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Issue No. 8 - Fall 2014

Canada’s Premier Magazine for Professional Photographers

The lifeblood



ACCREDITATION : 3 STORIES TO GET YOU INSPIRED Camille Fortin Bensler Charmaine Toews Josée Talbot

© Copyright PPOC

w w w. p p o c . c a

of any Studio Inspiration

From the Past

Black and White Photography

A lost Art? Get it in Writing

Client Contracts

Cover image by: Gina Yesnik MPA




Concept to Cover by/par: Gina Yesnik



Get it in Writing, Client Contracts by Dan Pollack

The lifeblood of any studio. by Mark Laurie



Inspiration From the Past by JuliAnne Jonker

Black and White Photography by Iden Ford

ACCREDITATION : 3 stories to get you inspirered


Camille Fortin Bensler Wedding Formal



Charmaine Toews Couple Portrait

JosĂŠe Talbot Equine

In this issue A Message from the PPOC Chair................................................. 4 Calendar of Events........................................................................ 5 Are you an Accredited Professional Photographer?..................... 26

My PPOC ...................................................................................... 29 Concept to Cover........................................................................... 30


Welcome to Gallerie From your PPOC Chair


he Professional Photographers of Canada has seen some new and exciting changes in the past several months. As of September 30th, 2014 we are now a fully unified association! What this means is that PPOC is now operating as a single entity, with all members governed by a single set of bylaws. This streamlining of services has been a huge undertaking, but is one that is resulting in great improvements for our members and their regions.

PPOC is pleased to present our flagship publication, Gallerie. With award winning images, feature articles, editorial information, member services, and advertising, Gallerie is the premier magazine for professional photographers across Canada.

The PPOC board has several active projects on the go and its primary focus in the coming months will be membership, specifically improving the member experience. We will be launching our new IMS (information management system) in the coming weeks which will bring a new look to our website. Connecting members to our National Office quickly and easily, allowing members direct access to update their membership profile, and many more positive improvements. Projects such as this are taking PPOC to yet another level in terms of improving service to our members and growing our Association.

All PPOC members receive the printed issue directly to their doorstep. On-line issues are available to all photographers. To be added to our email mailing list please contact the PPOC office at indicating your province of residence. Additional printed copies of Galllerie are $6.95, plus postage. Please contact the PPOC Office.

Publisher: PPOC Office: 519-537-2555 Email: Editor: Louise Gingras Email: Advertising Manager: Jillian Chateauneuf Email: Translation: Claude Wauthier


As PPOC looks to the year ahead, we will be sourcing out new benefits and implementing programs to help members navigate the association and their individual membership, ensuring they are receiving maximum value. Your PPOC membership should never be an expense, but rather, an investment in your photographic career. Sincerely, Tina Weltz, MPA


Gallerie is published three times annually; Winter (on-line issue) Summer (print and on-line) Fall (on-line issue) One single advertising package will secure your ad space in all three issues. Full Page: $925/year Full Page Inside (front or back) $1075/year Full Page Outside Back Cover $1300/year Half Page: $600/year Quarter Page: $375/year PPOC Trade Members receive a 20% discount. To reserve your ad please contact the editor.


Articles and member stories are welcome, please submit to the editor noted above for consideration.

Join the Professional Photographers of Canada! PPOC Office / Bureau du PPOC 209 Light Street Woodstock ON Canada N4S 6H6

Bus: (519) 537-2555 Toll Free: (888) 643-PPOC (7762) Fax: (888) 831-4036 Email:

Š All rights reserved. Reproduction of any material appearing in this magazine in any form, without permission of the editor, is strictly prohibited. Views expressed by contributors may not be the representative views of PPOC and the publisher.


Calendar of Events 2014

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NOV 1-2nd ......... AB EPP(Educational Event for Photographers) Convention and Awards, Edmonton AB

3rd.......................................... ON Eastern Branch, Jay Terry, Creative Portraiture, Location TBA ON 4th............................... ON Western Branch Marketing and Social Media Workshop, Cambridge ON 7th................... AB Central Branch, How to Price? What is Your Value? Mark Orenstein, Calgary AB 8th......................................................................................MB Annual Awards Banquet, Winnipeg MB 10th .................................................................BC Island Branch, Social Media Luncheon, Victoria BC 17th............... BC Lower Mainland Branch, Jonetsu Studios Wedding Photography, Vancouver, BC 17th.................................................QC From bailiff to photographer, Christmas Social, Montreal QC 17th.......... AB Central Branch, What to Charge? What are You Worth? Mark Orenstein, Calgary AB 19th.................................................................... ON Hamilton Niagara Branch Marketing, Pelham ON 20th................. ON Eastern Branch, Exhibition, Members National and Regional Salon Images, ON 25th................................................................MB Panel of Experts and Region Update, Winnipeg MB



