pack 75

Dual Access Photo Backpack

Manfrotto 190CXPRO4 Retail price $469.95

Aero Speed Pack 85

Dual Access Photo/Laptop Backpack

If the Manfrotto 055 is too much tripod for your needs, or if you have a lighter camera system then we recommend the smaller 190 model which weighs in at 2.9 lbs (1.34kg), extends to chest height without the center post extended, features the Q90° quick center column, and collapses to 19.6 inches (50cm). Indeed, we know many photographers who have adopted this tripod as their backpacking and general travel choice because of the combination of a good feature-set at a reasonable price.

Aero Series

Speed Pack Tamrac Products Marketed and Distributed in Canada by Amplis Foto

Introducing the Speed Packs - Tamrac’s new Dual Access Photo Backpacks! Tamrac’s Speed Packs are the perfect carrying solution for the photographer who prefers the comfort of a backpack, but doesn’t want to sacrifice the ability to quickly access photo gear.

European Travel Lens of the Year, 2009 - 2010:

Tamron AF F/3.5-6.3/18-270 Di II VC LD Macro

The European Imaging and Sound Association (EISA) has awarded Tamron’s 18-270mm VC megazoom lens the distinction of European Travel Lens of the Year! This prestigious designation acknowledges the versatility of the lens in a wide range of photo applications, and is the fourth award in as many years for Tamron! EISA, an association of 50 special interest magazines from 19 European countries, has

Lens shown actual size.

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been selecting the best products in the sound and imaging field since it’s formation in 1982, when the first European Camera of the Year Award was announced. Today, panels of magazine editors select products in six categories: Audio; Video; Home Theatre; Photography; In-Car Electronics; and Mobile Devices. The photographic awards panel consists of editors from 16 of Europe’s leading photography magazines. The panels meet in June of each year to determine which of the products analyzed in their publications during the previous year merit the EISA Award. In the award citation EISA proclaimed: “With this 15x-zoom APS-C format lens Tamron has not only produced a DSLR lens with the most extensive zoom range available,

but also an impressive optical performance. Tamron’s built-in optical image stabilizer, Vibration Compensation (VC), is able to reduce the impact of camera shake so the photographer can hand hold the lens at shutter speeds of up to 4 stops beyond normal safe levels. This is especially useful in low light conditions. With its compact design, light weight, high optical performance and extremely wide focal range the Tamron AF18-270mm VC lens is a perfect travel companion” The Tamron 18-270mm VC is a “Di II” model - designed to match the optical requirements of today’s DSLR cameras with APS-C format sensors, offering 35mm equivalent range of 28-419mm on Canon and 27-405mm on Nikon cameras. The lens features Tamron’s exclusive, proprietary tri-axial Vibration Compensation (VC) optical image stabilization system, with two LD (low dispersion) glass elements and three AS (aspheric) elements for sharp images with optimal control of chromatic aberration. The zoom provides macro capability, close focusing down to 0.49m (19.3 inches) from the subject over the entire zoom range. The maximum magnification ratio of 1:3.5 at its 270mm telephoto end is the top class capability among high power zoom lenses exclusively designed for digital SLR cameras. This unique ultra high power zoom lens was introduced in July 2008, and it is the latest in a line of highly innovative zoom lenses. The 18-270 is the first lens in the world to attain a 15X zoom ratio, and it is the first in a new class of megazooms to be designed exclusively for digital SLR cameras. It

offers the photographer a single solution for excellent images spanning a very wide range of photographic situations. The lens employs an innovative optical system that is designed to converge the angles of rays of light entering from the center to the periphery of the lens. The light rays thus reach the image sensor within a defined circle that assures high imaging performance and reduces light falloff. Tamron employs multi-layer coatings in order to reduce reflections on lens surfaces as well as internal surface coatings (coatings on the cemented surfaces of lens elements) in order to minimize reflections from the sensor itself within the mirror box, a problem inherent to all digital SLR cameras. Light and compact, the Tamron AF 18-270mm Di II VC delivers performance that exemplifies Tamron’s concept of delivering “one great lens covering everything from wide angle to telephoto”. The vibration compensation system employs a tri-axial system designed to let three coils drive a compensator lens electromagnetically via three steel

To test autofocus tracking, Peter photographed a gaggle of runners. 60mm focal length 1/500 second at f/5.6, ISO 200. Nikon D90.

balls. Since the compensator lens is supported on rolling steel balls with very low friction, follow-up performance is also enhanced, resulting in stabilized viewfinder images. Since the mechanism is designed to allow parallel shifting of the compensator lens solely by means of electrical control, the mechanical construction is simpler and more compact, so the lens can be kept as small and light as possible. The lens features a built-in zoom lock mechanism to prevent its barrel from sliding forward when the lens is being carried on the camera, and it comes with a flower-shaped lens hood as a standard accessory. It is designed to efficiently cut harmful

light entering at angles other than intended angles at all four corners of the frame. This ensures clear, flare-free images.