1st.............................................................................. ON Eastern Branch Christmas Party, Ottawa ON 2nd......................................................................... ON Western Branch Christmas Party, Ingersoll ON 4th......................................................................AB Northern Branch Christmas Social, Edmonton AB 5th.....................................................................................MB Chair’s Wine and Cheese, Winnipeg MB 7th..... BC Northern Branch, Help Portrait Project, St Michael’s Anglican Church, Prince George BC 8th.................................................AB Central Branch, Business Brainstorming for the New Year, AB 8th......................................................... BC Lower Mainland Branch Christmas Social, Vancouver BC 17th.....................................................ON Hamilton Niagara Branch Christmas Party, St. David’s ON

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


10th.....................................................AB Central Branch, New Year Kickoff Event, Location TBA, AB 15th ..............................................................................................................PPOC Merit Claim Deadline 19th................................................................................ AB Central Branch Meeting, Speaker TBA, AB


2nd ............................................................................................................ PPOC Accreditation Deadline 16th................................... AB Central Branch, Volume Photography, Chris Stambaugh, Calgary AB 18th ........................................................................................PPOC Early Image Competition Deadline

MAR 4th ..........................................................................................PPOC Final Image Competition Deadline

16th.......................................................QC Commercial Photography, Luc Charpentier, Montreal QC


7th ............................................................................................................ PPOC Accreditation Deadline 25-26th ................................. PPOC Accreditation Judging, Sheraton on the Falls, Niagara Falls ON 25-28th ............................. PPOC Canadian Imaging Conference, Sheraton on the Falls, Niagara ON


13th .......................................................................................................... PPOC Accreditation Deadline


5th ............................................................................................................ PPOC Accreditation Deadline

Please visit for up-to-date listings



Having a clear and comprehensive agreement with your client not only helps to protect your rights, it also helps to avoid misunderstandings with your client.

Get it in Writing – Contracts with Your Clients

Article by Dan Pollack at Dan Pollack Law

You just got your first big photography job. You’re naturally excited about this opportunity and the future opportunities that it could create for you. But before breaking out the champagne, you want to make sure that you have a written agreement with your client. Having a clear and comprehensive agreement with your client not only helps to protect your rights – it also helps to avoid misunderstandings with your client. The goal of this article is to provide you with a basic nonexhaustive overview of some important provisions to include in your contracts and some helpful tips.

Important Contract Provisions •

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Who, when and where – clearly identify who you are entering into the agreement with and where you can find them. Include the date, time and location of where you will be providing your services. Services and deliverables – set out exactly what services you will be providing, what you will be delivering, and how and when you will be delivering it. Payment – set the terms and timing out clearly. Refer to any upfront payment as a non-refundable “booking fee” as it is easier to enforce than a “deposit”. Specify fees for additional expenses such as extra deliverables, travel, meals, etc. Copyright - you automatically own the copyright if you created the image, but your client may not know that – especially since the law recently changed for commissioned works. Set it out in your agreement. Also important to set this out in a separate agreement with your assistant if you use one. Creative control – it’s yours – you choose the images that you will provide. Exclusivity – if it’s an event, you are the only professional photographer working that event and your client ensures that they and their guests will cooperate so that you can do your job. Client use – this is especially important in the age of social media. Be specific about what your client can and cannot do with the images and how they should appear (watermarks, etc.). This can provide an opportunity to promote your work, but you don’t want your work to be repurposed or commercially exploited. Releases – include a model release provision to ensure that you can use the images for your own promotional purposes, but keep in mind that this can be a sensitive issue – particularly if your client or their guests are public figures. “Legal” language – this would include indemnity: your client is responsible if someone sues you for something that was your client’s fault, and limitation of liability: your exposure to damages is limited if something goes wrong.

Important Tips There are a lot of resources available for you to learn more about contracts and you can find helpful examples – in particular, on the PPOC website in the near future. But as a starting point, it’s a good idea to have an experienced lawyer help you create basic contract templates designed specifically for your work. Yes, I know that is self-serving coming from a lawyer, but it’s worth some upfront expense so that you not only have a contract tailored to your needs, but also to ensure that you understand the purpose of the language in your contract and can explain it to your client. Dan Pollack is a Toronto-based lawyer who primarily focuses on copyright and contract law, helping creators such as photographers, filmmakers, musicians and writers protect and gain value from their work. Dan is admitted to practice in Ontario and California. He can be reached at and through his website at


Camille Fortin Bensler,

Vancouver, BC

Wedding Formal Accreditation All images by: Camille Fortin Bensler Article by: Alicia Kingsland

Camille Fortin Bensler Photo by: Chadwick Bensler


amille Fortin Bensler photographed her first wedding when she was only 19 years old. She was enrolled in an IB art program at her high school, and her graduation photography project had been put on display at a local mall. The mother of the bride saw Camille’s display and asked her to be the wedding photographer. She wasn’t initially planning on going into photography full time, but always had an entrepreneurial spirit and enjoyed the positive impact she could have on people's lives through photography. In 2000, Camille officially started JONETSU STUDIOS, a boutique wedding & portrait photography studio. In 2011, Camille & her husband Chadwick Bensler were recognized by American Photo Magazine as "One of the Top Ten Wedding Photographers in the World", and in 2012 were invited by Canon to be "Northern Explorers of Light". Camille describes her personal photography style as being more of an editorial/ photojournalistic style. She enjoys composing images on the fly and all of the technical & emotional aspects associated with wedding photography. She

works to bring maximum diversity to her shoots, and focuses primarily on capturing genuine connection between her couples. The photos she selected for her Wedding Formal submission were in keeping with the classical feel the category requests. Camille feels it's important to provide her clients with timeless, classic portraiture along side photojournalistic and fine art imagery. Camille along with her husband, teaches photography, and gives talks at photography conferences. They enjoy giving back to the photography community by helping other photographers. In sharing their personal experiences they help motivate other photographers to create wedding photography businesses that support their families and bring true artistic fulfillment.



Charmaine Toews,

Steinbach, MB

Couple Portrait Accreditation All images by: Charmaine Toews Article by: Alicia Kingsland


Charmaine Toews Photo by: Oohlala Photography

harmaine Toews fell in love with photography in the dark room of her high school’s photography class. That love affair followed her to college, where she volunteered for the school yearbook to be able to continue doing photography. After graduation people began approaching her and asking her to do photos for them, even though she was already employed in the design department of her school. In 2000 Charmaine began her career as a photographer with wedding photography. From there her business evolved as her wedding clients started having kids and asking her to do family photos for them. Soon she shifted her focus onto portrait work, which allowed her to do much of her work in her home studio. As a full time mom with three kids, being able to work in a home studio certainly has its perks. For her couples portraits, Charmaine’s approach is to treat every couple like they’re newlyweds. She feels that every couple has that spark, and works hard to capture it on film. “In every family session I take the parents away

from the kids to do some couples portraits” she says. “I try to encourage them to rekindle their romance in that moment, even if their kids are playing nearby.” This is Charmaine’s seventh Accreditation. Already in her repertoire are environmental family, environmental portrait, environmental wedding, newborn portrait, child & infant portrait and maternity portrait. She has recently submitted for portraiture and will be pursuing family portrait after that. “It’s fun to see how many I can get” she says. She keeps all her Accreditations in frames on her studio wall so that her clients can see the kind of quality work she provides. “I want them to know they’ll walk away with pictures they’re satisfied with” she says.

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Saint Apollinaire, QC

Equine Accreditation All images by: Josée Talbot Article by: Alicia Kingsland


Josée Talbot Photo by: Vanessa Dubé-Caron

osée Talbot has been obsessed with horses ever since she was a baby. She’s been riding for about 40 years, and has competed on the regional and provincial circuit. So when she sold her last horse in 2008 and decided to buy her own photography equipment, it only made sense that horses would be the focus of her photographic work. She started out taking photos of horses and horse shows just for fun, since it was a subject she was so familiar with. But before long people were asking to buy her pictures and within a year she was in business photographing horse shows with two of her friends. Josée has since left the horse show business, and though she now works primarily as a graphic designer, she still finds time to take beautiful photographs of her favourite animal. Josée is a new member of the PPOC, having joined in March 2014, and was introduced to it by a friend. She joined the Facebook page first to see what it was

all about, and when she liked what she saw she got a membership herself. When she saw the opportunity to submit for Accreditation she decided to try it out, but had no expectations. She is very proud to receive her first Accreditation and hopes to pursue a second in Fine Art. Currently Josée is working on a project that she hopes will eventually lead to an exhibition of her photographs. The exhibition, which she hopes to have in about five to six years, will be “fine art but horse orientated”. When people look at her work she would really like them to feel her love of horses and for them to see that they are wonderful creatures.