The 18-270mm Zoom in the Real World Awards and specifications are certainly impressive, but how does the Travel Lens of the Year perform in the real world? We asked Peter Burian, who tested this lens when it was introduced, to show us some images to illustrate how versatile a megazoom can be. Here are Peter’s photographs, with a brief description of the lens feature that helped capture the image.


When everything is in perfect alignment, and you have a lens that can respond to the situation, shots like this become the highlight of your trip. 110mm, f/5.6 at 1/100 second, ISO 1600, Nikon D90.

Lens name

AF 18-270mm F/3.5-6.3 Di II VC LD Aspherical (IF) Macro

Focal length

18 - 270mm

Maximum aperture

f/3.5 - 6.3

Minimum aperture


Lens construction

13 groups 18 elements

Closest focus distance


Maximum magnification


Aperture blades


Filter attachment size



101mm × 80mm (3.8 in × 3.1 in)



Autumn 2009 | 17

Dew covered widow skimmer, St-Bruno, Quebec. Canon 5D MkII; 180mm macro lens; 1/6 sec f/16. ©Gilles Delisle


Photographing Nature’s Splendour Profi Profile le by by Norm Norm Rosen Rosen 18 | PHOTONews

Montreal’s Gilles Delisle is the complete photographer – a working pro with the heart of an enthusiast. For years, his focus was on nature and commercial photography, and he earned a living selling stock images and prints. Widely published in some of the finest nature magazines in the world, including Audubon, Birder’s World, Canadian Geographic, Canadian Wildlife, Outdoor Photographer, Nature Canada, Natural History, National Geographic, Terre Sauvage and Nature’s Best, winning several honourable mentions and one first prize in the magazine’s prestigious international photo contest. His photographs have also appeared in several calendars including the Inner Reflections Engagement Calendar as well as in the Sierra Club Engagement Calendar – you may have had a genuine Gilles Delisle hanging on you wall without realizing it! Five years ago, Les Affaires business newspaper lost their main photographer, and Gilles was asked to replace him until they found a new one. After a few assignments, they made him an offer that placed them at the top of his client list. “This had quite an impact on my nature photography... 90% of my work at the paper involves photographing people in their working environment, and I meet a broad range of subjects - for example, I may be on assignment to photograph a pig farm owner in southern Quebec, and then dash back to the city to photograph the CEO of a video game company, or a surgeon in an operating room, or a banker in downtown Montreal. It is an exciting lifestyle, but you have to think quickly, be creative with what is available on location, and keep in mind that there is no room for error. It keeps you on your toes!” When Gilles has an assignment, considerable preparation goes into each shot - finding

Autumn 2009 | 19

Monarch butterfly on staghorn sumac, St-Bruno, Quebec. Nikon F5; 200 Micro-Nikkor; Fujichrome Velvia; 1/8 sec f/8.

Big tooth aspen leaves, St-Bruno, Quebec. Canon Elan; 90mm TS lens; Fujichrome Velvia; 4 sec f/16. ©Gilles Delisle

20 | PHOTONews

the ideal perspective; selecting shooting time; additional lighting; getting access to the shooting location; and selection of the equipment appropriate for each assignment. I asked Gilles to share some thoughts on preparing for a travel or architectural shot. “For an architectural assignment, I begin by asking the client about the main features of the building; whether it would be appropriate to have people in the shot – or not; and whether the building should be photographed in daylight, or at dusk. I generally go to the site prior to the shooting to see the orientation of the building and assess potential camera viewpoints. For architectural assignments I use a full-frame camera and lenses that include 14mm, 17-35mm, and 24mm TS. I take three flashes and stands to augment the ambient lighting, a tripod, and my two basic filters – polarizer, and split neutral density. “For a travel assignment I begin by asking the client what he or she needs in the way of photography, then I research as much as possible on the area. I establish contact with a resource person on-site to better understand the photographic challenges, which go beyond the selection of camera gear – you

©Gilles Delisle

have to consider the weather, availability of access to the best photo locations, and the best time of day to capture the ideal image. It is always important to research the various services in the area, and whether it is advisable to travel to the location by air or ground transportation, and to arrange for local transportation once you arrive. The main difference between traveling on assignment, and traveling to take pictures for my personal collection is the flexibility I have when traveling for my own pleasure. “The equipment I select for my travel assignments varies depending on the location and the mode of travel.” Gilles has a set of basic camera settings – the starting point for setting exposure

mode, ISO, f/stops and shutter speeds for specific effects. “I always prepare the equipment I need for a shoot well ahead of time (generally the evening before). This allows time to get the batteries charged and avoids the last minute desperate search for an important missing accessory…” Gilles has a portfolio that spans a wide range of subjects, and every shot is spectacular – I asked him how many shots he takes at each location, and whether he brackets exposure. I was curious as to how he visualizes the final presentation of a subject - does he shoot horizontal (landscape) as well as vertical (portrait) views of each subject? Does he return to a specific location at various times during the day or night to get the “perfect” image?