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Tips For the Pro Shooting Digitally Professional quality printing


oday, professional photographers are intimately involved in all phases of the photographic process from beginning to end. Finding the right company that will deliver professional quality printing is a daunting challenge in the maze of companies that keep appearing and disappearing. One solution is to look for companies that have successfully delivered quality services throughout the years in spite of the amazing rate of changes in the photo industry. These companies have proven their capability to adapt to a changing environment by offering quality products that meet or surpass competitors. One such company is The Lab Works, located in Winnipeg, which has served the Canadian photographic community since 1988. Their web site ( is easy to navigate and the best source of information for the vast selection of products they offer. Professional photographers work hard to get the best out of each photo they sell. They expect to get printing services that do justice to their hard work. At

The Lab Works, they are conscious of such needs and provide personalized services that meet the stringent and individual requirements of each professional photographer. Their web site offers a section entitled Tips for the pro shooting digitally, which provides advice on maximizing their services to obtain the best possible results. This is also where you can download their ICC profile.

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The Lab Works has been my go to lab for all 10 years that I have been in business. The staff is knowledgeable, professional, kind and funny!

New Address The Lab Works 1847 Main Street Winnipeg, MB R2V 2A4 1-800-465-8998

"The Lab Works has been a supplier of comprehensive photo imaging for over 20 years. We have passion and know-how. Our skilled technicians each have, "on average", over 20 years of experience in the photo industry. Our digital printers are all state of the art, and the most current models the manufacturer has to offer" said The Lab Works sales manager. The Lab Works provides photographic services to 32 PPOC members. This speaks highly about the quality of their products as written by Rebecca Croft, current PPOC member: “The Lab Works has been my go to lab for all 10 years that I have been in business. The staff is knowledgeable, professional, kind and funny! The Lab Works offers fantastic products and services, and I know that no matter what type of printing job I send to them, it will be done right!�

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Switching to The Lab Works is the best move I could have made for my photography business.

The Lab Works Karen Hunter, another PPOC member adds: "Switching to The Lab Works is the best move I could have made for my photography business. I became a new client of The Lab Works in July of 2007 and instantly started seeing why they have such a fantastic reputation in Winnipeg."

Karen Hunter

The Lab Works has been a PPOC trade partner for many years. Many PPOC members had the opportunity to see their products during annual PPOC Canadian Imaging Conferences. The Lab Works is proud to serve the Canadian photographers’ community and devote extra care to ensure that professional photographers get the highest quality of services that meet their expectations. They recently moved to a new location to serve you better. Encourage them. Give them a call. You will be surprised! * paid supplement

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selling is not something we do to people, but for people

Terrifying or Mystifying Selling : The lifeblood of any studio Article by Mark Laurie, MPA, SPA, F/PPOC step in the process of delivering food to hungry people until her shift is over. For the other, it’s the delivery of an experience; the food is merely what the experience is wrapped around. You should appreciate this, the better the delivered experience the better the payback. It’s time to walk a mile in your client’s shoes. If your photographer handed you the menu of enlargement prices or wrapped you into a comfortable investing experience, which situation do you think you would willingly spend more in?


elling. . . . It’s gotten a bad rap. There are few words that come with so much palm-sweating baggage. I have come across photography websites that actually say, right at the top of their price page, “WE DON’T SELL” or “WE WON’T SELL YOU ANYTHING.” I have had photographers at my seminars tell me in one breath how they are struggling, then in the next state with great pride they are not one of those studios that put their clients through a sales process. Now here is the tricky part for them, and if you fully grasp this you are well on your way to learn how to do it better. If a client buys an image, print or digital, you have sold it. At that moment, the hat you wear is a salesman’s cap. It’s not really that complicated or evil a process. Actually, if you have any social interaction, you are constantly selling something. For example, you have made a successful sale when someone brings you over a coffee you asked for. You sold them on the idea to do that, you are even a better sales person if you got them to buy it. A waitress comes to your table asking, “What would you like?” as she drops the menu in front of you. Or, after pulling your chair to help you be seated, the sharply dressed woman bubbly exclaims, “I am Suzie, I will be looking after you tonight. We have some amazing taste experiences for you this evening, starting with . . .” Both are selling; make no mistake. For one though, it’s just a

Ok, I will agree; there are seamy and smarmy sales people and selling approaches out there. There are very scary people that smoothly sell, for example, time-share condos. It’s a machine that once you step into the gears you have little hope of emerging unscathed and whole. So let’s deal with that up front; this holdback from the 70’s sales approach. I believe that when people say I don’t want to be sold to, they are really saying, I don’t want to be manipulated, coerced, or boxed into something I don’t want by someone I don’t trust. I don’t want to be or feel like I have been taken advantage of, not getting fair value all through an experience that makes me feel powerless and uncomfortable. Equally as bad, although seemingly harmless, is the information dump sales approach. With a benign smile out pours reams of bland information, all the details, all the choices, all the specs with options. I heard a speaker explaining how it took her 45 minutes to walk her clients through the price list of choices she offered, then she planned their session with them. That took 20 minutes. Don’t confuse an information dump, no matter how pretty, as proper selling. You need to be clear what selling "is not"; it is not something we do to people, but for people. Selling is actually more listening than talking. Knowing what something is not makes it a whole lot easier to embrace what it is. Selling. . . it starts before you photograph your client, before you meet them, before you even know who they are. First and foremost – people only buy from people they

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trust unless they have no choice. (PS: they have lots of choices with photographers.) The more they trust, the more they will invest in their images. People like to feel comfortable and safe, relaxed in familiar surroundings. This is not just physical, like the style of décor or colors. It is also emotional, the values they are surrounded with, attitude . . . culture in a way. In popular vernacular terms, they are looking to do business with other members of their tribe. A tribe is a group that shares the same values, appreciations, even similar status levels. So, look at your style; who you are comfortable with, who is comfortable with you and tailor your honest message to that group. Your studio, your sets and photo style need to be cohesive. It says in one unified voice, expect this, I am this. Before they even come to meet you, you feel honest and trustworthy to them. Craft your marketing messages, your sample prints, your social media content, all to support this. Become ready for them. Your investment choices, print sizes, packages etc., should be memorized. If they are too complex or there are too many items, then reduce and simplify. Display what you wish to have purchased. But, you should have something outrageous to start your investment presentation with. Something only a few would consider. You don’t expect to sell this; you are setting the stage,

set the bar with it. Bonus if a few invest in it, not bold enough if several people invest in it. For example you could have a 40x50 inch image on canvas, full of wow factor, priced to wow too. Your wall images should be properly lit and tastefully displayed, they need space to breath and be absorbed. Clients are not seeing the images you create, they don’t know or really care about the people in them. They want to feel the experience you create. If you don’t create a unique experience then by all means, create a catalogue wall display. Your potential client calls or contacts you. This first moment, first contact, can be confusing in its purpose for some. This is not the moment you try to sell your photography. You have no rapport with them, no history, no relationship. What you are trying to sell them is the idea to come in and talk to you. Accomplish that and you have your start. In the studio, play the host role, offer them something to drink, offer to take their coats. These are homey things that create an atmosphere of safety. Walk them past your wall of select images, telling a few stories about them. What you want your clients to be doing in this short time is taking a read on you, getting a sense

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Continued on Page 20

Selling - it starts before you photograph your client

of whether they like and will feel comfortable doing business with you. You want to project honest, warm engagement. Your seating arrangement is important. You want to be as cozy as their personal space will allow. Sitting beside them on a couch is the most effective and have everything you need within reach. If a third or fourth person is joining you, pull up chairs so you can see everyone with a slight turn of your head. Now, start with pleasantries, try to connect. Remember, this is about them, but now you need information. How did they hear about you? This will tell you a lot. What kind of photography or images do they want, who is going to be included, are they thinking studio or location, and so on. Reply to each answer with an engaging return comment. You can tell short stories that support your insights and ability to meet their needs. Or you determine they are not your client and wrap it up. That can and should happen a lot, depending on your marketing filters. Finally, you take them through your session choices that fit them, peppered with what makes you special. Once they select a session, you take them through your enlargement choices. Explaining it’s good to know their ballpark budget but they are not committing to anything at this point. Start with your outrageous image, point