Gilles’ basic camera settings: Landscape Wildlife Insects Birds Architecture and interiors People at work

ISO 100 400 400-800 400-800 100 800-1600

f/stop 11 -16 5.6 - 8 5.6 -16 5.6-8 11-16 1.4-5.6

Lens (mm) 17-40, 24 TS 70-200, 300 180 Macro 500 + TC 1.4X 14, 24 TS, 17-35 35 (f/1.4), 17-40

Autumn 2009 | 21

“I take enough pictures to be sure that I nailed the subject, and whenever possible, I shoot both vertical and horizontal compositions. I return to my favourite shooting locations quite often. Because I do 90% of my nature photography at Mount St-Bruno, a conservation park that is a 10 minute walk from my front door, I can easily return home to pickup an accessory or a different lens, although I generally try to work with what I have on hand in the field. “I also like to return to a location a year later to try to improve on a subject that I shot the year before. Taking field notes used to be the only way to go about it. Now, it is possible to obtain shooting date and even shooting time from the metadata attached to each picture. For precise location, GPS data is available on some camera models…” For his nature images, Gilles spends a great deal of time in the field without his camera gear – observing the animals and their environment, and looking for something that catches his eye – something that with a bit of imagination can be transformed into a

photograph. He walks or cycles through the conservation area near his home, studying the area with binoculars. When he finds a suitable location, he makes notes on the equipment that will be required for the shot – camera, lens, tripod, and in some cases a blind… he uses a bag blind for most bird and small animal photography. Gilles generally goes on close-to-home photography adventures with one photographic objective in mind and rarely brings more than two lenses in the field, leaving the big camera bag at home – hiking with too much equipment is a certain way to curb your photographic enthusiasm. His preferred lens selection is a 180mm macro, TC 1.4 and 17-40mm. As a working professional, Gilles shoots with the top echelon cameras and lenses. I asked him what advice he could offer for the enthusiast interested in taking similar pictures with prosumer equipment. “My nature photography recipe is simple. First, spend time in the field observing nature and light around you. Here the presence of a keen naturalist may help in refining your

White mountain-avens and lichen-covered rock, Churchill, Manitoba. Nikon F4; 35-70 f/2.8 lens; Fujichrome Velvia; 15 sec f/16.

interpretation skills. Then surf the web to find nature or photography websites that inspire you. If you are new to photography, read about basic photography and Photoshop techniques and take a field workshop from a photographer known for his teaching skills and whose work inspires you. “From an equipment perspective, I could go on and on… but in a nutshell, go for a popular brand DSLR interchangeable lens camera with manual exposure override. If budget is a consideration, check the used photo equipment market where 8 and even full frame 12 megapixel cameras such as the Canon 5D can now be bought at a very reasonable price. Once you have your camera, get familiar with it by reading the instruction manual from cover to cover. And don’t forget to get a good tripod, topped with a decent quick-release ball-head! “Go back to the field as often as you can and compare your work to what you see on the professional websites books and magazines – I am sure you will find that your work will improve rapidly!”

ocean traveler

challenging the elements

©Gilles Delisle

sealing elements

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22 | PHOTONews

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What’s in My Bag? I always carry an Arctic Butterfly sensor cleaning kit – especially when trekking through Death Valley!

By Peter K. Burian for PHOTONews

24 | PHOTONews

Whenever we travel, a camera is the perfect companion to record the photogenic sights, scenery and people we encounter. No trip is ever complete without photographs to document the exciting places and events. If you’re planning a trip, what camera equipment should you take?

As a photographer who travels extensively to shoot stock images or to teach photography workshops, I’m a proponent of carrying a full suite of equipment. The right accessories have definitely paid off in terms of greater convenience and effectiveness. When properly equipped, I can maximize the available photo opportunities, make technically excellent images under difficult conditions, or shoot more quickly in order to capture a fleeting moment. Not everyone will need everything that I use, but any photo enthusiast

might benefit from some of the insights I have gained after trips to Latin America, Asia, Europe and many parts of North America. So you might ask the question, “What’s in my bag?”

Camera Bodies For peace of mind, I never travel without an extra DSLR body, perhaps a smaller, lighter model than my primary camera. For example, when testing the EOS 5D Mark II with fullframe sensor in Nevada, I also carried an

EOS XSi with a smaller APS-C size sensor, as a backup. On outings in Las Vegas, I left the spare behind, but during long days at Valley of Fire State Park and Lake Mead, the extra camera was always in my bag. In addition to the DSLR cameras, I never leave home without a compact camera with a versatile, high-grade zoom lens like the PowerShot G10 or an even smaller high-resolution model. It’s great for taking everywhere, including dinners at a restaurant or a vacation outing with my wife. When I find a great photo

©Peter Burian

opp along the way, I can get very nice pictures. Some of my best low ISO images from the compact cameras have been published as full page spreads in glossy magazines and they look just great.