to it, describe it by a name or size and give the price, with confidence, like you sell lots of these. Pause as they absorb it, then explain the care that goes behind it. Always give price first, then description after. Now you go down your options, giving prices from memory, as you point. With smaller prints you pull out the album or sample piece, putting it into their hands. Then you ask for the sale. Don’t ask “Do you want to book a session?” Direct questions that require a yes or no response often result in the default no. You ask, “Which session approach do you prefer?” If they say this or that, you have made the sale, if they are not sure, they will ask more questions, so you give more information and ask again. If they say a flat neither, you can ask why for clarity. If they say we will get back to you, it’s the same, usually, as a no. There are questions to ask but that is another article. These are two of my favorite and most used approaches; the sale by assumption and the sale by choice. You assume they want to book a session because they are there and interested. When they make a choice, they have made a purchase. Continue with the sale by choice by asking which of these two dates work best for them. A date choice reinforces the yes sale you have just made. Write it up, wrap it up and escort them out, politely. After the sale is made it becomes yours to lose. Which is sadly done more than some realize. Selling today is giving people enough information to make the best choice, which is what you offer. What you are going to say is memorized to the point where it is part of you. It’s not canned though, its internalized, don’t change it up but do refine it. With this approach, your mind is clear to observe reactions and respond to their comments, not busy thinking what you are going to say next. People come to you because they believe you can provide what they want; they indeed wish to be sold to. The sale has to happen for them to get what they want. If you have a choice between learning a new photography technique or to refine your sales approach, take the sales option. It will finance your time to play with new techniques. Selling well is a really, really good thing. Mark Laurie will be speaking at the April 2015 Canadian Imaging Conference in Niagara Falls. His presentations are “If the SALE is Your Stumbling Block” and “Lighting and Posing Challenging Bodies” .

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most of my inspiration is gleaned outside of the photography industry

Inspiration From the Past Article by JuliAnne Jonker

art and photography of the late 19th and early 20th century that inspired me to learn our craft of photography in the first place. Thus, when I meet with my clients for planning consultations, it is my art books we are perusing. The inspiration for one of my recent award winning images from the 2014 PPA International print competition was the work of a group of painters called the Pre-Raphaelite Brotherhood. This brotherhood, founded in 1848, was a movement consisting of painters, poets and critics. These artists wanted to draw upon the painting style from the earlier quattrocento period of Italian art in the 15th century. They were attracted to the detail, colors, and compositions of quattrocento art, which encompassed elements of medieval and Renaissance painting styles. These artists wanted to do something new and different, but at the same time drew upon and respected the work of past artists. The image that I entered in competition was originally titled “The Pre-Raphaelite Maiden.” I wasn't sure if the PPA judges would know how to pronounce this or what it meant.


here do you go for inspiration? We have so many venues at our fingertips today that it can be overwhelming! Pinterest, for instance, is a visual feast where I seem to get lost and lose track of time. As visual artists, we love the eye candy -and it’s all around us, influencing us even if we are unaware. What we see in the world around us is often what inspires us to create. We often look to our peers (the top award winners among us) and find inspiration there. These are great resources for inspiration - not to mention the plethora of online classes and tutorials we now can access instantly. However for me, none of these compare in value with the inspiration accessed through my personal art library of masters both old and new. This is where I go for true direction in my art. This is my main resource, whether working on a portrait in photography or in free-hand painting. I think we are missing out if we are not also looking into the past even as we are visually immersed today. One thing that has kept my client work fresh and different is that most of my inspiration is gleaned outside of the photography industry. Even though we are photographers, we need to be careful that our work doesn't look like everyone else’s. More than ever we need to set ourselves apart. I hear from my clients on a regular basis that what drew them to my work is that it had a “timeless” look, a look that will not be outdated in five years. With all the new technology, easy access to advanced education, and inspiring work available to us, it's easy to forget about looking to the past for inspiration. It was the - 22 -

Edward Steichen, another one of the biggest influences in my early career, was a painter and photographer. He was also very influenced by the fine art world, studying artists who came before him as well as artists who were his contemporaries. Steichen, part of the movement called Pictorialism, was instrumental in helping bring photography into the realm of “fine art” in the public eye. I am as inspired by his work today as I was when I first saw it in 1995. Steichen’s genius, his compositions and interpretations of portraits, is more apparent to me now that I have been doing this for 20 years myself. Steichen’s art books are amongst my favorites as I continue to learn from him and glean inspiration. I encourage you to become a student of art. The most common thing I hear after speaking to photographers is that they have forgotten and lost touch with an art world with which they were once so in love. I encourage you to start a new journey into art, or return to a path you once followed. Let's not lose the legacy that has been left for us. Find the artists that speak to you and study them. JuliAnne Jonker will be speaking at the April 2015 Canadian Imaging Conference in Niagara Falls. In her presentation “The Portrait as an Art-form” she will delve deeper into some of the masters both old and new that have influenced her style.