Lenses Most photo enthusiasts on vacation would be well served with an all-purpose lens with a built-in image stabilizer, like the Tamron 18-270mm f/3.5-6.3 Di II VC LD AL (IF) Macro. This zoom features two Low Dispersion

Autumn 2009 | 25

environmental people pictures with a unique ultra-wide perspective. A “standard” zoom covering moderate wide angle to short telephoto is useful as a walk-around lens. A longer lens - sometimes with a 1.4x teleconverter - can be essential at cultural events for frame-filling shots where I cannot get close to the performers, or for candid people pictures just about anywhere. The narrow angle of view is also great for isolating a subject against a “clean” background when shooting in cluttered locations. The actual lenses depend on the equipment that I’m testing for a magazine review,

but in the Tamron line, I would start with the SP AF 10-24mm f/3.5-4.5 Di II LD Aspherical (IF) for ultra-wide effects. Available in many mounts, this lens features three hybrid aspherical, two low-dispersion and one high refractive index glass elements for fine image quality and stunning at the sweet spot of f/8. My favourite Tamron telephoto, the SP AF 70-200mm f/2.8 Di LD (IF) Macro zoom offers a very wide aperture, useful in low light or for action photography, at a relatively low ISO level. Its close focusing ability (to 0.32x magnification) is great for tight shots of small nature subjects or a vendor’s handicrafts. This

lens produced superb image quality in my tests, thanks to its three Low Dispersion glass elements. I generally rely on the higher quality lenses for the various camera systems that I use, but I sometimes match the 70-200mm with a Tamron SP teleconverter. For general travel, the longer lenses – up to 500mm, are more than I need, unless I’m off on an African safari. The brand new SP AF17-50mm f/2.8

XR Di-II VC LD Aspherical (IF) zoom should be available (in Canon and Nikon mount) by the time you read this. It will be perfect for low light photography because of its very wide aperture and the Vibration Compensation stabilizer. The designers specified an optical formula with six high tech elements for superior resolution and brightness across the entire frame.

A wide-angle lens with VC stabilization makes the difference for interior shots.. ©Peter Burian

(LD) and three Aspherical elements (AL), and is designed for close focusing for magnification up to 0.285x. For professional applications with a small-sensor DSLR, however, I prefer to carry several zooms, each with a more moderate focal length range. I’ll take at least three lenses on a major trip, including an ultra-wide for land or cityscapes with an expansive field of view or

When a tripod just isn’t practical, THE POD is an ideal choice. ©Peter Burian

I used a tripod for this 10-second exposure in Koln.

FILTERS. — Because it’s possible to achieve almost any desired effect with incamera functions or imaging software, I consider only a single filter to be indispensable: a high-grade multi-coated, digitally optimised circular polarizer. In addition to enriching a pale blue sky, a polarizer is valuable for wiping glare from reflective surfaces, letting their true colours show through. This filter also helps reduce the effects of atmospheric haze - much more effectively than a UV filter - so the subject will appears more sharply defined and contrasty. Some photographers insist on using protective filters at all times but I find that a lens hood is usually adequate for that purpose. On bright sunny days, any filter can increase the contrast-degrading effects of flare while a lens hood can minimize that problem, particularly in strong side lighting. I will use a UV filter for protection (if not using a polarizer) on rainy days, while boating and for shooting winter sports. CAMERA SUPPORT. — Although a camera offering an image stabilizer function is useful, a rigid tripod remains an essential accessory when using low ISO levels for the best image quality at long exposures or with a long telephoto lens. That’s why I always pack a lightweight but rigid carbon fibre tripod like the Manfrotto 190CX3 (weighs 1.32kg with 5kg capacity) equipped with a pro ball head. To minimize vibration, I’ll use a remote trigger accessory. A more affordable aluminium model such as the 190XB with a small ball head or a pan head (weighs 2.4kg with 5kg capacity) would be a suitable alternative. Hint: If you simply refuse to travel with a tripod, check out a new device, The Pod, a bean-bag style camera platform with a 1/4” tripod mounting screw. Available in black or red, this accessory can be set up very quickly and works well especially on uneven surfaces. For a compact digicam, the Manfrotto Modo Pocket is more suitable. This shirt-pocket size mini tripod accessory for compact cameras is made of steel with hinged folding sections that allow the device to be tilted to the desired angle; it’s equipped with a 1/4” tripod screw.

26 | PHOTONews

Shot indoors in Las Vegas – the BRNO WB lens cap was essential for proper white balance.

©Peter Burian

ACCESSORY FLASH. — While the need for flash is obvious in many dark locations, an extra burst of light is also useful on sunny days for catch lights in people’s eyes or to brighten colourful artifacts at a market. Most digital SLRs are equipped with a small built-in flash, but that flash tube does not provide much output and a large lens or a lens hood can block the light from the builtin flash. I always carry a more powerful unit such as the full-featured Metz 58 AF-1 (GN of 58, in meters, at 105mm, at ISO 100) with a tilt-swivel head for bounce flash applications. The smaller Metz 48 AF-1 (with a GN of 48) would be suitable as well. Both of the Metz flash models are compatible with your DSLR’s high-tech flash features including wireless off-camera TTL flash. Holding the flash unit above and to the side of the camera minimizes red-eye and dark shadows behind the subject in indoor photography. For softer illumination, I’ll also use a Lumiquest flash modifier such as the very portable Pocket Bouncer or the Ultrabounce. STORAGE MEDIA AND DEVICES. — My bag always contains plenty of 4GB memory cards. To maximize the number of shots in a sequence, I always use fast cards: the 300x UDMA series in CompactFlash or the 133x, Class 6 or new Class 10 series in the SDHC format. While I do travel with a laptop PC and a high-speed memory card reader, a small but rugged photo storage/viewer device with slots for memory cards is a more portable alternative for image back-up while in the field. SENSOR CLEANER. — Particularly in dusty environments, a digital SLR’s sensor can soon become covered with dust specks. While some cameras are equipped with an automatic sensor cleaner, few of these devices are 100% effective. My own favorite cleaning system, the VisibleDust line, includes brushes, an antistatic blower bulb (the ZEEION) plus liquids and swabs. While traveling, I always

take the Arctic Butterfly 724. This is a battery-powered brush that spins prior to insertion in the camera to clean the brush and build up an electrostatic charge. After the “spin cycle” the Arctic Butterfly can attract dust like a magnet, removing it from the imaging sensor. You must always take care when cleaning your sensor – it is so easy to scratch the low-pass filter protecting the sensor itself, and if you do, the repair is not covered by your camera warranty – read the manual, study the instructions for the sensor cleaning kit, and if you are confident that your hands are steady, a sensor cleaner can be a very useful tool. WHITE BALANCE ACCESSORY. — While DSLR’s include many white balance options, unless you decide to use flash, setting a custom white balance is essential for pleasing images of people under artificial illumination. While it’s possible to calibrate the camera’s WB system using a sheet of white paper, it’s more convenient to use the BRNO baLens Cap with a translucent diffuser dome. Simply put the cap on a lens, point the camera at the light source and snap a reference image; then, proceed with the custom WB calibration process described in your camera owner’s manual to achieve accurate white balance. A second dome is included with the BRNO; it’s designed to provide a slightly warmer WB tone than the standard neutral dome. BATTERIES AND POWER ADAPTERS. — Before leaving on any trip to a photogenic destination, I always pack spare Lithium-Ion battery packs for my cameras and plenty of AA’s for the flash units. On a ten-day tour of the Amazon and the Pantanal “swamp” of Brazil, I did not have daily access to electric power so I used conventional alkalines or the long-lasting Energizer Lithium AA’s. In other circumstances, rechargeable Ni-MH AA’s make more sense. Some of my battery chargers and my computer’s power cable are compatible with a wide range of voltages. That’s useful in countries with 210-230v DC (direct current) outlets; I need only a plug adapter for those devices. Some

©Peter Burian

Modo Pocket

other accessories will work only with 110-120v AC (alternating current), so I also take a voltage step-up converter with a power surge protector. You can find devices of this type, plus plug adapters for all countries and regions, at retailers specializing in travel accessories. CAMERA BAGS. — Travelling with all of my equipment does take up a lot of space, so I need a large camera bag. In transit, I use the Tamrac Pro 12 bag or the larger Ultra Pro 13 with a foam-padded compartment for 15.4” screen laptops. When travelling by air, I pack a small Tamrac Pro 8 bag into my carry-on case where it protects fragile travel items; at my destination, I’ll use this camera bag, or a Tamrac World Correspondent vest, on short outings when I don’t need to carry a great deal of equipment. A backpack with an ergonomically designed strap system, like the Tamrac Expedition series, was ideal when hiking in the red rock canyons of the US Southwest. This is a large bag – you may find the more compact Adventure series. In an urban environment, a “sling” type design is more suitable since it allows full access to gear without removing the pack from your shoulder. The Tamrac Velocity models and the new Aero Speed Pack 85 Photo/Laptop Backpack also allow for access to equipment when the pack is worn over one shoulder. THE BOTTOM LINE. — It’s unlikely that you will need all of the equipment that I carry while travelling. On the other hand, you may benefit from some of the items or appropriate alternatives, such as a more compact lens with smaller maximum aperture. Do some research before leaving on your trip to determine what types of photo opportunities you’re likely to find, then pack the gear that will enable you to get those images efficiently. As I hinted earlier, it’s a good idea to carry only what you’re likely to need for any specific outing; leave the rest in a safe spot such as the hotel’s safe.