So to prevent any confusion, I decided to name it “Lady of the Lake” for print competition. As it turned out, the image was challenged and one of the judges brought up the PreRaphaelite era! Though it was not a copy of any certain painting, the influence of the Brotherhood came through. I thought it was awesome that even among PPA judges, at least one of them knew who the Pre-Raphaelites were! - 23 -

our starting place is, and must be, in our mind

Black and White Photography

Article by Iden Ford


he whole notion of shooting black and white has largely gone by the wayside in these social media days in my opinion; I consider it a lost art. However, we do see a lot of it in the fashion pages of many national newspapers, and some photography magazines, but I tend to think about historical images when I look for influences or ideas for my photography. I often lecture on the work of George Hurrell, one of my photographic heroes… his images form the iconic look of glamour in the golden age of 1930’s and 40’s cinema. Contrasting tonality is one of the most important things to consider when formulating a plan for lighting, setting, wardrobe, makeup and concept. Personally I look for low key lighting rather than high key when I choose to shoot for black and white. Most digital cameras work in RGB colour space, with the exception of two high-end black and white options available from Phase One and Leica. This means most of us need the digital darkroom conversion and editing to create great final edits and prints but our starting place is, and must be, in our mind. If a black and white image is my goal, I know what it is designed for and the certain look before I ever pick up the camera. For example, the studio shot I did recently of a belly dancer. The job I was hired to do

was for her portfolio and publicity photographs. Prior to even setting up the shot I presented her with the photographic possibility; which was out of the box for her. Belly Dancers typically prefer high key to show off their costumes, they often use the photos to sell off costumes they no longer use for shows. Melissa had worked with me before, she trusted my creative notions and we went for it. I said to her “Think Samson and Delilah with Victor Mature and Hedy Lamarr!”. A puzzled expression came across her face……I was clearly dating myself….but she got the idea. I shot this image with my Phase One Iq160 and an 80 mm F2.8 lens. For the key lighting I used a Profoto Fresnel light, mounted on a Profoto D1 1000 watt unit. For a kicker and to fill in the background I had a Profoto wide zoom reflector behind her, also mounted on a D1 1000 watt unit. A couple of years ago I took former Canadian Olympic Hurdler, Karl Dyer, and modern dancer, Victoria Seguin, into the studio over at Dancemakers theatre in the Toronto Distillery District. I knew exactly where I was going with this before I even stepped into the studio with my gear. For a day like this, I make up a

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shot list, post it on a wall along with tear sheets I use for reference, and the subjects exercise my concept. I am very clear with them about what I am doing and what I want to accomplish on the given day and what my purpose is. In this case it was a portfolio shoot, not a job. Does this always work out? You probably know the answer…. the shot you see here was both Victoria’s idea and mine. The beauty of working with a dancer like Victoria Seguin is that she brings her own creativity to a photo shoot. Karl is so easy to work with, his musculature and intensity are two of the best traits you can have from a subject. The light just loves his form and creates such dimension to his frame when coming from one side or the other, camera right or left. I had a Nikon D800 at the time with a 24-70 F2.8 lens attached. The lighting set up was simply a reflector attached to an Elinchrom 500 watt unit mono head, which I fired wirelessly into the smoke that my assistant wafted around to get the spread. I placed the light level with their heads and the cool thing was the bit of flare we got coming through Victoria. I used a Chimera Medium soft box to camera left with an egg crate attached for the key light. Pretty simple, lots of fun, great results. I would be remiss in writing if I did not discuss one of my favourite black and white photos - the sunset at Harrington Lake. While I am primarily known as someone who shoots portraiture and dancers, I love to shoot landscapes. Golden hour, or just before the sunset, is a great time to think about making a spectacular black and white landscape image, and on this day we also had clouds and mist. My wife, author Maureen Jennings of the Murdoch Mysteries fame, and I had the privilege of spending July 1st with the Prime Minister at his country retreat on Harrington Lake outside of Ottawa. The sunset is spectacular and on this day it - 25 -