Autumn 2009 | 27





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Add a professional touch to your video productions!

By Norm Rosen

Whether you shoot video of family events with a camcorder, or one of the latest DSLR cameras, two elements of your production will always make the difference between a smooth and entertaining presentation, and a roller coaster ride through a shadow of reality – stability and lighting. I use a Manfrotto 055 tripod for much of my photo and video work. Solid and reliable, it has served my needs for many years. When I have a video assignment, I mount a Manfrotto 128LP video fluid head on the tripod legs, and adjust the tension to be appropriate for the camera in use – light tension for a small camcorder, medium tension for a DSLR with video capability, and heavy tension for a Betacam. The Manfrotto 128LP Micro Fluid Video Head weighs just 1kg and it is surprisingly affordable at approximately $120; for about $130 you can upgrade to the 128RC model with a quick release feature. These heads support up to 4kg, which will meet the needs of any of the compact camcorder models, and most of the DSLRs unless you plan to shoot with a long and heavy lens, which would be more appropriately matched to a larger head, like the Manfrotto 501HDV, which has a 6kg capacity as well as fixed counterbalance spring and smoother pan and tilt movements… at 1.6kg and about $250 it is the ideal solution for most DSLR video projects. Of course, if you shoot video on a regular basis, or shoot professionally, a more robust fully featured video head may be a wise investment – models are available to meet all of your needs at prices up to $1000 or more – your photo retailer can suggest the ideal model for your needs.


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PLUS: Tamron’s 18-270mm Using the Travel Len s of the Better vid Year eo Camcorder with your or DSLR

With the camcorder mounted on a tripod, I made a video of the W.L. MacKenzie C.I. production of Joseph and the Amazing Technicolor Dreamcoat from the back of the school auditorium… impossible without the use of a solid tripod and a video head.

Let There Be Light! The second critical element for better video is light. In some situations, like school plays and stage performances, you just have to go with the ambient lighting – but for parties and events where you have permission to use additional lighting for your video production it really helps to have some portable sunlight at your disposal. The Litepanels® Micro features an array of LED lights in a compact and lightweight unit that mounts on the hot shoe of your DSLR camera or camcorder (some models may require an optional shoe adapter). At just 83.3mm x 83.3mm x 38.1mm, and weighing less than four ounces (without batteries) it is small enough to fit in a pocket, but it fills your scene with cool white light at a daylight balanced 5600K. The LED array does not get hot, and it is “flicker free” – a major advantage when shooting video. Four AA batteries power the Micro for 1.5 hours, and you can shoot for up to 8 hours with a set of Energizer® E2 lithium AA batteries, or go for the optional AC adapter. The Micro is available as a kit, including a flip-down filter holder with three gel filters: tungsten conversion 3200K; 1/4 warming filter for more pleasing skin tones; and a diffusion filter to soften the light. The Litepanels® Micro LED light kit is available for approximately $450 at photo and video retailers throughout Canada. With a steady platform for your video, and a dash of light, your audience will enjoy significantly better videos… any way you look at it, addressing the two basic elements for better video will bring a bit of Hollywood to your productions!

Enjoy PHOTONews delivered to your home – four issues per year! It’s FREE for Canadian photo enthusiasts! Just fill in the coupon below, and send it to: PHOTONews Subscriptions, 22 Telson Road, Markham, ON Canada L3R 1E5 (Or use the on-line subscription form at


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28 | PHOTONews

Manfrotto 128LP



$ 6.98




Manfrotto 128RC

Manfrotto 501HDV

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PhotoGear Our “Editor’s Choice” of products that that will help you create better pictures! For a list of Hot Links to additional information on these items, please visit the website at

Quantum Qflash Trio When the standard shoe mount flash just isn’t enough, and studio lights are impractical, the Quantum Qflash Trio provides a professional approach to location lighting. Available to match the flash control electronics of Canon or Nikon systems, the Qflash Trio is compatible with the camera’s TTL and wireless flash modes, and features a builtin transmitter to receive signals from other Qflash units or FreeXwire transmitters. The Qflash offers unlimited rapid-fire, full power flashes, and is powered by the Quantum Turbo battery pack. Check the website at for an excellent series of user tips and product guide videos featuring Will Crocket and Rick Ferro - you’ll discover a new world of lighting possibilities!

Manfrotto 1051BAC Mini Compact Stand An ideal solution for the photographer who shoots on location, the Manfrotto 1051BAC has a special “Quick Stack” feature that lets you join two or more folded stands for easy transportation! The aluminum stands offer air cushioned operation with four sections and three risers. The patented Quick Stack System (QSS) is available in a range consisting of 7’, 8’, 9’ and 12’ stands which can be purchased as singles or in 3-packs. Easy to carry, easy to set up – just push on the locking device (look for the Manfrotto Logo located on the top Spider casting) to attach or detach the stands from the stacked kit.