rained on and off for the whole day, but cleared by the late afternoon. As the sun began to set, the sky came to life and the misty reflection on the water added to the mood and atmosphere of a must be photographed moment. I had no doubt in my mind this was a black and white photo, the various shades of gray, like all political matters, was a metaphor expressed in a photo. I shot this image on my Canon 5D mark lll at 24 mm on a 24-70 mm F2.8 lens, I was about F8 for this shot and I processed the image in Nik Software’s Silver Efex Pro. I was lucky to be the stills photographer on a movie with Richard Dreyfus and Tatiana Maslany a couple of years ago. The movie, Cas and Dylan, was filmed in Sudbury, Ontario where a whole lot of filmmaking goes on, largely due to the Northern Ontario Tax credits. Tatiana is the Golden Globe nominee and Canadian Screen award winner for the hit show Orphan Black. During a break in shooting she kindly obliged me a moment for a portrait off the set. I took this shot with a Nikon D800, and a 24-70 mm F2.8 mm lens. I put Tatiana in the shade as it was the middle of the day so I used an SB-900 speed light attached to a Lumiquest soft box triggered by the camera top flash in commander mode, which I set on TTL. For me, the photo works best as a black and white image as we were in the middle of the day with not a cloud in sight. We had a great time over the few days I got to work on that film. Iden Ford will be speaking at the April 2015 Canadian Imaging Conference in Niagara Falls. His presentation “Stills, Dance, and Motion Photography”, promises to be a fun evening of talk, dance photography with terrific dancers, and attendee participation.

Are you an Accredited Photographer? PPOC accreditation


n Accredited member of PPOC is a specia list in his or her chosen f ield of photography. The accreditation process recognizes photographers who have reached a nationally accepted standard of proficiency and k nowledge in photographic arts. It is achieved by submitting samples of photography to a PPOC Board of Review. This peer-reviewed program cha llenges candidates to demonstrate their capabilit y of delivering exceptiona l qua lit y photography in a chosen categor y. Interested in becoming a professiona l in the most recognized photographic association in Canada? We encourage you get connected by visiting our website where you can join on-line or f ind contacts in your region.

Accreditation Submission dates: Februar y 2 nd , 2015 April 7 t h , 2015 July 13 t h , 2015 October 5 t h , 2015

What Members Say “The response to my first accreditation has been amazing... from past clients to new ones. Recently a client came back, not only because she loves my style but since I earned my accreditation I must be even better now! Those are her words not mine :).� ~ Doxa | PPOC Member since 2011

Trade Partners These photographic trade partners support the Professional Photographers of Canada and our members. Look to them for quality products and professional service.

p i c t u r e p e r f e c t w o r k fl o w

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PPOC members share their stories


y decision to rejoin the Professional Photographers of Canada started last spring. I had been working alone for about a year since my assistant left and portrait photography can be such a lonely business. I wanted like-minded people to share ideas with, talk shop and discuss photo trends. I find that clients now communicate by email, so there is less human contact in our business today. While attending Image Explorations this summer I realized PPOC was a place I could get the interaction I wanted and more. On top of that, I would save money so it was a no brainer!





interaction ideas CONNECTED




How did I save money? The biggest savings was on my business insurance, which went down 20% (around $200.00/ year). BC was offering their regional event, PHOTOgraphie & FUSION, free for members, so I saved there also. I became a volunteer at PHOTOgraphie, which helped me get involved and make many new friends. Rather than feeling competitive, these photographers share openly and generously. I feel connected again and full of new ideas. If you want to be truly connected to our photographic industry, I highly recommend you consider joining us! Thanks PPOC. Tamara Roberts North Vancouver, British Columbia

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Concept to Cover The creative story behind the cover photo By : Gina Yesnik, MPA


his image began after a shoot I did for a local bridal/grad gown vendor about a year before I submitted it. We were actually shooting in a dried slough alongside a farmer's dirt road when I thought the negative space background would be pretty cool. Tried it and loved her and the pose, hated the backdrop.. so now what? Growing up in BC, I grew up with, and in, the trees, so it is a fall back for me - trees make me happy! So I took a stock image which I found on-line because I could not find the right one in my sets of images that matched my vision. (I entered this in the Freestyle category where you can combine images even if they are not your own). I started creating this image last minute - two days before deadline. I took the tree image.. copied it… flipped it, filled in spaces, tried to make a "tunnel" effect… modified some trees so it didn't look like a

Original photo before retouching

Original photo before retouching

direct clone… turned it blue… then added the girl. But now the fun begins with making it look like it happened together. I had to decide where the "light" was coming from, making sure the shadows fell right and that she was not floating. I adjusted her colour to match more of the backdrop, blended, played around and voilà…. welcome to my mind…. yes... my kids tell me it is a scary place - no laughing.

After retouching Images By: Gina Yesnik

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THE MOMENT a deep friendship


Nikon,® NIKKOR ® and D800™ are registered trademarks of Nikon Corporation. ©2014 Nikon Inc.


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2014 Fall Gallerie English Version  

Canada's premier magazine for professional photographers.

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