Mini-Pro Stand The Manfrotto 156BL Low Mini-Pro stand caught our eye – it’s the ideal alternative to full-size light stands for placing wireless flash in small areas. The stand is compact with a folded length of 40cm, and it extends to 123cm, with a 45cm “footprint”. Weighing just .62kg, it can support 1.5kg… attach a small ball head and this could double as a table top tripod! For more information visit

The 21st Century Camera Bags! Ideal for the enthusiast or professional photographer, the new Tamrac Ultra 11 and Ultra 13 (shown here) bags offer quick access and protection for a comprehensive array of DSLR lenses and up to two bodies, PLUS a special compartment for your laptop computer! The Ultra 11 and 13 feature a total coverage top flap, a fully customizable interior and a wide range of pockets and compartments including a memory and battery management system. The Ultra Pro 13 holds two DSLRs with lenses attached, 4-5 additional lenses, flashes, accessories, and up to a 15.4” screen laptop. The Ultra 11 holds 3-4 lenses and a laptop with 13.3” screen. These could be the ultimate in camera bag design… For more information please visit

30 | PHOTONews

Put a Rollei in your Pocket! The new Rollei digital cameras have arrived in Canada! Ask your photo retailer to show you the 12MP Flexline 250 with Apogon zoom lens and 5X optical zoom with optical image stabilization – it’s a beauty! The Rollei line includes a range of digital still and ultra compact video cameras – including the new MovieLine P5, a full HD video camcorder that produces 1080p image quality. Looking for the perfect gift? Check out the Rollei Crystal, with Swarovski decorative trim. These are the ultimate pocket cameras – see them all at

It’s Here! Tamron’s NEW 60mm F2 Macro

Hahnemühle Sugar Cane Paper

For many years, Tamron has been a world leader in the macro lens category, with a 90mm full-frame optic that pro vides exquisite sharpness and resolution at a very competitive price. This month, in response to demand for a 60mm macro lens, Tamron will introduce the AF 60mm f/2 Di II LD (IF) 1:1 Macro. With a maximum aperture of f/2, one stop faster than the f/2.8 maximum aperture found on conventional macro lenses in the same class, this lens promises to create a new benchmark not only for macro lenses, but for portrait length primes. Available in Canon, Nikon and Sony mounts, at leading photo retailers throughout Canada. For more information visit

Made from 75% sugar cane fibres, and 25% cotton fibres extracted from recycling Hahnemühle’s own paper trimmings, Sugar Cane combines the high standards of a FineArt inkjet paper with responsible use of raw materials – as part of the corporate effort to achieve the most eco-friendly products, even the energy used in the manufacturing process is derived from renewable resources! With a fine texture and premium inkjet coating Sugar Cane produces images with an artistic look and feel. The natural white and OBA free genuine art paper offers maximum aging resistance. Available in a range of cut sizes and rolls this paper is ideal for fine art reproduction of black and white or colour photography.

Consumer Gallerie Stick and Stretch Packages For the latest in presentation framing, you have to take a look at the new Gallerie Stick and Stretch kits from Hahnemühle. Designed for inkjet printers, the Stick and Stretch kit comes in two sizes. The 8.5” x 11” kit creates a finished wrap of 5½” x 7¾” and the 13” x 19” kit creates a finished wrap size of 10” x 15¾”. Kits are available in two varieties of Hahnemuhle archival quality paper – your choice of Daguerre Canvas or Monet Canvas. Daguerre Canvas is an artist canvas made of poly-cotton with high white brightness for clear, fresh colours and contrasts for colour and blackand white reproductions. Monet Canvas, made of 100% cotton, has a neutral white base tone and is highly respected and recommended for art reproduction as well for high-quality photo printing with painting effect. Stretch and Stick framing is fast and fun. Images are printed on a quality Hahnemühle Daguerre Canvas 400gsm or Monet Canvas 410gsm, then stretched and mounted to a frame with the image wrapped around the edges, producing an artistic look. With the Hahnemühle Gallerie Wrap System, you can make the canvas print, stretch and fasten it to the frame yourself, at home, in about 5 minutes! For more information visit

Autumn 2009 | 31

Reader’sGallery PHOTONews Magazine is delighted to recognize the work of the following Canadian photographers, whose vision and creativity brightens our Reader’s Gallery this issue. Our new website now includes a special gallery section, where all readers can view the work submitted and post comments… we encourage you to post your favourite image, no larger than 600 pixels tall – a selection of the best of the images will be published in each issue of PHOTO News! Readers participating in the published gallery will receive a special gift. Photographers will retain all copyright to the images shown in the gallery, both on-line and in print. Take a few minutes to review your favourite images, and visit for complete instructions for submitting photo files to the PHOTO News Reader’s Gallery!

1. The Spider’s Jewels Ernie Fischhofer of Medicine Hat, Alberta, took this image using a Nikon D300 and Tamron 90mm Macro lens (f14, 1/160 second, ISO200) at his sister-in-law’s farm near St.Walburg, Saskatchewan. A 190QCB Manfrotto tripod and ballhead helped steady the camera and allowed Ernie to fine-tune the composition to ensure the majority of the droplets would remain in focus. “I woke up early and discovered fog had left a heavy dew clinging to all of the elements in the farmyard. When I found this backlit web with the droplets, I slowed things down to ensure I could glean as much detail as I could from this surreal scene; I manually focussed and tripped the shutter when the wind died down.” Image © 2009 Ernie Fischofer

2. Grand Bend Gazebo Trina Loucks of Brighton, Ontario, used a Pentax K10D and 17-70mm F2.8-4.5 DC Macro lens to capture the richest colours in the sky that night, about 35 minutes after the sun had set. “Aperture priority set at f16 was used to ensure the whole scene was in focus, ISO 100 to reduce noise, which resulted in an 8 second exposure. The camera was set on a Manfrotto 725B tripod, the in-camera 2-second exposure delay was used to activate mirror lock-up and avoid camera shake.” Image © 2009 Trina Loucks

1. Ernie Fischhofer, Medicine Hat, Alberta.

3. Among The Flowers This shot was taken kitchen garden of photographer and chef Kelly Hughes of Guelph, Ontario, using a Nikon D80 and a Nikon 35mm f/1.8 prime lens in natural light. “The choice of the lens provided the narrow depth of field to focus on the eyes while offering just a suggestion of the flowers in the shot. I shot wide open at 1/500th of a second and selected 100 ISO for sharp in-focus areas and smooth bokeh.” Image © 2009 Kelly Hughes 4. CNE Ferris Wheel Kasun Attanapola of Toronto used a Sony Alpha 200 with a Sony 18-70mm lens to capture this image of the Ferris wheel at the CNE on the 31st of August 2009. Camera was mounted on a tripod and Kasun selected an aperture of f/22, for a time exposure of 13 seconds at ISO 100. “I preferred this angle for the shot to bring out the size of the Ferris wheel, and I used long exposure to make the shot dynamic”. 2. Trina Loucks, Brighton, Ontario.

32 | PHOTONews

3. Kelly Hughes, Guelph, Ontario.

4. Kasun Attanapola, Toronto, Ontario.

©2009 Kasun Attanapola

Autumn 2009 | 33


Right Sling



Left Sling

Now available in 6 models! Backpack

3 new models now available with laptop compartment Editor Norm Rosen captured the autumn colours with a Pentax K20D, using a 28-70mm lens at 53mm focal length, 1/20 second, f/8, ISO 200 – hand-held, image stabilization on.

Our PHOTONews Challenge for autumn 2009 is a Canadian classic – “Images of the Season” – you may interpret this theme to focus on fall foliage, sporting events associated with the autumn season, Halloween, or anything that can be categorized as a distinctively autumn activity. To participate please post small versions of your images in digital format, no larger than 600 pixels wide, to the PHOTONews Gallery Flickr® Group Autumn 2009 Challenge thread at com/groups/photonewsgallery/ Please include a description of the image including the type of camera and lens that you used, shutter speed, aperture, ISO setting, and any special technique that helped you create the photograph. The PHOTONews Gallery Flickr® group will also be used to collect submissions for the Reader’s Gallery in each issue – please post your images to the pool, and we will contact you if one of your photos is selected for publication in the magazine!

34 | PHOTONews


Winter 2009-2010 Our Winter issue, scheduled to hit the press for distribution in early December, will focus on the various winter photography adventures – from the Vancouver Olympics inspired tech feature on shooting in snow, to a wonderful profile of Ottawa photographer Michelle Valberg, the next issue of PHOTONews will be a great read from cover to cover! Watch the website at for additional information on a wide range of topics, and a list of hot links to websites with detailed information on all of the products and techniques featured in the magazine. It’s all part of the excitement of photography… brought to you by Amplis Foto, Canadian distributor of a wide range of photo and video products.







fits a small netbook

fits a netbook

fits a 15.4" laptop


Kata’s new 3N1 sling backpacks go from sling to backpack and back again quickly and easily. These unique bags hold and protect your camera equipment as well as everyday items while accessing your camera equipment through the Quickdraw flap. Three sizes allow for varied equipment from the basics to everything, all in one bag. These new additional models come with a laptop compartment. Kata Products are Marketed and Distributed in Canada by Amplis Foto

Manfrotto. 100% Carbon Fiber. Enough Said.

100% carbon fiber tubes Magnesium die castings Quick central column system -

Manfrotto Products Marketed and Distributed in Canada by Amplis Foto

PHOTONews Canada Autumn 2009  

Autumn 2009 issue of PHOTONews Canada Magazine. Find PHOTONews online at Or on Twitter: