YOUR SOURCE FOR CANADIAN PHOTOGRAPHY

VOLUME 25, NO. 2 / SUMMER 2016 / $6.98

TONY BECK
Hummingbirds
in Flight
PORTFOLIO: JOHAN SORENSEN
MICHELLE VALBERG
The Fine Art of Photo Décor

Fashion Photography MICHAEL DEFREITAS

Attracting Attention
MICHEL ROY
Points of View
Photo by Johan Sorensen

and more!

COMPLIMENTARY ISSUE • FREE COPY

 Summer 2016  3 

Focal Point
BY JACQUES DUMONT, PUBLISHER  |  jdumont@zakmedia.ca

T he 25th Anniversary
Celebration Continues!
Join the
conversation!
facebook.com/
PHOTONewscanada
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PHOTONewscanada
Tune in to our NEW
YouTube Channel:
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Canada TV
Visit the website at
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Join the flickr® group at
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PHOTONewsgallery/
Questions or
comments? Please send
me an e-mail at
editor@zakmedia.ca
Our 25th Anniversary celebration con-
tinues with an issue filled to the brim
with great ideas for spectacular sum-
mer photos. We asked our resident
photo magician, Michel Roy, to explore
new perspectives–and he revealed the
magic of POV… it’s a new way to look
at familiar scenes and subjects! With
Spring showers bringing Summer
flowers, we sent Christian Autotte into
the field to share some techniques for
rainy day photography, and we asked
our award-winning travel specialist
Michael DeFreitas to reveal the secrets
of attention-grabbing images.
Our PHOTO News team travelled the
world to bring you an issue filled with
exotic images. Dr. Wayne Lynch took a
bumpy flight into the Falkland Islands
to photograph penguins, and Tony Beck
went to the tropical rainforest to show
us how to shoot hummingbirds. Kris-
tian Bogner took a different approach,
pushing the limits of new technology in
his article on high ISO imaging.
With all of these great ideas for
images, we asked Michelle Valberg to
show readers the art of photo décor–
giving us some very impressive ideas
for printing, framing and displaying
our best work.
More than 100,000 readers across Canada will share
this issue of PHOTO News–it will be the largest circulat-
ed photo magazine in Canadian history… and we are de-
lighted to provide a forum for our readers to display their
work–through our Reader’s Gallery and PHOTO News
Challenge sections, and on our flickr® group.
Win a Trip to Hong Kong!
Hong Kong, Asia’s “World City” offers a multitude of ex-
periences… there is something for everyone!
The PHOTO News team explored Hong Kong in April to
create images to inspire readers to participate in our 25th
Anniversary Challenge–“The World Through My Lens”.
Our team, comprising photographers Michelle Valberg,
Kristian Bogner and Michael DeFreitas, toured the scenic
locations to compile a spectacular portfolio of images which
will appear in a special section of PHOTO News–Fall 2016.
Hong Kong is one of the most dynamic cities on earth–
and one of the easiest to navigate. With over 150 years
of colonial influence woven into 5,000 years of Chinese
culture, this city offers you the opportunity to experience
a vibrant living culture featuring a unique fusion where
‘east-meets-west’.
Hong Kong has fantastic shopping. Only minutes
from the city centre, you can discover stunning natural
beauty, gorgeous views, idyllic islands and serene beach-
es. Every corner in Hong Kong is filled with a surprise!
With so much to see and do, Hong Kong offers a fan-
tastic holiday experience that you’ll remember for your
lifetime as you share your photos and memories with
family and friends.

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Volume 25, Number 2  /  Summer 2016
Cover photo by Johan Sorensen
Lumix GH 4, Leica 42 mm 1.2 lens, 200 ISO, 1/160
second, f/8. Lighting - 64-inch soft box.
Publisher
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Editor
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appearing­in this magazine in any form is forbidden
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Michel Roy, Eric Stewart, Michael DeFreitas,
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4  PHOTO News

Contents

32
PORTFOLIO
Johan Sorensen -
The Fine Art of Fashion Photography

Paint girl. Lumix GH 4, Leica 42mm 1.2 lens, 200 ISO, 1/160 second, f/8. Lighting - 64 inch soft box.

12 22 26
SPECIAL REPORT MICHEL ROY WAYNE LYNCH - DESTINATIONS

Canadians win big in the Sony World Photography The Magic of Points of View Falkland Island adventure
Contest

PERSPECTIVES 40 MICHELLE VALBERG –

CANADIAN ANGLES
50 IN THE FIELD
Tony Beck –
60
Kristian Bogner – High ISO technique -
Pushing the limits Photo décor - Printing, framing Hummingbird photography
and displaying your work
MICHAEL DEFREITAS – 46 ERIC STEWART - PRINTING 101 64
SHOOTING TIPS
Drawing attention with frames
TECHNIQUE - LET IT RAIN!
Christian Autotte - Foul weather
56 Working with printing ICC

and leading lines. photography

6  PHOTO News
New Products
New Softbox Grids
from Aurora Lite Bank
Image 1: with grid
Aurora Lite Bank has re-defined the softbox
grid. Available for Square, Rectangular, Octa
and TERA softboxes, Aurora Lite Bank soft
grids (also called “egg crates” or “louvres”)
will fit the most common softbox sizes.
Photographers love softboxes for the ap-
pealing catchlights, and their ability to direct
and wrap light around the subject with soft,
smooth shadow transitions. But what if you
want a slightly harsher, more contrasty
look? More defined shadows? More direc-
tional light?
50° soft grids from Aurora Lite Bank attach
easily with heavy-duty Velcro™. The grid
directs more light forward with less “wrap”.
Image 3: no grid Image 4: with grid
Image 2: no grid
You can quickly install or remove a soft grid
to create a new look in seconds. Let’s take a
look at the results:
Image 1 was taken with an Aurora Lite Bank
Firefly XL 120 and LUVO120 grid; Image 2
was shot without the grid. The shadow on
the background is more pronounced and
the shadows on the face are deeper with
transitions that are more contrasty.
Looking at the closer portraits taken with
the Tamron SP 85mm f/1.8 di VC USD (Im-
ages 3 and 4), the contrast and sculpting
are more apparent with the grid installed,
while the shadow behind the subject is
greatly reduced without the grid.
Using soft grids doesn’t change the catch-
light – the grid is practically invisible.
Another great advantage of using a grid
with a softbox is that the highlights are still
soft – the contrast only applies to the shad-
ows. A beauty dish would create larger, more
specular highlights and change the charac-
teristics of the hair.
Another great reason to add soft grids to
your softboxes is to direct light onto a back-
ground without spilling onto your subject,
you can also add a grid to your strip light to
avoid flare in your lens.
Aurora Lite Bank Soft Grids are available
now in a range of prices from $115.99 to
$699.99, depending on shape and size.
For more details, please visit
www.auroralitebank.ca
 SUBSCRIBE TODAY
2016

YOUR SO
/ SPRING

URCE FO
R CANADI
AN
25, NO. 1

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RAPHY
VOLUM E

IT’S FREE!
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NO. 1 / SPRING 2016
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PORTFOLIO

Eye of an
: VICTOR LIU

Artist
s
PHOTONew

TONY BECK
Wildlife Phot

 ubscribe to PHOTO News Canada to receive your copy of the

S
o Technique

ZZ
MICHELLE
VALB
Grizzlies of ERG
the Khutzeym
MICHAEL DEFR ateen
EITAS
Photos on
the

print copy by mail – it’s FREE for Canadian residents!

Move!
MICHEL ROY
The Magic
of Photosho
Compositing p

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Plus:
VOLUME 25, NO. 2 / SUMMER 2016

YOUR SOURCE FOR CANADIAN PHOTOGRAPHY

DR. WAYN
E LYNC
Leatherback H
Turtles of
Trinidad
Victor Liu

KRISTIAN BOGN
Fashion PhotER
ography
Photo by

and more!

 ubscribe to PHOTO News Canada Flash eNewsletter

S
COMPLIM
ENTARY ISSU
E • FREE COPY

ZZ
for tips and News.
www.photonews.ca
VOLUME 25, NO. 2 / SUMMER 2016 / $6.98

Visit
PHOTO News

TONY BECK
Hummingbirds
in Flight
PORTFOLIO: JOHAN SORENSEN
MICHELLE VALBERG
The Fine Art of Photo Décor

Fashion Photography MICHAEL DEFREITAS

Attracting Attention
MICHEL ROY
Points of View
Photo by Johan Sorensen

and more!

COMPLIMENTARY ISSUE • FREE COPY

Photo: Jacques Dumont

100,000 Canadian photographers receive PHOTO News four times

per year – join us as we explore the wonderful world of imaging!
FOLLOW US ON THE NET facebook.com/ twitter.com/ Tune in to our NEW YouTube
photonewscanada photonewscanada Channel: PHOTONews Canada TV
 siros L
cordless, compact, fast and powerful

Made in Switzerland. Inspired by you.
Featuring the latest lithium-ion battery technology, a
single 28.8v battery can charge a Siros400L for up to
440 full power flashes!
The ECTC technology from our high-end Scoro and Move
powerpacks is added to Siros L to enable flash durations
from 1/19,000s (t0.5). Plus it guarantees constant colour
temperature over the entire power control range.
Siros L works perfectly with existing broncolor systems
- without special adapters. And Siros L can be operated
with the free “bronControl” app for seamless integration
with Siros and Siros S.
Without the app, Siros L is still simple and intuitive to
use with the “Twist Function” rotary controller.
Siros L is available now as single monolights or in a
complete kit with backpack, umbrella and softbox.

Siros400L Siros800L
Flash duration with optimum colour with optimum colour
t0.1 (t0.5) temperature temperature
min power 1/6’200s (1/11’300s) 1/4’400s (1/7’400s)
full power 1/400s (1/1’200s) 1/250s (1/700s)
Charging time 0.03 – 1.2 s 0.03 – 2.7 s
Siros800L Number of 440 at full power 220 at full power
flashes per
battery charge
Power range up to 9 f-stops up to 9 f-stops
2 – 400w/s 4 – 800w/s
Modeling light 3,000°K 25watt LED
Siros400L
Dimensions 32 × 13 × 18 cm 36 × 13 × 18 cm
Weight 3.7kg (8.1 lbs) 4.3kg (9.5 lbs)
(incl battery)

www.broncolor.ca
10  PHOTO News
New Products
Matte Box Kit
Genus has introduced a new all-in-one Production Matte Box Kit that
covers nearly all the camera/lens requirements for media acquisi-
tion. Designed for lenses from 52mm to 114mm, this versatile sys-
tem is ideal for the latest generation of larger sensor cameras as
well as broadcast and film cameras.
The Matte Box can be used in Clip-On Mode or Bar Mounted. It fea-
tures two filter stages - the front filter tray is fixed and the rear tray
rotates 360 degrees, ideal for graduated and polarizing filters. The
rotating filter tray can be locked in a set position. The Swing Away
Mounting Bracket port/dock is attached to the Rayshade, for easy
access to the lens.
The Production Matte Box Kit includes:
• Production Matte Box Rayshade
• Top Flag (optional Side Flags)
• 2 x Filter Trays (rear tray 3600 fully rotatable)
• 15mm Rod to Matte Box Mount Bracket (Centre to Centre
60mm)
• 114mm DoNut
• 82mm ScrewIn Adapter Ring
• Interface DoNut 82mm to 114mm
• Set of 82mm StepUp Rings (52mm, 58mm, 62mm, 67mm,
72mm, 77mm)
Available now. For information please visit www.genustech.ca
Solar Eclipse
ND Fader
The new Genus Solar Eclipse ND Fader represents the next gen-
eration in camera accessories - a dual purpose filter comprising a
variable Neutral Density filter and a Circular Polarizer - ideal for both
photography and videography, you can now carry one filter instead
of two!
The easily rotatable rings allow you to fine-tune the amount of light
entering your lens and the Circular Polarizer element rotates to find
the perfect position of polarization. This lets you expand your crea-
tive options. You can create motion blur in your photos by increasing
exposure with ease - or enhance your videos by reducing depth of
field to achieve the “film look”.
Optical glass elements are HD laser treated. The super-thin ex-
panded front element minimizes vignetting. The Genus Solar
Eclipse ND Fader features Variable Neutral Density from 2-8 stops,
superior colour fidelity and optical clarity, and a rotational exten-
sion handle.
Available June 2016 in 77mm
For information please visit www.genustech.ca
Breathing
Color Allure
With the new Breathing Color Allure aluminum photo panels
you now can create metal prints with your inkjet printer. Us-
ing ­archival inks, the images will last 100+ years. Available now
at affordable prices! For more information check out the video
at www.breathingcolor.ca/introducing-allure and visit the
website at www.breathingcolor.ca
Unretouched image shot with the
Olympus PEN-F and M.Zuiko 25mm f1.8
using Color Profile 2 by Olympus Visionary
John Sterling Ruth.

MYTH: Film is dead.

TRUTH: It’s been reincarnated in a digital camera.

The art of film photography is back. The Olympus PEN-F lets you shoot spectacular film-like
images. Just use the monochrome and color profiles to capture shots with all the warmth
and graininess you’d find from a photo taken decades ago. A vast array of artistic features
coupled with customizable dials gives you on-the-fly creative control. The PEN-F. Capture
the world in vintage style.
OLYMPUS PEN-F communication logo

Rediscover the beauty of film at getolympus.com/PENF

20151016
12  PHOTO News

2016 SONY WORLD PHOTOGRAPHY AWARDS    

BY PETER K. BURIAN

Canadian Photographer
Scores Major Wins
The ninth annual Sony World Photography Competition received a record-breaking
230,103 entries from 186 countries for the Professional, Open & Youth, and National
categories. The major category winners were announced at the awards gala in London,
UK on April 21 - I was fortunate to attend to cover the event for PHOTO News.

During the evening, the winning sin-

gle images and photo essays were
displayed with accompanying inter-
views with the photographers and the
honorary judges. Naturally, the greatest
media interest focused on L’Iris D’Or
Photographer of the Year award recipi-
ent Asghar Khamesh and his Fire of
Hatred series - shocking portraits of the
victims of acid attacks in his native Iran
who have maintained their pride and
dignity in spite of disfigurement.

The Canadian Connection

For the first time in the history of the
Awards, a single photographer, Kevin
Frayer, achieved a “double win”, tak-
ing two of the 14 Professional cat-
egories. Originally from Winnipeg
and now based in Beijing, Frayer is an
award-winning photojournalist with
Getty Images, During his career he has
held positions such as National photog-
rapher at the Canadian Press, and Chief
Photographer for AP in Jerusalem and
New Delhi. Frayer won first prize in the
Environment category award for his
series, Eagle Hunters of Western China
featuring ethnic Kazakhs who follow
ancient rules of falconry on horseback.
This photo essay has been featured in
multi-page spreads in the print or on-line
publications of MacLean’s, The Guard-
ian, Washington Post, Time and others.
Frayer also won First Prize in the People category, with his
series Nomadic Life Threatened on the Tibetan Plateau, cover-
ing the threat to the lifestyle of these people in Western China
caused by forced resettlement, climate change and rapid mod-
ernization. Frayer also took 2nd place in another Professional
category, Contemporary Issues, with his photo essay China’s
Coal Dependence A Challenge For Climate.
Covering the Minorities of Asia
The day after the ceremony, I caught up with Kevin Frayer at
the neoclassical (16th Century) Somerset House exhibit fea-
turing the Award’s many winning images. He was definite-
ly appreciative of the awards. “Any time your work is recog-
nized, it’s exciting; I’m thrilled. The level of this competition is
incredibly high. Every year I see work that, to me, is exception-
al, and Sony is putting a great deal behind it, giving prizes to
winners, cameras to educational institutions and so on.”
 Summer 2016 13 

Both of Frayer’s winning photo es- The 2017 Awards

says featured minorities in China and
he agrees that this is a definite trend in In June, the World Photography Organization will begin accepting en-
his work. “I am very interested in such tries for the 2017 Sony Awards on their Web site, www.worldphoto.
org. There is no charge for entering, and the WPO invites photog-
stories. I try to focus a lot on issues such raphers at various levels to submit either their best single shots or
as the lives of the Tibetans and the eth- series of work in the National, Youth, Open or Professional level com-
nic Kazakh. My interest concerns their petition. In addition to recognition, winners receive either cash prizes
survival in a fast-paced country that is or some of the latest Sony digital imaging equipment, depending
not always kind to minorities. The fact on the level entered.
that these cultures still exist is worth
Kevin Frayer
documenting. We are watching cul- 1st Place series
tures die off by the day; in the develop- Environmental
ment process there should not be a loss category
of culture, language, and traditions.”
“The point of photojournalism, for
me, is to tell great stories, to speak to
people, to remind them that eagle hunt-
ers still exist in the mountains of Qing-
he County, for example. It’s urgent. Any
chance we have to document cultures
that are on the edge, that is important
work. It connects people to the past.” 

Canada National Awards

The National category honoured the
A young Tibetan
work of photographers in 61 countries. Buddhist novice monk
The first place award for Canada was stands with his yak
taken by Vancouver’s Kathryn Mussal- herd at the family's
nomadic summer
lem’s Sailor in the Spotlight, a black and grazing area on
white photo depicting sailors partying July 23, 2015 on the
in their service dress white uniforms. Tibetan Plateau in
Yushu County, Qinghai,
She won a Sony full-frame a7R II body China. Tibetan nomads
and a Sony Zeiss 55mm f/1.8 AF lens. face many challenges
to their traditional way
Second place went to Allan Oman from of life including political
Northern Ontario for Fox Pup, and the pressures, forced
third-place winner was Luis Portelles resettlement by
China's government,
from Laval, Quebec, for a colourful climate change and
graphic shot titled Mondrianish. rapid modernization.
I had an opportunity to chat with
Mussallem, an exhibiting photograph-
er and instructor at Emily Carr Univer- Canada’s winner in the National category…
sity of Art and Design, about her 5 year First Place
Kathryn
project of photographing the U.S. Navy. Mussallem’s Sailor
She describes her work as follows. “The in the Spotlight
winning image from my series was that
perfect moment on an overfilled dance
floor in a sweaty Bourbon Street bar
overrun by sailors during Fleet Week…
an invasion of nostalgia and bravado.”
Mussallem often photographs such
events. “Camera in hand, I put on my
bright red lipstick, slip on my red high
heels, and hit the street; I see these boys
in white and with giddy excitement I ap-
proach… ’Hey sailor! new in town?’ ”
LUMIX CAMERAS

LOCATION SHOOTING
WITH PANASONIC LUMIX
By Johan Sorensen

Johan Sorensen has been a photographer for over 25

years, doing various types of commercial work, both in
the studio and on location.
The daily life of a professional photographer is ex-
tremely challenging, especially when you are shooting
on location. You have to make sure you bring every-
thing you could possibly need in case things don’t go
as planned. However, I work with a small team so I am
always trying to balance weight against necessity.
Over the last 10 years cameras have become more
compact and lightweight while maintaining image
quality. Three years ago, I was introduced to Panasonic
Lumix Mirrorless cameras. I quickly realized that the
size and weight were absolutely amazing. I could carry The Dual Image Stabilization on the Panasonic Lumix
a pro level body with two to three lenses for an entire GX8 and GX85 has changed my shooting style yet
day without suffering back and neck pain. The weight again. I no longer have to rely on using a tripod to get
of my camera bag had diminished by more than 80 clear, crisp shots. The hand shake compensation is
percent. This made traveling professionally for photog- incredibly advanced and I can shoot up to four stops
raphy a much easier task. Getting through customs slower with the GX85 than previous models. This
and on the plane is a breeze. means I can hand hold my cameras while on location
and not worry about the stability. Plus eliminating the
tripod in tight shooting areas gives me more space for
lights and other necessary gear.
When I first tried the Lumix system, it took me a few
days to get used to it, but now I am a dedicated con-
vert. The Panasonic Lumix brand bodies combined with
Leica lenses are definitely a good choice. It’s now my
“go to” brand both personally and professionally. Lumix
has put the fun back into photography for me.
Shop.Panasonic.ca/Lumix

THE POWER OF PANASONIC LUMIX

No one wants Shaky Shots. That’s a fact. The LUMIX GX85 incorporates
a new 5-axis Dual Image Stabilizer for more effective suppression of blur.
This feature combines Body Stabilization plus Lens Stabilization for crisp
handheld shots every time. The Dual I.S. is ideal for both wide-angle and
telephoto modes, as well as challenging night shots and one-handed
shooting. The 5-axis Dual I.S. works in both photo and motion picture
recording including 4K video. Say goodbye to blur with the
Panasonic Lumix GX85.

Photography © Johan Sorensen

16

Congratulations to the winners of the PHOTO News “A Shot in the Dark” Challenge, who participated in
the contest thread at our flickr® group at www.flickr.com/groups/PHOTO Newsgallery/
Our winning photographer will receive a special prize – a Lumix LX100 from Panasonic Canada, our
PHOTO News Challenge sponsor for 2016.
You could be the winner of the next PHOTO News Challenge and have your photo published in the
Autumn issue – for more information please see page 66.

Winner
Luigi’s Place
Lou Montana, of Newmarket Ontario, shot this Venice
scene with a Nikon D7100, handheld, using a 50 mm
f/1.8 lens at 1/15 second, f/13, ISO 4000. “This calm
street scene shows another side of Venice; far from the
hustle and bustle of the tourist zone.” 

Dan Sedran of Toronto, Ontario,

captured this image of “Warp
Speed” with a Sony A7 and 16-35 f4
lens, shooting at 30 seconds, f/5.6,
ISO 100. “I really wanted to convey a
sense of speed and perspective from
the driver’s point of view”.
 Summer 2016  17 

Watching from
a Rooftop
Jean-Philippe
Castonguay of
Montreal, Quebec,
shot this image after
finding higher ground
looking toward Coal
Harbour in Vancouver.
“I used a Nikon D600
with an 18-35mm wide
angle lens at 18mm,
30 seconds exposure,
f/16, ISO 320.” 

Origami Flight
Stéphane Germain of Montréal, Québec, captured this
image of an origami montage with a Sony A6000 and
Zeiss E 16-70mm/4.0 lens, shooting hand held at 16mm,
1/40 second, f/4, ISO 640. “This delicate and intricate
paper spiral was suspended in the Japanese pavilion
during Montreal’s Botanical Garden most recent Gardens
of Light exhibition, in October 2015”.

Millennium Bridge, Palais des Congrès

St Paul’s Cathedral, London Bruno Bouchard,
Michael Elkan, of Vancouver, of Quebec City,
photographed this image with photographed the
a Canon EOS 5D Mark II and an Palais des Congrès
EF240105mm f/L IS USM at in Montreal with a
32mm, 4 seconds, f/22, ISO Leica M8 with Leica
3200. “This ‘shot in the dark’ Summicron-M
was challenging. This footbridge 28mm f/2 ASPH lens,
over the River Thames is often shooting at 1 second,
crowded and vibrates when f/4.0, ISO 160.
people are walking past the “I thought this angle
tripod location. To minimize of view, from behind
loss of definition the shot was the trees, was an
timed for a moment when interesting way to
the pedestrians were over the show the layers of
bridge supports, where there is coloured glass of the
less structural movement. The Palais des Congrès
4-second shutter speed enables subway entrance
some desirable motion blur of and how the light
the people at the perspective brightens the leaves
point in the composition.” on the trees.”
18  PHOTO News Reader’s GALLERY
Each issue, PHOTO News presents a gallery of spectacular images from
our readers, as posted in the pool at the flickr® group.
To view the full array of images from PHOTO News readers, please visit
the pool at www.flickr.com/groups/PHOTO Newsgallery/pool

Making Memories
Brad James of Conception Bay South, Newfoundland, captured this image of a sea stack at sunrise in Chance Cove,
NL using a Nikon D610 and 24-70mm lens at 24mm, shooting at f/13, 1 second exposure, ISO 100. "I used the rocks
and wave motion as a leading line into the image and waited for the perfect moment when the sun peeked over the
rocks to create a sun burst".

Buntzen Lake
Dan Jokic of New West-
minster, BC captured this
image of Buntzen Lake
in Anmore, BC with a
Sony A6000, shooting at
1/250 second and f/8.0,
ISO 100.  “It was one of
those wonderful foggy
spring mornings”.
Images featured in the PHOTO News Reader’s Gallery are selected from the photo pool at the
PHOTO News flickr® group – why not take a look, join the group, and post a few pictures! Summer 2016  19 
www.flickr.com/groups/PHOTO Newsgallery/
Upwards Flight
Eric Rossicci, of Surrey,
B.C., captured this
image with a Canon
lDX and 500mm Canon
prime lens, shooting at
1/800 second, f/4, ISO
1200. “I took this shot at
Boundary Bay in Ladner
B.C. as the sun was
setting, and this Eagle
who was perched on a
stump decided to take
flight. I had my eye on
him all the time waiting
for his next move, he
didn't disappoint me
and suddenly took
off. I was ready for it
and took the shot. I
was lucky as his wing
covered the setting
sun, allowing a proper
exposure. I worked
on this image with
Corel Photopaint 8 and
finished off with ACDSee
Pro 6”.

Blue Morpho
Susy Coutu from L’Assomption, Quebec, captured this
image of a Blue Morpho butterfly with her Nikon D750,
a Nikon 105mm macro lens, a Nikon 1.4x teleconverter,
and a macro ring flash, using spot metering and shooting
at 1/125 second, f/22, ISO 200. “The Montreal Botanical
Garden is a great place for shooting macro”.

Waiting for Sunrise

Alex Bruce of Toronto captured this image while on
vacation on the island of Ambergris Caye, Belize, using a
Canon 5D MKIII and 16-35mm f/4 lens at 27mm, on a tri-
pod, shooting at f/4, 30 seconds, ISO 100. “Every morning
I would get up early to see what spectacular sunrise we’d
be blessed with. Typically there would be clouds dancing
over the horizon which would get backlit with the rising
sun. This particular image was shot at 5:15 in the morning
while waiting for the sunrise about 15 min later.  I used a
NDX8 filter and a Polarizing Filter to enable a slow shutter
speed producing the calm waters. Contrast was adjusted
in Photoshop.”
Photo Challenge
“The World Through 
“The World Through My Lens” is a travel
themed contest open to all Canadian
photo enthusiasts.
Your assignment – to photograph the
sights and scenes of your favourite
destinations – your subjects could be as
close as the view from your front porch
or as far as the other side of the world…
so grab your camera and get ready for a
photo adventure!
Hong Kong is one of the world’s premier
travel destinations. Enjoy the vibrant culture
and exotic flavour of this amazing city.
Enter the PHOTO News “The World Through
my Lens” contest to win! Contest is open to
Canadian residents 18 and older.
SUPPORTED BY:
Entries close Oct. 31, 2016.
For full contest rules and information please
visit hongkong2016.PHOTO News.ca
Follow the adventures of our team
of Canadian Nikon professionals
Kristian Bogner, Michael DeFreitas,
and Michelle Valberg – online and in the
pages of PHOTO News magazine, as
they explore the wonders of Hong Kong
and share a wealth of knowledge on the
techniques of travel photography. Check
out the special section of 16 pages in the
Fall issue of PHOTO News showcasing the
amazing sights of Hong Kong.
My Lens” A TRAVEL THEMED PHOTOGRAPHY
CONTEST CELEBRATING OUR
25th ANNIVERSARY

GRAND PRIZE Return economy airfare for two from a major airport in Canada to Hong Kong courtesy
of Cathay Pacific; 4 nights accommodation in Hong Kong courtesy of The Langham
Hong Kong; selected tours courtesy of the Hong Kong Tourism Board; a Nikon D5500
with a  18-55mm VR II Lens Kit and a Vanguard Kinray 53 Purple Backpack (Model
VAK53PR) and Vanguard VEO 234 Monopod (Model VAVEOAM234). Total approximate
retail value of the grand prize is $7500.

SECOND PRIZE A Nikon COOLPIX AW130 and a Vanguard Kinray 48 Purple Backpack (Model VAK48PR).
Total approximate retail value of the second prize is $590.

THIRD PRIZE A Nikon COOLPIX AW130 and a Vanguard Kinray 43 Purple Sling bag (Model VAK43PR).
Total approximate retail value of the third prize is $510.

For more information on Hong Kong, visit DiscoverHongKong.com

22  PHOTO News

Special Feature  |  The Magic of...

BY MICHEL ROY

Points Of View
In many situations the
difference between a snapshot
and a spectacular image can
be as simple as changing
your point of view.
No, we don’t want you to alter your pol-
itical preferences, or change your phil-
osophy on the origin of life or the ques-
tion of global warming–to achieve
better photos we just want you to view
your subject from a variety of perspec-
tives. Editor Norm often tells readers
to “dance around the subject”, looking
for different angles of view, changing
lighting conditions, and the interaction
between the subject and the surround-
ing environment.

Tennis from a Bird’s Eye View

On assignment to shoot a profes-
sional tennis match, I asked per-
mission to use the press catwalk so
I could shoot from roof level. It was
a blast to see the images I could
take from this unusual angle. In a
situation like this, if it is safe for you
and your equipment, go for it!

Bio
Michel Roy, from Quebec City, is the
owner of Digital Direct Photos & Videos,
specializing in a full range of photography
and video from corporate assignments to
weddings. For a visual adventure, visit the
website at www.digitaldirect.ca.

I run through a quick checklist for every
photo opportunity as I approach the
subject: how does the subject look from
a high angle; from a low angle; would
it be better to show the subject as it re-
lates to the surrounding environment,
or zoom in for a close-up; are there
elements in the scene that add to or de-
tract from the composition; can I take
advantage of leading lines or colourful
elements to draw the viewer’s eye to the
main subject? All of these questions,
and more, flash through my mind as I
prepare to create some POV magic.
In the classical era of photography,
most images were shot from ground
level up to the photographer’s eye level;
today, with people shooting iPhone “sel-
fies”, GoPros capturing images from
angles that are only possible with re-
mote triggered cameras, and drones
buzzing around to capture a bird’s eye
view, people are used to seeing the
world from an entirely new perspective.
To compete with these extraordinary
new perspectives, the creative pho-
tographer has to be prepared to use a
range of techniques and equipment–
with the goal of producing an image
that captures the magic of the moment.
Summer 2016  23 
Here are my favourite ways to use the magic of POV to create
great images:
Juxtaposition
Shooting a subject from a different angle will have more im-
pact than the typical view encountered in everyday life. Lying
on the ground and looking up at a dog will have much more
visual impact than looking down on the dog. An eye-level shot
of a bird is always going to be more powerful than looking up
at a bird perched in a tree.
Shooting From Eye Level
Shooting an image from eye level is the easiest way to emo-
tionally connect a viewer to your photo. This is by far the most
frequently used POV technique for portraits and environ-
mental photos of people.
Become the Subject
Explore the perspective of a scene from your subject’s point of
view. This means that you shoot the action from the angle of
the subject. For example, imagine a Grand Prix racer’s view
of the track–and apply the concept to a wide variety of situ-
ations. This is a simple but very effective approach to many
photo opportunities.
Hotel Normandie through Percé Rock
On a corporate assignment, The Normandie Hotel in Gaspé asked me to shoot some fresh
photos for an advertising campaign. The hotel has been photographed many times from the
beach, but the owner was delighted to see the property from a different perspective. One of
the main attractions of this hotel is the view of the Percé Rock. The lighting and the time of the
day was crucial to the image, so I took a boat out just before noon to have light on the right side
of my subject, and I shot lots of pictures with my telephoto lens so the hotel appears right in the
middle of the Percé Rock.
24  PHOTO News
Michel Roy  |  Special Feature

Shoot from Below

Shooting from a low perspective will
make the subject appear important; it
will tend to dominate the composition.
A low shooting angle also gives the illu-
sion of being inside the frame, especial-
ly if the angle is really dramatic.
Shoot from Above
Shooting from above a subject allows
the viewer to feel superior to, or protect-
ive of the subject. This is often used for
animal or pet photography, but rarely
used for children or adults.
Which lens to use?
I personally don’t think that any one
lens holds the magic formula for great
POV photography. If you use your im-
agination, any lens can be used to cre-
ate a variety of perspectives in a wide
range of situations.

Crazy angle!
I have lots of photos of Northern gannets flying. If you visit Bonaven-
ture Island in Quebec you can see more than 250,000 birds in a small
area! You can take the same picture as everyone else, or you can
search for a fresh perspective. I used a telephoto lens to capture the
birds in flight, and then I switched to a 15mm lens to take photos of
the birds as they flew just a few feet above my head. Make sure you
do not disturb the natural environment or the animals, but if you have
access to a cool angle, go for it!

Wide angle fun

On a photo journey with my friend and fellow photographer Johnny
Day, we were having fun with ice melting on a spring day. The light
was harsh but I brought a couple of Speedlights that I used in wireless
remote mode. I didn’t bring any light stands, I just used my imagina-
tion and placed the flash units on the ground or anywhere it would be
possible to make them stand solid. At one point, Johnny found a piece
of hockey stick and began to play the goalie; I lay flat on the ground to
capture a cool angle and effect. The light from the remote flash helped
separate the subject from the background, and to finish the art work, I
turned the colour image into a black and white print.
 Summer 2016  25 

We know that using a wide angle

lens for a portrait will distort the im-
age, but sometimes the result can be
very dramatic or very humorous. All
Canadians have seen the view from a
“goal cam” at a hockey game, the cam-
era angle from the roof at a basketball
game, or even the underwater images
from a swim meet.
The magic of using POV to create
interesting images can add a differ-
ent perspective to your overall set of
images for any assignment–so take a
few minutes to look at the world from
a bird’s eye view, from the eye level of
a small child, through a window–like
an outsider looking in on a scene, from
the roof, from the ground… finding in-
teresting points of view can be a chal-
lenge but the results can be a lot of fun!

Practical Tips for

POV Pictures
It is always a good idea to have a
remote shutter trigger in your bag.
Wireless or not, it can be very useful
when you want to place your camera
in an awkward position. If you don’t
have a remote, use the camera’s self-
timer function, it could save the day!
Make sure that you are careful with
your equipment, and your own safety–
it is not worth taking risks just to create
photos from unusual angles.
Most of the time I shoot in Manual
mode, but Aperture priority is a good Quebec Bird’s Eye View from the Roof at Fairmont Château Frontenac
choice for unusual camera locations, The Chateau Frontenac is on top of Cap Diamante in Quebec City. From the top floor and with
as long as you make sure you have security authorisation, you can make astonishing images of the city. It feels like being in an
airplane. Make sure to ask the security staff of the hotel for permission, and for suggestions as
plenty of shutter speed to ensure a
you plan your photos. If you approach the assignment in the right way, there is a good chance
sharp image. you will get access.
I always carry a mini tripod–it can be
ideal for a wide variety of POV setups.
Don’t forget your polarizer, ND filter,
spare batteries, cards and all the ne-
cessary gear for your camera bag.
26  PHOTO News

Photo Destination
BY WAYNE LYNCH

Falkland Islands
Adventure
 Summer 2016  27 

Landing Blue-eyed Cormorant

A sign on the wall of the small airport

advised travellers not to bother the pilot with
conversation while he was flying the plane,
and not to vomit in his lap. Having been
airsick on many occasions when bouncing
around in small planes, I noted the advice
with special interest and started to search
for a handy lunch bag. Moments later, our
little red Islander aircraft was bucking and
lurching its way above the choppy waters
of Falkland Sound. Our destination was
Sea Lion Island, one the Falkland’s 700 or
so windswept isles. These remote treeless
islands are clustered in the South Atlantic,
350 kilometers east of Tierra Del Fuego at
the southern tip of South America.
During the 40-minute bounce-and-dip, we traversed much of
the eastern half of the Falklands archipelago and I was treat-
ed to the Islands’ remarkable diversity of landscapes: jagged
rocky pinnacles, blue-water lakes and ponds, deeply indented
coastlines, wave-sculpted cliffs, and great swaying forests of
offshore kelp. But it wasn’t the stunning scenery of the Falk-
lands that had drawn me 12,600 kilometres from home. I am
a lifelong critter junkie and it was the Islands’ thrilling wildlife
I wanted to photograph.
My first trip to the Falklands in 1992 was the beginning
of my 25-year love affair with penguins. Since then, I have
returned to the islands more than a dozen times and have
written six books on these popular charismatic “cool birds”.
A recent tourism brochure justifiably boasts that the Falk-
land Islands is a destination “where nature is still in charge”.
One of the most remarkable features of the islands is the in-
spiring array of wildlife – gargantuan elephant seals, quar-
relsome sea lions, unruly penguin colonies, sleek Commer-
son’s dolphins, and pods of predatory killer whales to name
just a few. The greatest delight about photographing in the
Falklands is that the birds and animals are extremely tame
and easy to observe.

Gentoo Penguins Squabbling
Where else can you walk to within a few meters of raucous
penguins, elegant albatrosses and super-sized seal pups with-
out them moving away. In fact, some of the animals, including
the penguins, will even investigate you as a harmless curios-
ity. It is a photographer’s dream–especially when you consider
that fewer tourists stroll the serene shorelines of the Falklands
annually than visit the CN Tower in Toronto in a single day.
Sea Lion Island, a mere 8 kilometres long and half as wide,
was a sheep farm but due to the decline in the global wool
market farming became uneconomical. Today, the entire is-
land is a national nature reserve. The single hotel on Sea Lion
caters to no more than 20 people at a time, and visitors can
expect to explore the island in relative solitude.
Tussock Grass, Sea Lion Island
Twenty five years ago, my photo de-
cisions were much different than they
are today. Then, Fujichrome Velvia,
with its low ISO speed of 50, was the
film of choice for nature photographers,
and in those days I didn’t own any auto-
focus lenses. Using high shutter speeds
to freeze the action was only possible on
the sunniest of days. To get sharp im-
ages I generally chose subjects which
weren’t moving much which explains
why I captured a lot of static wildlife
portraits. For moving subjects I would
sometimes resort to panning with a
slow shutter speed. Panned images,
typically shot at a shutter speed of 1/60
or less, are never razor sharp but the
purposeful blurring creates the illusion
of action and was then, and still is today,
a creative and successful photographic
technique. Back then, when I tried to
freeze the action of a fast-moving sub-
ject – an elephant seal erupting from
the surf, an albatross flaring its wings
on landing, or two penguins fighting
on the beach – I failed miserably most
of the time. In those days, when wildlife
photographers tried to sell poorly-fo-
cused action shots we often joked that
our blurry images were intentional and
that we were simply striving for a more
artistic interpretation of the subject. Not
surprisingly, editors rarely bought that
story or the images that went with it.

Black-crowned Night-heron Fishing
King Penguins About to Mate
Summer 2016  29 
Wayne Lynch  |  Photo Destination
Today, on my trips to the Falklands, I am armed with high-
ly sensitive digital cameras and ultra-fast autofocus lenses
and I avidly search for any subject where there is some action
I can freeze. Any manner of dynamic behaviour is always
more interesting than a static subject. Yawning, grooming,
calling, stretching, flapping, running, flying, fighting, eating;
all of these appealing behaviours provide a deeper window
into an animal’s life. When a photograph freezes such actions,
the viewer gets to closely examine a moment in time, a mo-
ment that normally escapes detection by the human eye. Such
photographs are often filled with delightful discoveries which
further enhance the beauty of the experience.
To succeed in capturing interesting behaviour I follow two
rules: try to anticipate the action and, just as in real estate, pick
a promising location. Skill at anticipating behaviour comes
with understanding. My success as a wildlife photographer
often results from my detailed knowledge of an animal’s life
and much of that knowledge comes from reading and library
research. For example, because I know how a female penguin
signals her readiness to mate, I’m always ready to capture the
moment when cupid comes calling, even when the event lasts
just a few seconds. When a bird or animal first wakes up after
a rest, you should be ready for some action. Often, they may
yawn, stretch, or groom which creates a more exciting photo-
graph than a subject snoozing in the sunshine.
30  PHOTO News
Wayne Lynch  |  Photo Destination

Mating Elephant Seals

Even though Selecting a promising location where

action is likely to occur seems pretty
a shutter obvious, but I don’t know how many
speed of times I have been lured to a penguin
1/1000 colony to capture pleasing close-up
second will portraits and realized later that I had
missed all the action as birds struggled
freeze most to come ashore on a wave-battered
action, the coastline, or evaded a hunting leopard
minimum seal, or reacted to a lurking giant petrel,
or fought with a rival over a landing site.
I generally By consciously considering different
try to use factors such the sun direction, the im-
is 1/1600 pact of wind on behaviour, and likely
second. travel routes and bottlenecks you’ll be
more successful at capturing memor-
able images. The take-home message
this month is a simple one, wait for be-
haviour then freeze the action.

Bio
Author Wayne Lynch is one of Canada’s foremost wildlife
and nature photographers. His latest book, the 58th of his
career, entitled Penguins: The World’s Coolest Birds, will be
released by Firefly Books in October 2016. Rockhopper Penguins Calling
32  PHOTO News

Portfolio
JOHAN SORENSEN

The Fine Art of

Fashion Photography
PHOTO News readers will be familiar with the work of photographer
Johan Sorensen, whose images have been featured in several of the
Panasonic advertising campaigns appearing in the magazine and
a range of Canadian media. Johan recently shared his experiences
shooting 4K video in a special feature in the Autumn 2015 issue.

Born in Sweden, Johan spent much of his childhood in Paris where he discov-
ered his interest for photography. Moving to Canada at age 20, Johan studied
photography at Humber College of Art, and soon found success as a commercial
photographer, which gave him the opportunity to pursue his own artistic style.
Johan’s photographs have been exhibited throughout North America and
Europe garnering international acclaim. The winner of many awards, includ-
ing Best Commercial Photographer of the Year (Awarded by Kodak), Winner
of French Photo’s Charm Category Annual Contest (published in French Photo
as a cover), and the Best in Class Award for Figure Study by PPO, among many
other awards.
Johan’s work has also been published in countless magazines including
PHOTO SELECTION, French PHOTO and PHOTO News.
For more than 18 years, Johan has shared his skill and his love of photog-
raphy with students at Humber College in Toronto. Constantly perfecting his
craft, his efforts as a photography instructor were recently acknowledged when
he received the Continuing Education Teaching Excellence Award from Hum-
ber College for his outstanding work.
We asked Johan to share a few of his favourite images, and his thoughts on
professional fashion photography.

Bio
For more images and an update on current projects,
follow Johan Sorensen on Facebook
www.facebook.com/JohanSorensenPhotography
 Summer 2016 33 

Cloud photo
I shot this using the sunlight
and contrast of the cloud as
a natural backdrop.
1/800 second, f/16, ISO 200.
34  PHOTO News

Ice Queen
I used a 64-inch soft box
and a Speedotron.
f/8, 1/160 second, ISO 200.

The art of photography has been

a Sorensen family tradition for three
generations. My grandfather was an
avid photographer and my mother, like
her father, enjoyed photography and
was constantly taking family photos. I
picked up my first camera when I was
10 years old; my father brought home
the latest 35mm film camera and af-
ter a few failed attempts, he gave up
and tossed it aside. Curious, I took the
camera in my hands and commenced
shooting alongside my mother. A year
later, my little sister was born and she
became my first and life-long model.
My grandfather’s camera sits on my Fashion photography has allowed me to express my crea-
shelf alongside all of the film cameras tivity and love for fashion, which I carried with me to Canada,
that I have used. but began as a child growing up in Paris. It is important when
My two main areas of interest are working in fashion photography to have an understanding of
commercial and fashion photography. the fashion industry. I worked as fashion model when I was a
Commercial photography enabled me child at the age of 10. Being immersed in the fashion indus-
to master the technical skills needed try, I began learning about the different garments and how to
to become a successful photographer. interpret them to get a certain look or design. On the location
The most important of these skills are set, I would observe how the photographer would use differ-
the ability to create a strong compos- ent lighting techniques and incorporate light boxes to get a
ition, understanding the goals of product certain look. I could see all the work and preparation that went
photography, and the art of lighting tech- into creating and setting up the proper environment and com-
niques that evoke emotional reactions position, although at the time, I didn’t know that is what they
that we often refer to as “image impact”. were doing. I just loved being a part of it.
 Summer 2016 35 
Portfolio | Johan Sorensen

Blue Girl
Lumix GX8, Leica 42 mm
1.2, f/8, 1/160 second,
ISO 200.
36  PHOTO News

When you work as a fashion photographer, it is important

to have solid background knowledge of the classic looks, plus
the trends of today and the future. This will help you to evolve
as a photographer, always working at the leading edge of the
medium. Fashion and the image impact can be in today, but
look tacky tomorrow. If a hairstyle is too trendy, or the model’s
makeup or dress length is dated, these type of details can im-
pact your image and make it look like yesterday’s news. You
want to pick clothing styles and universal themes and com-
position that will make your image timeless.
In Europe, the designers like to take a lot of risks with their
designs. They are not afraid to create controversial pieces. A
lot of the clothing is sexy and many times influenced by the
art and architecture that is found in Europe. Art such as paint-
ings, sculptures, and architecture influences fashion. The de-
sign, its shape, colour and the mood or style being created is
often inspired from the environment. In North America, the
fashion is much more conservative and consumer friendly.

In Europe, the designers like to take

a lot of risks with their designs. Hoopa Girl
I used a 64-inch soft box and two lights on the
background, f/8, 1/160 second, ISO 200.

Fan Girl
Photographed with a Lumix GX8 Lens Leica
42 mm 1.2, f/8, 1/160 second, ISO 200, using
a 22-inch silver dish from the side and two
lights on background.
 Summer 2016 37 
Portfolio | Johan Sorensen
As a fashion photographer it is im-
portant to know how culture impacts
fashion and many of the trends that
are created. What is happening polit-
ically, socially, or economically with-
in a country or culture influences and
can be seen in the latest fashion trends.
A perfect example of this was during
WWII, when women suddenly became
responsible for working in the factories,
and the fashion industry started creat-
ing boxy, padded jackets and pant suits
for the women to wear socially, and this
reflected the changing roles of women
in North America. Today, you can fly to
the Middle East or India and see women
wearing colourful, fashionable head
scarves that once were more sombre
looking. Fashion is always evolving; it
is a reflection of life and culture.

Fashion Photography
is a Team Effort
A fashion photographer never works
alone. The photographer will work with
a team which often consists of a fashion
stylist, hairstylist, and makeup artist.
The team will assist the photographer
in executing and creating the image that
the photographer wants to portray. I like
my fashion images to be simple in tech-
nique, but complex and powerful in com-
position which incorporates lighting.

Trampoline photos
Capturing the height of
the jump at the apex as
the model bounced on
a trampoline. I used a
64-inch soft box and two
lights on the background,
shooting at f/8, 1/160
second, ISO 200.
38  PHOTO News
Portfolio | Johan Sorensen

It is important to have a good con-

nection with your team and to create a
comfortable environment for the model,
who can then feel free to express herself
in order to transmit the message that
you, as the photographer, are trying
to convey. Sometimes, I don’t need to
know the model well, first impressions
along with the clothing can shape the
image and I use the camera to express
my point of view. I use only one cam-
era during the shoot, and one lens, a
medium to long zoom.

Red Stockings - I used fill flash with a 36 inch octabox, shooting at f/16, 1/160 second, ISO 200.

Alien Bee, Paul C Buff, Einstein and Vagabond are not CSA approved lighting gear so we have to
be very careful not to mention or appear to promote those products.

High Heels
I shot this photo with the Lumix GM1
and LUMIX G VARIO 12-32mm lens, f/8,
1/160 second, ISO 1600.
Lighting
I usually use a six foot Octabox and a reflector, or I combine it with
36 inch strip lights and maybe a spot light. I prefer to work with one
light only to keep the flow of the shoot and allow me to focus on
model and clothing. Simplicity is the key to beauty.
My greatest influences have always been Richard Avedon, who
was the main fashion photographer for Vogue Magazine from
1966 to 1990; Irving Penn, who was the father of modern fashion
photography; and George Hurell, a glamour photographer in Holly-
wood during the 1930s and 1940s. They have created what we
call today, the “modern fashion photography look”. I incorporate
their lighting techniques and great composition into my images,
learning from the masters themselves is the foundation for fine
fashion photography.
40  PHOTO News

Perspectives
BY KRISTIAN BOGNER

Taking ISO to the Limit

NEW TECHNOLOGY MAKES HIGH ISO PRACTICAL

Drummer Girl
I shot this image
hand held at

ISO PHOTOGRAPHY
an incredible
ISO 12,800 on
the Nikon D5. In
order to push the
camera ISO and
still get a really

P R A C T I C A L
clean image, I
made sure that
my exposure was
perfect in camera.
I focused on the
eyes of the girl
using single point
focus selection to
draw the viewer
into the image.
Nikon D5, AF-S
Nikkor 70-200mm
f/2.8 ED VR II lens
at 130mm, f/4 at
1/400 second at
ISO 12800.

Bio
Kristian Bogner is a
commercial, archi-
tecture, adventure,
fashion, sports
photographer, and
brand Ambassador
for Nikon Canada,
Broncolor Canada, ISO Sensitivity–An Introduction
and other suppliers. In my opinion the biggest advancement in photographic tech- needed to produce a desired image is
For some inspiration
and more pro tips nology within the last few years has been in the ISO capabil- determined by the ISO sensitivity of
check out ities of digital cameras. Photography is built on the three pil- your digital camera sensor. Whenever
kristianbogner.com lars of exposure: shutter speed, aperture and ISO sensitivity. you double the ISO, for example from
or attend one of Shutter speed and aperture are controls for adjusting how 200 to 400, the camera needs only half
his photography
workshops: much light comes into the camera, while how much light is as much light for the same exposure.
photographicrockstar.
com
 Summer 2016  41 

Too much high ISO noise reduction can

soften or over-smooth the image and
make it look worse than the original noise.

The advantage of a higher ISO is the

ability to shoot with less light, for ex-
ample, indoors, but the disadvantage is
an increase in the digital equivalent to
film grain which is called “noise.”
Finding Balance
and Testing Your Limits
Finding a balance between acceptable
noise and having enough light to shoot
at the shutter speed you need to get a
shake-free image is a key component
of a technically superior image. Most
recent digital cameras can get good
results at settings up to 1600 ISO. The
king of high ISO cameras, the new
Nikon D5, can get images with very
little noise well over 12,800 ISO and
can shoot up to an incredible 102,400
ISO. On the D5, ISO has become im-
portant enough to create a new ISO
button on the camera right near the
aperture and shutter speed dials so
that you can adjust it with the same
finger as your aperture and focus,
this took me a bit of getting used to,
but now I love that I can change ISO so
easily and quickly.
Get to know your own camera, test
it at different ISO settings and find out
what your maximum ISO setting is that
will still give you acceptable noise for
the output you are looking to achieve.

Flower Markets of Hong Kong High ISO Noise Reduction

It was raining and I was shooting with one hand and holding an umbrella with the other Most cameras that have higher ISO
as I strolled through the beautiful flower markets of Hong Kong. I used an ISO of 2500 to settings also have different settings for
allow me to shoot at a minimum of 1/500 second with enough depth of field to assure reducing the amount of noise in the im-
that I captured sharp and shake-free images with one hand. I love my new Nikon 24-
70mm lens, the VR helps with any movement or vibration, the lens is tack sharp and in age. I generally start with this setting
my opinion feels better and more balanced than its predecessor. at LOW or MEDIUM and when really
Nikon D5, AF-S Nikkor 24-70mm f/2.8E ED VR lens at 34mm, f/6.3, 1/500 second, ISO 2500. pushing the camera to its limit I switch
to HIGH noise reduction.
42  PHOTO News
Man Mo Temple
I shot hand-held with a high ISO setting at the beautiful Man Mo
Temple in Hong Kong because many temples do not allow tripod use.
I set my aperture to f/5.6 to get a lower ISO and used a 14mm focal
length for the perspective as well as the great depth of field.  I used
in-camera Active D-Lighting set to NORMAL to help make the smoke
and other mid-tone details pop. Nikon D5, AFS-Nikkor 14-24mm
f/2.8G lens at 14mm, f/5.6 at 1/80 second, ISO 3200.
Too much high ISO noise reduction can soften or over-
smooth the image and make it look worse than the original
noise. Again, test these different settings with your camera,
zoom in to 100% and evaluate which works best for you. Note
that one of the many benefits of shooting in RAW is that you
can change your high ISO noise reduction setting after the
fact without losing any image quality.
Auto ISO–For Fast Changing Environments
A fantastic feature on many new digital SLR cameras is Auto
ISO. You can turn this on to allow you to set your desired shut-
ter speed and aperture and let the ISO automatically adjust
to give you the correct meter exposure. You can then use ex-
posure compensation to fine tune your exposure if necessary.
This feature is especially helpful when your environment is
Horse Racing
Another hand-held shot, I needed an ISO of 8000 in order to be able
to shoot at 1/2000 second at 500mm with this big but lightweight
lens. At 500mm I would recommend a minimum of 1/2000 second
for a sport like horse racing in order to avoid any camera shake and
movement from quick panning. A monopod would have been useful
in this situation to help balance the lens and reduce any movement.
Nikon D5, AF-S Nikkor 200-500mm f/5.6E ED VR lens at 500mm,f/6.3,
1/2000 second, ISO 8000.
 Summer 2016  43 
Kristian Bogner | Perspectives

quickly changing.
For instance, if you are shooting
from a moving vehicle or if fast mov-
ing clouds are providing varied sun
and cloud shadow conditions or really
in any situation where the exposure is
dramatically changing very quickly, yet
you want to maintain a specific depth
of field and shutter speed. Some cam-
eras will also let you manually set a
maximum ISO for Auto ISO and it will
flash or tell you when you have maxed
out on sensitivity settings within your
acceptable range and you might need
to reduce shutter speed or open up your
aperture by a stop or two.

Exposure Precision is Key to

Pushing ISO
One of the main things you can do to
push your ISO capabilities to the limit is
to get perfect exposures right out of the
camera. My motto “Excellence-In, Ex-
cellence-Out” really holds true here. If
you are, for example, shooting at 3200
ISO and have perfect exposure with
high ISO noise reduction on MEDIUM,
then your image will very likely look
quite good. However if you under-
expose, even by a stop, and then try to
brighten it later in Photoshop or another
image editing application, you will real-
ly see the noise come out and the result
will often be unacceptable for many
applications. Noise hides especially in
the shadows of your image so try to
keep that in mind with your exposure.
D-lighting is a fantastic feature but it
can also sometimes affect noise levels
at very high ISO settings. Try turning
D-lighting off or down lower if you are
seeing high noise levels.

Lazer
The D5’s new focusing system is very
accurate shooting in very dark conditions.
For this shot I pushed the camera to 10,000
ISO and I set my saturation to FULL in the
D5 picture control settings. Nikon D5, AF-S
Nikkor 70-200mm f/2.8 ED VR II lens at
90mm, f/4, 1/400 second at ISO 10,000.
44  PHOTO News
Kristian Bogner | Perspectives

Bird
I knew I would need an extremely fast shutter speed to freeze the bird in action, so I set the camera to 1/4000 second
and aperture to f/9 to ensure enough depth of field if the bird moved a different distance from the camera.  I turned
the camera to AUTO ISO and the D5 meter set the ISO automatically to 1250. With AUTO ISO you can use exposure
compensation if you have to make micro adjustments. Nikon D5, AF-S Nikkor 70-200mm f/2.8 ED VR II lens at 200mm,
f/9, 1/4000 second, AUTO ISO at 1250.

High ISO to Increase Flash Power
As a commercial photographer, high
ISO capabilities have been a game
changer for me and if you ever shoot
with flash it can be for you as well. The
same flash at 800 ISO is now 8 times
as powerful as it was at 100 ISO. That
means that even a single small flash
can light up an entire room that at
one time only large and very power-
ful studio lights would have been able
to achieve. Additionally, for shoots like
fashion photography or weddings, you
can shoot with a bit higher ISO and re-
duce the flash output to preserve battery
life and speed up recycle time. I recently
did a fashion shoot with my Nikon D5
at 400 ISO and Nikon SB-5000 radio
controlled flash at only 1/4 power with a
soft box on it and I couldn’t believe how
fast it recycled for the entire shoot. High
ISO can also make lower cost LED video
or continuous tone lights an option for
many shoots.
Use ISO to Freeze the Action
High ISO can be a key aspect to getting amazing sports or any
fast action images. Don’t be afraid to push your ISO to really
stop the action. Remember most fast sports require at least
1/2000 second to freeze the action, especially with a long
lens. Increase your ISO to make sure you can get there and
follow the other tips in this article to fine tune and check the
quality and noise levels to find your perfect balance.
Upgrade
I normally encourage that photographers make the most of
their existing equipment, but ISO is one area where cameras
are getting better and better each year, even in the base mod-
els. If your digital SLR is more than a few years old and you
want to really utilize ISO capabilities over 1600 ISO you might
want to consider a newer model.
I hope this encourages you to take your ISO capabilities
to the next level and to get better images with greater ease in
any situation.
For more fashion photography tips and videos check out
Kristian’s photo blog at kristianbogner.com or sign up for
one of his photography courses in the Rocky Mountains and
throughout Canada at photographicrockstar.com
46  PHOTO News

TECHNIQUE
BY MICHAEL DEFREITAS

Drawing Attention
Utilizing frames and leading lines help to focus attention

Tolimán volcano, Lago de Atitlán, Guatemala.

Use of framing on sides and top. Nikon D700,
70mm, f4.5, 1/60 seccond, ISO 200.

As I waited for the sunrise to wash over Guatemala’s
Tolimán Volcano, towering over Lake Atitlán, I reviewed
the composition on my camera’s LCD screen. Sandwiched
between a large expanse of clear sky and open water, the
volcano seemed isolated and unappealing. I needed to find
a way to create more interest and focus a viewer’s gaze
on the lovely light hitting the top of the volcano.
Summer 2016  47 
I relocated my tripod behind a palm
tree and composed the shot with a few
palm fronds wrapping around the top
and sides of the scene. The silhouetted
branches added a bit of drama (like
peeking through the bush) and helped
draw the viewer’s attention to the vol-
cano. A shallow depth of field softened
the frond’s impact. Happy with the re-
sult, I moved a few more times, finding
other things to “frame” the volcano.
In previous columns we discussed
the rule of thirds and how it helped to
focus a viewer’s attention to the area of
the image you wanted to emphasize.
Frames or borders are other tricks pro-
fessional photographers use to draw
attention to a particular area of an im-
age. They have the same impact as
framing/matting a picture to hang on a
wall. The frame/mat forces viewers to
seek out the subject within the frame.
It quickly draws the viewer’s attention
into the image and onto the subject.
Welcome to Las Vegas sign, Las Vegas,
Nevada. The direction the girl is pointing the
camera forms a subtle leading line. D800,
236mm, f11, 1/125 seccond, ISO 100.
48  PHOTO News

Great Wall of China,

using framing and
leading line. D700,
24mm, f/11, 1/125
second, ISO 200.

We all have
a natural
tendency
to follow
lines, so
using them
to “point”
to centres Looking out a window at Port Lockroy, Antarctica.
of interest D800, 28mm, f/8, 1/50 second, ISO 100.

in your
photo can
produce
more Framing can be obvious (like using a window or other
“hard” object), or it can be subtle (like a red rose amid a back-
dramatic ground of green foliage). The “frame” does not have to com-
images. pletely surround the subject to work well. Sometimes, a bit of
framing across the top or along the sides works just as well.
Arches, windows or doorways make great frames. For best
results I try to keep the frame out-of-focus.
On a recent trip to Antarctica I used separate panes of an
old wooden window at the British Port Lockroy research cen-
ter to frame the flag, shed and penguin. To make sure that the
PRO TIPS A FEW EXTRA FRAMING TIPS
• Don’t let the frame or leading line become the focus of the image unless that
is your intent. Try making frames soft or silhouetted and have your leading
lines pointing to something interesting.
• For greater impact, try to place the main subject of your image on one of the
“rule of thirds” intersections or lines within the frame or the scene.
• Most framed and leading line shots require a medium wide-angle lens (some-
thing in the 28mm-35mm range). A really wide-angle lens tends to make
your point of interest too small and distant and your framing large and
imposing (because it’s closer).
• Leading lines such as roads, trails and paths tend to work best when shot from
a low angle. This makes it easier to place both sides of the road or path in the
lower corners.
window frame didn’t overpower the scene
I utilized a fairly shallow depth of field
and focused on the scene outside, which
rendered the window frame dividers out-
of-focus. The hardest part of the shot was
waiting for all of the subjects to cooperate.
Using leading lines is another simple
technique to help you focus attention or
draw a viewer’s eyes towards an import-
ant area of the image. We all have a natural
tendency to follow lines, so using them to
“point” to centers of interest in your photo
can produce more dramatic images. Like
frames, leading lines can be obvious (like a
road or trail leading up to some mountains)
or subtle (like someone pointing or looking
towards your point of interest). I try to use
as wide a depth-of-field as possible so the
lines and what they are pointing to are all
in focus.
Last year in Las Vegas I was having
some difficulty coming up with a ‘dif-
ferent’ image of the iconic “Welcome

to Las Vegas” sign. Then a small bus
of tourists pulled up and I got one of
them to help me out. I positioned the
young girl in the lower right of the
frame and used her extended arm
holding up her camera to point the
way. Not an award winning shot be
any means, but different.
China’s iconic Great Wall is one of the
most photographed subjects on earth.
Getting an interesting photo, however,
can be difficult as many photographers
run the risk of having the scene speak
for itself. As I walked the wall last sum-
mer, I looked for ways of using aspects of
the wall to create greater impact.
I decided to try and use both fram-
ing and leading line techniques to ac-
centuate the wall snaking across the
emerald green mountainsides. I used
an arched opening in one of the guard
posts along the wall as my frame and
the ramparts as my leading line.
Summer 2016  49 
Michael DeFreitas | Technique
Red Rock
Canyon National
Leading lines tend to work best when they originate in Conservation Area,
one of the lower corners of your image and run diagonally Las Vegas, Nevada.
upwards towards the center of the image. Roads, paths and S curve leading line.
trails provide strong leading lines especially if you can pos- Nikon D800, 35mm,
f/16, 1/125 second,
ition both sides of the road or path in the opposite lower cor- ISO 100.
ners of your scene. “S” curves (like a road or trail) also pro-
duce strong leading lines. Using the curving road in Nevada’s
Red Rock Canyon helped to lead the viewer’s eyes from the
bottom left corner of the frame to the park’s signature moun-
tains in the distance.
The most difficult part of using leading lines and frames is
finding them. It takes a bit of practice to visualize them, so be-
fore your next trip abroad, practice finding and using frames
and leading lines around your neighbourhood.
GEAR UP
Ready To Take It To The Next Level?
Frames and leading lines tend to work better for vertical shots. Sometimes
it takes a while to compose the shots, and holding your camera in the vertical
position for extended periods is tiring. Luckily, most DSLR camera manufactur-
ers make vertical grip attachments that screw onto the bottom of your camera
body. The grips have similar ergonomics to your camera’s regular side grip and
include a shutter release button, making it much easier to compose and hold ver-
ticals shots without contorting your arms. Vertical grips typically run $200 -$250.
50  PHOTO News

BY MICHELLE VALBERG

PHOTO DÉCOR

Printing, Framing,
and Display

I knew he was there. I could feel him, even if I couldn’t see him.
I adjusted my eyes through my camera lens and after blindly
focusing for a microsecond, there he was: a powerful male polar
bear, peering at me silently from behind a snow-covered spruce
tree near Churchill, Manitoba.
I don’t know what tipped me off to this nanuq’s presence—maybe
a slight shaking of snow off the tree as he positioned himself to
watch me. Whatever it was, it was enough. My camera whirred
and I captured the moment.
 Summer 2016  51 

A combination of framed
fine art, metallic and matte
canvas pieces at Michelle
Valberg's Arctic Kaleido-
scope exhibition at the
Trinity Art Gallery in the
Shenkman Arts Centre in
Ottawa, Ontario.

A year later, I opened my 3-month solo exhibition at the Can-

adian Museum of Nature in Ottawa. I watched people react
to my images. Big, bold and printed on Hahnemuhle Fine Art
Monet canvas to nearly life-sized proportions, I was thrilled
that they accurately reflected my own experience.
People walked past, looked, and then did a double-take.
Their eyes widened in wonder and some gasped involuntarily.
“Wait a minute, is that a… oh my God! It’s a bear! He is so hidden,
I didn’t see him!”
At that moment, I knew that I had accomplished something
very special, not because I had travelled so far into Canada’s hin-
terland, or lost feeling in my fingers countless times, or even that
I had managed to get that particular image–I felt accomplished
because in an age of digital everything, the physical, printed im-
age still had the power to take someone’s breath away.
52  PHOTO News
Michelle Valberg  |  Canadian Angles
Of course, displaying your best images is not as simple
as hitting ‘print’. Before you run out to buy the latest and
greatest printer, stop to consider the end result you want to
achieve. Where will your art be displayed? How much wall
space will you have? Will your image be framed? Or do you
prefer a gallery canvas stretched over a frame? All of these
decisions will lead to multiple options for paper, canvas and
hanging choices.
Paper
It seems simple enough—get a good art paper that won’t fade.
But nothing is that straight forward. My preference is Hah-
nemuhle Fine Art paper (my personal favourite is the Photo-
Rag 308), which is versatile and ideal for printing either black
and white or colour, all while delivering impressive pictorial
depth. It is a consistent, high quality archival paper that will
highlight your work with its fine, smooth surface. If you can’t
decide which stock to choose from, try their sample pack.
Canvas
Hahnemuhle makes one of the best canvas options, such as
their Monet canvas, named after the famed French impres-
This wallpaper sionist. It is a natural white that works well for high quality
image of ice taken photo printing. Another option is the metallic canvas, a bright
by Michelle in the white with an extravagant metallic gleam. The novel surface
Arctic hangs over impresses with an elegant silver and pearlescent gloss. The
a bed and adds a
metallic finish on a fine structured fabric ensures an extremely
pop of colour. The
original idea was to lively and appealing image effect. I used this paper on numer-
use the entire wall ous pieces in a recent exhibition at Ottawa’s Trinity Art Gallery
but too much of the at the Shenkman Arts Centre. But the metallic does come with
image would have one recommendation: it’s great for landscapes and wildlife im-
been hidden by the
bed, lights and table, ages, but does not work well for portraits.
so the client opted
for a centrepiece in
the bedroom.
Awagami Paper
There are times when paper and canvas
are not quite enough - your inner artist
craves the kind of challenge that comes
with experimenting with new, innov-
ative and exotic textures. That is cer-
tainly what I found when I discovered
Awagami Japanese rice paper. This
whisper-thin inkjet paper is a revolu-
tionary product used by photograph-
ers, artists and designers. It comes in
what’s called a ‘Kozo Double Layered”
form, so that the printable side is com-
posed of kozo paper and the disposable
backing is made from pulp mix that can
be peeled off.
I have used this paper with aston-
ishing results. When backlit, the photo-
graphs are beautifully artistic. To re-
tain that ephemeral quality, I wouldn’t
recommend framing your images, as
they will lose their translucency. Rath-
er, I experimented with hanging them
on a divider, for an exhibition at the Wall
Space Gallery in Ottawa. The result al-
lowed for movement and created a dy-
namic treat for the eye.
Wallpaper–the Ultimate
Photo Print
Forget your mother’s prized mural of a
Hawaiian sunset that overlooked your
1970s childhood living room. Today’s
wallpaper is something else altogether.
You can print oversized murals and
hang them in offices, at home or public
spaces without losing image quality.
And don’t worry about that tedious re-
moval process. Today’s printable wall-
paper is made with a removable, re-
usable and positional adhesive. It sticks
to virtually any painted surface, in all
room temperature changes and can be
easily removed with a 99 percent guar-
antee the surface will be residue-free.
The material does not rip or wrinkle
and is not required to be removed over
a certain period of time.
Framing the Print
Sometimes as photographers, we forget
our audience and get caught up in cap-
turing the moment. It’s easy to get car-
ried away with technique, equipment
and composition. But there is always a
viewer, someone who will be impacted
by your creativity.
 Summer 2016 53 

Michelle's oversized wallpaper murals flank the long hallways in the

Ottawa Hospital, filling the space beautifully and adding colour and
dimension to the otherwise sterile environment.

foot long canvas, but if it’s more than

three-quarters the width of your couch,
it will overwhelm rather than animate
the room.
Finally, consider the overall space
when hanging your work, rather than
just focusing on how much you love that
one image. The right setting will create
a visual context for your creativity. Af-
ter all, as the late American philosopher Michelle
Thomas Merton once noted, the com- participated in a
position of an interior space, particular- group exhibition
at Wall Space
ly with art, “enables us to find ourselves Gallery in Ottawa
and lose ourselves at the same time.” called Paper. She
photographed the
interior of the old EB
Want to know more? Eddy Building and
Check out www.michellevalberg.com printed her work
I am often reminded of that through my largest permanent on mixed mediums
for details on a printing workshop I will be
display, at the Ottawa Hospital Cancer Centre. The collection which included the
hosting with representatives from Amplis
is called ‘Trust, Faith and Hope” and was put up in the hos- Japanese Rice Paper
and Epson. called Awagami.
pital’s corridors as a sort of passive therapy. I often receive
emails or phone calls from patients visiting the cancer centre,
who say that at their time of crisis, my images transport them
to a better place, if only for a short time.
Let your photos do the same for those around you. The
number one step is choosing a professional framer. That may
seem a huge expense if you’re planning on framing every
family portrait for your brag wall—but it’s an excellent invest-
ment for your best pieces.
After you’ve tried a few framers, you’ll find one you love.
For me, that’s Wall Space Gallery in Ottawa, because of their
professional handling of all sorts of art, vast array of frames,
glass, paper and production services that can transform your
favourite image into something worthy of an exhibition.

Displaying Your Work

People are often taken aback by the surprisingly few number
of photos I have displayed in my home. It’s not that I don’t love
looking at my photos, it’s just that there is a time and a space
for every image—but not all of them at once. Too many images
on too many walls create a cluttered, busy look that actually
detracts from the integrity of your featured image.
For big photos, allow them the space to breathe. Small-
er images can be grouped in clusters two inches apart for a
more modern, contemporary look, but generously propor-
tioned pieces should be given a little elbow room. A large im-
age can lend depth to a space. Sometimes, the texture, colour
and subject can compliment the wall’s materials, like brick,
barn wood or plaster.
Once you have chosen the space, follow the ‘gallery
height’ rule and position the piece 57inches or 145cm from
the ground. Regardless of the size, use two hooks, chosen for
weight allowances. Also remember to keep things propor-
tional. You may have printed that photo from the lake on a six
54  PHOTO News

ON ASSIGNMENT    
BY PETER K. BURIAN

What’s In My Bag
AND WHAT’S IN MY POCKET?
In late spring, I travelled to England to shoot stock images
of iconic scenes in London and further afield.

This was an ideal opportunity to answer

a question that has often come up–when
a serious photographer travels, what
equipment goes in the camera bag… and
what do we carry when we just want
to go for a leisurely walk? I often cover
many kilometers on my photo adven-
tures, strolling along crowded streets
and riding public transit. I always pack a
bag with the pro gear needed for my as-
signments, and always carry a compact
camera for the times when I just want to
travel light. For this trip, I borrowed some
gear from a couple of manufacturers.

What’s in my bag?
My choice of camera was the new Pana-
sonic Lumix DMC-GX8. This is a 20.3
MP semi-pro model in a splash and dust
proof magnesium alloy body. At full
resolution, it can shoot at 10fps (6fps
with AF-C) and the nearly silent AF sys-
tem is highly effective. As a bonus, this
camera can record 4K or full HD video.
For the standard lens, I chose the
Lumix G X Vario 12-35mm f/2.8 As-
pheric (24-70mm equivalent) with an
Ultra ED and four aspherical elements
and POWER O.I.S. stabilizer. Like the
camera, this 305 gram model is splash
and dust-proof, always an asset during
spring in England. For extra reach, I
selected the compact and lightweight What’s in my pocket?
(520 gram) Lumix G Vario 100-300mm
f/4-5.6 (200-600mm equivalent) tele- Every serious photographer I know carries a small high-qual-
photo. Extras included a DMW-FL360L ity camera with built-in lens that can fit into a jacket pocket
flash, polarizing filters, extra SD cards or purse. This take-anywhere camera is useful whenever it’s
and a Visible Dust cleaning kit. not practical to carry a full camera bag. For this trip, I picked
 Summer 2016 55 

Another Ideal Travel Kit:

a 20.1 MP Lumix DMC-ZS100 with a
large 1-inch type sensor and a Leica
DC Vario-Elmarit 25-250mm equiva-
lent lens for fine image quality. This is
a full-featured model with many analog
controls and a logical menu layout.
Bag and Tripod
My favourite style of camera bag is a
sling, but a backpack is very comfort-
able when walking long distances. Van-
guard Canada loaned me a case that
proved to be the best of both worlds.
For this trip I chose an aluminum four
leg-section Vanguard VEO 204AB trav-
el tripod with three leg angle options,
a rapid column rotation feature and
strong, flip-type locks. Though very
compact (folding down to 39.5cm) and
lightweight (1.27kg) this tripod boasts a
maximum height of 1.35 metres and a
minimum height for low angle use of a
mere 18.4cm. The ball head features an
Arca-style quick release system. This
VEO model had more capacity (4kg
load) than I ever required and was sur-
prisingly rigid.
DSLR With Tamron
16-300mm F3.5-6.3
Di II VC PZD Lens
While a mirrorless interchangeable-lens system is particularly com-
pact and lightweight, readers who own a DSLR kit might prefer an
alternative to record their travel memories. The best bet would be a
multi-purpose lens such as the Tamron 16-300mm VC PZD model,
roughly a 24-450mm equivalent. In England, my back-up system in-
cluded this versatile zoom on a mid-size Nikon DSLR for a total weight
of 1625 grams.
The great range of focal lengths and the close focusing ability should
meet most shooters’ needs and they’re all packed into a surprisingly
compact moisture and dust resistant barrel. The Tamron 16-300mm
has a high tech vibration compensation stabilizer (VC) and Piezo Drive
(PZD) ultrasonic motor for fast, nearly silent autofocus. Surprisingly,
it also boasts three Moulded-Glass Aspherical elements, two LD and
an XR plus a UXR (Ultra-Extra Refractive Index) element to correct all
types of aberrations.
Image quality was excellent at the most-commonly used focal
lengths from about 16mm to 270mm particularly at around f/8 to
f/10. My best photos made beautiful 16x24-inch prints.
Considering its fine performance and many features, this Tamron
model is a fine choice for any occasion when you don’t want to car-
ry a full camera bag. Whether tucked into a hip pack or slung over a
shoulder, the weight and size of this versatile lens (on a compact or
mid-size DSLR) make it a very good choice for travel and touring.

Evaluation
The kit that I had selected for this trip
proved to be versatile and highly com-
petent. The very small Lumix DMC-
ZS100 got more of a workout than I had
anticipated. The resulting images were
fine for 11x17 inch reproduction.
The water-resistant construction of
the DMC-GX8 and the 12-35mm lens
was useful on a rainy evening while I
was shooting city scenes while the VEO
tripod enabled me to get razor sharp
photos inside the dark Warwick castle.
The resulting low ISO images are suit-
able for 16x24-inch prints.
The Vanguard bag was ideal in both
the backpack and the sling configura-
tion. I had been warned that pick-pock-
ets were active during the changing of
the guard at Buckingham Palace, so the
sling position offered more security than
would be possible with a backpack style. These photos–made at the same location at 16mm and at 300mm–illustrate
the versatility of a wide angle to telephoto lens. (In Oxford, UK At f/10; ISO 320;
Nikon D7100.) (c) 2016 Peter K. Burian
56  PHOTO News

TECHNIQUE
BY CHRISTIAN AUTOTTE

Let it Rain
For many people, the art of photography is a fair weather activity–
only to be enjoyed when the sun shines brightly overhead. In the real
world, we are surrounded by photo opportunities, and some of the
best pictures ever made were shot in the worst possible weather.

Why do people hesitate to take their camera out in bad weath-

A simple raincoat for cameras made up of a
plastic bag equipped with a tie rope to fix it
around the lens shade.
er? Perhaps because in the early days of photography most
camera equipment was unable to withstand anything more
than a light rain, and film required a fair amount of light to
produce good results. This obstacle has been surpassed in
recent years by cameras and lenses that are weather sealed
to withstand the elements. Your only reason to stay indoors
on a rainy day is your own preference to avoid colds and wet
weather.
Today, there is no reason to avoid foul weather photog-
raphy, and the images captured on a rainy day can be quite
spectacular.
The first order of business is to see to your own comfort.
Dress for the weather conditions–wear good rain gear, dry
boots, a hat and gloves if necessary. In colder weather, make
sure to stay warm; it is very hard to concentrate on photog-
raphy when you are cold and wet. Next order of business: the
equipment. Cameras have evolved a lot in the past few decades.
Modern digital cameras are much better at shooting in low
light than their film counterparts. Don’t hesitate to increase the
ISO as needed, especially if you are working without a tripod.

More advanced cameras, usually
considered as “pro” or “semipro”, are
weather sealed. While it may be re-
garded as an advantage, do not put too
much trust in the viability of those seals.
Weather seals are meant as a protection
against moisture and not a guarantee
that shooting all day long in pouring rain
can be done with impunity. Keep in mind
that not all lenses are weather resistant.
Fortunately, cameras can be outfitted
with rain gear. The simplest accessor-
ies look like large plastic bags with a
draw string that can be fixed around a
lens shade. Add a clear filter for protec-
tion and no rain or snow can harm your
valuable equipment. I always carry a rain
cover in my gadget bag and in all my
A rainy spring day years of shooting in the rain I have never
and a macro lens lost a camera to bad weather. Obviously,
mounted on a changing lenses in a downpour is not
tripod, that’s all it
took to shoot this
a good idea. Consider using a zoom or
beech bud and rain two bodies equipped with different focal
drops. 100mm length lenses. On the other hand, be-
macro 1/60 second ing limited to one focal length can be a
at f/10, ISO 640 stimulating challenge to your creativity.
Summer 2016  57 
Dew can be just as good as rain and just as wet.
Walking in dew can be unpleasant; dropping your
equipment in dew covered grass would be as well…
100mm macro 1/13 second at f/9, ISO 400
The right camera bag can make or break your enjoyment
of a rainy day excursion. Your bag should be as waterproof as
possible if you plan to go walking in the rain. Some outdoor
enthusiasts will keep moisture absorbing material (silica
gel) inside the bag, which can be a good idea with cameras
that are not weather sealed. Bring along a microfibre cloth to
wipe drops of water off the front of your lens. At the end of your
adventure, open the bag to let it dry, and check and clean the
equipment.
A clear blue sky doesn’t add much to a landscape, but dark
skies and slashing rain or heavy snowfall can result in dra-
matic pictures. One thing bad weather can do is create a new
type of perspective by blurring out distant details. This creates
an impression of depth that can be achieved no other way. This
is a well-known effect of fog, but it can be just as dramatic in
heavy snow or rain.
Shutter speed can be important when shooting the ele-
ments. A shutter speed that is too slow will make falling rain
or snow virtually disappear. If the effect you want is similar
to that of fog, set the camera on a tripod and reduce the shut-
ter speed. For a different effect use the fastest shutter speed
possible, increasing the ISO if necessary. This is one situation
where the increased grain of a high ISO may actually improve
the final result. Fast shutter speeds will make individual drops
or snowflakes visible; try experimenting by bracketing your
shutter speed settings.
58  PHOTO News
Christian Autotte | Technique
In macro photography, especially with flowers and other
plants, rain can add a richness of colour that makes picture
pop. The water drops themselves create an added touch. Some
photographers “cheat” by spraying a fine mist of water on
flowers, but the effect is not the same. On a rainy day, leaves
and petals absorb water all day long, they become engorged
and they look fuller and healthier. Simply spraying water on dry
flowers can never duplicate a rainy day. Cloudy days also pro-
vide a softer and more even light, ideal for macro photography.
It is not always necessary to get your feet wet in order to
shoot in the rain. It can be done from under the protection of
a porch or inside a house. Shooting from a parked car is also
possible. Shots can be made through an open window; for a
different look, try shooting through a rain splashed window.
Subjects are not limited to the nat-
ural environment. Rain drenched city
streets can create interesting reflec-
tions. Take along a tripod and your
night shots of puddles and shiny streets
can result in stunning images. During
the day, look for people and how they
cope with the elements: kids having fun
or grownups trying to run away from it
all. Find some colours to contrast with
the dreary day: umbrellas and colourful
rain coats are classics.
Whether you shoot landscapes,
macros, or environmental portraits,
don’t let a bit of foul weather ruin your
day. Pick up your camera and have fun!
After the rain
stopped there were
water droplets
everywhere. Time
to shoot! 100mm
macro, 1.3 seconds
at f/16, ISO 200.
 Summer 2016 59 

Tamron’s new 90mm Macro Lens

I had the pleasure of field testing the latest in a
long line of Tamron Macro lenses–the new SP
90mm F/2.8 MACRO 1:1 Di VC USD (Model F017).
The design is clean, smooth, and elegant. Three
switches control the VC (Vibration Control) and
the auto focus, while a third control limits the
area of focus, from 0.3 to 0.5 metre, 0.5 me-
tre to infinity and full range autofocus from life
size to infinity. Focusing is fairly fast and quiet,
especially if the lens is limited to macro or nor-
mal range. While not long enough to be used for
sports photography, it can be a great lens for
portraiture. The focusing ring is wide and com-
fortable and the movement is smooth and pre-
No need to get wet to shoot in the rain… This leaf was stuck to a
cise. A window shows focusing distances in me-
window pane while it rained… tres and feet, as well as magnification factors.
100-400mm at 400 mm 1/15 second at f/10, ISO 160 Like other lenses in the new Tamron SP series it
is sealed against dust and moisture.
The new lens design is unobtrusive and it
quickly becomes an extension of the camera,
allowing the photographer to concentrate
on the pictures to be made. You can expect
those pictures to be very sharp–this macro
lens is among the sharpest in its class, and
with the stabilizer activated I was able to
get consistently sharp hand-held pictures at
1/60 second at life size, and 1/30 second at
half life size. All in all, the new Tamron 90mm
macro will undoubtedly become a new refer-
ence for macro photographers.
The new Tamron 90mm Macro in action

SoftBox III …
Snoot XTR
Equipment used get this shot:
• One LumiQuest SoftBox III
• One LumiQuest Snoot XTR
“I regularly use multiple flashes with
• Two Speedlights
different modifiers on each flash. It’s
all about getting light and shadows
Check your Inbox for how I want them.”
PHOTONews Flash or Will Prentice
see www.photonews.ca for details Photographer • Brand Specialist - Lighting
on how Will created this photo from an
8 image focus stack.

Top Pros trust their work to LumiQuest …

Phalaenopsis Orchid
Shouldn’t you?
www.lumiquest.ca
60  PHOTO News

Technique
BY TONY BECK
Photo by Nina Stavlund

Hummingbirds
in Flight
Hummingbirds inspire us all. Whimsical names like Ruby Topaz,
Purple-throated Woodstar, Flame-throated Sunangel or Swordbill can
easily power our imagination.

Tiny, animated and tame, they’re like nature’s fireworks, ca-
pable of exploding into vibrant colours and ornate features.
With more than 350 species described, all occurring in the
Americas, they have evolved into creatures with extreme
appearances and capabilities. The familiar Ruby-throated
Hummingbird of Eastern North America can flap 200 wing
beats per second during courtship, the fastest flutter on rec-
ord. At a little more than 5 cm (2 inches) the Bee Hummingbird
of Cuba is the smallest bird on the planet. Compared to other
birds, they have the fewest feathers, the
fastest heart rate, they can fly back-
wards, and they can hover in one spot for
extended periods. If that’s not impressive
enough, some species of hummingbirds
have ornamented head feathers, long tail
streamers and brilliant iridescent plum-
age that can change colour depending
on the angle of light.
Although most hummingbirds live
in tropical America, they have adapted
to a variety of habitats–from the forest

Bio
edges of Northern British Columbia, to
the gardens of Tierra del Fuego, to the
Puna regions of the high Andes Moun-
tains. Wherever flowers bloom, there
is likely some type of hummingbird
adapted to them.
Freelance photographer
Tony Beck describes
himself as a “naturalist”,
specializing in a wide
variety of wildlife and
nature subjects. Based
in Ottawa, Ontario,
Tony and his wife Nina Female Green Thorntail - Green Thorntail is
Stavlund operate a small a small hummer regularly found in Central
company called "Always America. When your subject is in bright
An Adventure" offering a sunlight you’re less likely to need fill flash.
variety of photography, But, make sure the sun is behind you. With
nature, birdwatching and optimum light conditions, you can almost
tourism related services freeze the wing beats with a shutter speed
including workshops, of 1/1000. 
courses, excursions and Camera: D3s; Lens: AF-S Nikkor 300mm f4
short trips. with TC14E teleconverter
For more information ISO: 400; Shutter: 1/1000; Aperture: f8
please visit
alwaysanadventure.ca/
 Summer 2016  61 

Purple-throated Woodstar - Found on the north western slopes of

Ecuador, Purple-throated Woodstars consistently hover around nectar
feeders. When photographing this species, I often use fill flash with a
slower shutter speed to get a tack sharp body and blurred flight feathers.   
Camera: D4; Lens AF-S: Nikkor 80-400 f5.6; ISO: 400; Shutter: 1/200;
Aperture: f7.1

Five species occur regularly in Canada. These fair­

weather birds only visit during the nesting season from
April to September; however, a few hardy Anna’s Humming-
birds spend the entire year in Southern BC. Although hum-
mers occasionally feed on insects, they specialize in nectar.
Nature lovers attract hummingbirds with elaborate feed-
ing stations including a network of specially designed nec-
tar feeders and flowering plants. Typically, hummingbirds
become tame patrons at these galleries, making them ap-
proachable for observation and photography. In tropical
regions, some galleries attract dozens of hummingbird
species plus other small birds, mammals, and an assort-
ment of butterflies. Many lodges in Tropical America have
gained international fame thanks to the wildlife they at-
tract to their property. They have become especially popu-
lar with wildlife photographers.

Copper-rumped Hummingbird - Many birds, like this Copper-rumped

Hummingbird from Trinidad, are territorial, defending their favourite
perch against competitors. When observing wildlife, study their behaviour
and movements. Watch for any animal that consistently returns to a
photogenic environment like a nectar feeder or exposed flower. 
Flash: Nikon Speedlight SB910; Camera: D750; Lens: AF-S Nikkor 300mm
f4; ISO: 200; Shutter: 1/400; Aperture: f7.1
62  PHOTO News
Tony Beck | Technique
Antarctic tern
It is easy to set up a hummingbird feeding station. Nectar
feeders are inexpensive and readily available on the commer-
cial market. To concoct hummingbird nectar, just mix one part
sugar to four parts water and bring it to a boil. You should keep
unused nectar refrigerated. Maintain the feeders with regular
cleaning, and change unused nectar after two or three days.
Make your property wildlife-friendly with native flowers and
a few thick bushes that provide small animals with cover and
safety from predators. Search the web for feeding strategies
and plants best suited for your region.
Capturing good photos of these little powerhouses takes
practice and effort. Some of the most dramatic images come
from small portable outdoor set-ups complete with a blind, a
couple of synchronized flash units, reflectors and an artificial
backdrop. Sometimes, photographers include a fresh flower in
the composition for additional colour and effect. Although this
set-up provides amazing results when done properly, it means
working with lots of equipment, and waiting in one spot for
long periods. Even though I demand quality from my work, I
prefer keeping it simple and fun. Fortunately, there are easy
techniques to accomplish this.
While looking for photo opportunities, I enjoy the flexibility
of moving around freely, without being restricted to one spot.
An ideal situation has the bird in bright sunshine with the sun
behind you as your lens points toward your subject. Sunlight
allows you to keep the ISO low while maintaining a fast shutter
speed. An example of proper exposure for anything reflecting
sunlight: set the ISO to 100 with the shutter at 1/1000 and the
aperture at 6.3. Whatever ISO you set, remember that freez-
ing the wing beats requires speeds in excess of 1/1000 of a
second. During overcast or low light, raise your ISO before
lowering the shutter speed.
Another simple technique is to use a single flash to fill in
shadows caused by natural light. With a speedlight on the cam-
era’s hot shoe you can solve many contrasting exposure issues.
Although pop-up flashes built into many DSLRs can work,
they’re not as effective as a speedlight. Built-in flashes can have
trouble reaching over larger lenses and they don’t synchronize
to fast shutters. Regardless, they can still be effective.
When using a single flash, I prefer to have the humming-
bird in shadow with the background in brighter light. Set the
camera’s manual settings to properly expose the brighter
background. Set the speedlight to auto exposure. The camera
properly exposes the bright background while the flash prop-
erly exposes the bird in the dark foreground. The flash should
have little or no effect on the background. The flash’s duration
is much faster than the shutter and should freeze any details
it exposes. However, some blur can still occur with extremely
fast movement like a hummingbird’s wings. Interestingly, you
can intentionally blur wing beats for effect by using a slow-
er shutter speed like 1/320 or 1/400. When hummingbirds
hover in a stationary position while activating a slow shutter,
the flash reveals every detail in the motionless body while the
longer shutter speed blurs the wings.
Beware of cold shadows caused by a single flash. Usual-
ly these shadows are tolerable, but I sometimes remove them
during the photo editing process.
Adult male White-necked Jacobin - A familiar hummingbird found
in much of Tropical America, this male White-necked Jacobin was one
of many coming to a feeding station in the hills of Trinidad. I set the
camera’s exposure on a Flaming Immortal Tree in the background. The
bird was in the shadows of the foreground where it was exposed with a
speed light on the camera’s hot shoe. 
Flash: Nikon Speedlight SB910; Camera: D750; Lens: AF-S Nikkor 300mm
f4; ISO: 200; Shutter: 1/640; Aperture: f7.1
Telephoto lenses with close focus capability work best. I
often use a 300mm telephoto, sometimes with 1.4 teleconvert-
er. This combo lets me focus closer than 2 metres while filling
much of the frame with those colourful little birds.
Less is more when it comes to bird photography. Maximize
aesthetics by avoiding cluttered compositions and distracting
hot spots. Select an uncomplicated scene with the bird in close,
perfectly in focus, and filling much of the frame. Strive for an
out-of-focus natural background. This is easily achieved with
the bird in the open and vegetation in the distance.
Ethical questions arise when using flash around wildlife.
Frequent exposure to intense flash can affect the sight of noc-
turnal animals. The abruptness of flash can also scare timid
wildlife. However, animals that visit feeding stations during
the day get used to photographers quickly. Regardless, be con-
siderate, not just to the animals, but to other photographers
and observers. The animal’s well-being should get priority.
Never prevent them from reaching their food, and never cause
them stress. Learn how to recognize animal behaviours. Your-
heightened wildlife awareness will not only benefit the animal,
but your photography as well. One strategy to get them used to
camera equipment is by triggering the shutter and flash many
times before the subject is in close position. This gets them used
to the camera’s sights and sounds while they’re still far away.
After a short time, they’ll behave normally.
The best news is that these techniques work equally as
well for other small life forms like butterflies, frogs and other
small birds. Now that summer is here, get out there, observe
the animals, and have fun sharing your results.
 Leigh Miller • http://leighmiller.zenfolio.com
www.cactus-image.ca
Cactus V6 works on any camera with Cactus CB60 Softbox is a fold-
a standard hotshoe or PC sync port able softbox for speedlights that
and with almost any flash. includes 2 removable diffusers.
The included flash mount holds
V6 supports full manual power your flash by the head, not the
control of remote flashes, plus shoe, for security. It features
power and zoom control of Cactus an umbrella mount and S-Mount for
RF60 flashes. studio light modifiers.

The smart flash satisfaction

Metz 26 AF-2
Small enough to fit in a shirt pocket; powerful
enough to illuminate where your built-in flash isn’t
enough. The Metz 26 AF-2 fits compact system
cameras and small cameras with a hotshoe.
• Simple 4 Button • 30 Lux LED Video Light
Operation Two Levels of Daylight
Simple to Use and Easy balanced light
to See • Easy One Touch
• Illuminated Function Wireless Slave*
Keys Press one button and
Easier to use in low light - your camera takes over -
when you use flash most remotely.

Compatible with flashes and cameras from:

CANON NIKON OLYMPUS PANASONIC PENTAX FUJUFILM SONY
Multi angle USB interface for Integrated Illuminated Metal hotshoe
*All features not currently available for all brands. Please see www.metzflash.ca for full reflector firmware updates LED video light Function Keys mount*
details and information about firmware updates.

www.metzflash.ca
64  PHOTO News
SPECIAL FEATURE  |  PRINTING 101
BY ERIC STEWART
Printing with
ICC Settings
In the last edition of PHOTO News, I wrote about which printer to purchase and how to
make simple black and white prints, letting the printer do all the work. In this issue, let’s
take a look at printing with downloadable ICC profiles.
In 1993, the International Color Consor-
tium (ICC) was founded with the goal
of creating and promoting a consistent
standardization for colour across all
devices. They realized that a digital
photograph is just data, and it needs
to be translated in order to produce an
image. The interpretation of the data is
crucial to colour accuracy. An ICC pro-
file allows your computer to read and
Download ICC profiles from the web. This is
Hahnemühle’s website, where you can find
ICC profiles for your printer and the media you
have chosen to print with
translate the colour data from your camera, and to translate
the data again to produce accurate colour on your monitor
and in your prints.
Manufacturers like Hahnemühle create ICC profiles for all
of your output devices. These profiles are stored in your com-
puter in the colorsync library on a Mac and with the printer
drivers on a PC. While there will be slight inconsistencies be-
tween the printer profiled by the manufacturer and the actual
printer sitting on your desk, downloadable ICC profiles are
getting better all the time, meaning your print will have very
good colour accuracy.
Every printer and paper combination needs a different ICC
profile as every paper requires different ratios of ink to pro-
duce accurate colour. You need a specific ICC profile for each
type of paper that you plan to print with. ICC profiles can be
downloaded from the paper manufacturer’s website. Hahne-
mühle, for example, has a download centre including instruc-
tions on how to install their profiles and the correct settings to
use for each media type.
As I mentioned in the last issue, the shadow and highlight
points will also be different for each printer and paper com-
bination, so make sure you print the same file every time you
try a new paper. The file I print each time can be found here:
www.langaraphoto.com/printertarget.jpg
Once you have your ICC profile downloaded and stored in
your library, you need to set up your printer driver. The media
type is the most important setting here. Media type controls
how much ink is laid down on each pass of the printer head. If
this is set incorrectly, ink may pool on your paper, or you print
will appear too light. In some printers choosing the media
type also sets the printer head height or Platen Gap. The print-
er head height is very important when printing with thicker
papers as an incorrect setting may cause the printer head to
actually hit the paper and could damage the printer.
 Summer 2016  65 

In the Photoshop Print Settings window, you need to ensure you

have Photoshop managing colors, the correct printer profile and
the most relevant rendering intent. The Match Print Colors and
Gamut warning buttons are also shown.

Once the media type is chosen in the Next, select Black Point Compensation to ensure that
printer driver, ensure the correct image your blacks can be interpreted correctly in your print.
size is set and choose the printer resolu- While not essential in every print, it does make a big dif-
tion. Resolution controls the number of ference when the black in your image does not match the
dots on ink per inch. While 600 dpi is darkest possible tone your paper will handle.
a safe choice for most papers, a higher The last decision you need to make is the rendering in-
number will give a smoother print. tent. Photographers generally use two of the four possible
After your printer driver is set up choices: Perceptual or Relative Colorimetric. Your choice
correctly, you will need to ensure that of rendering intent depends on the gamut of your image
Photoshop or Lightroom is controlling and the gamut of your printer-paper combination. Gamut
the colours. In the print dialogue in refers to the different colours your device can display or
Photoshop, you need to ensure that your your printer can reproduce. There are colours that your
Color Handling is set so that Photoshop camera can capture but your printer cannot print. When
Manages Colors. Once this is selected, a colour cannot be printed it is considered to be out of
the ICC profile that you downloaded can gamut. You can check to see if there are any out of gamut
be used as the Printer Profile. In Light- colours in your image by selecting Match Print Colors,
room, this is selected by choosing the and then Gamut Warning at the bottom of the Photoshop
correct profile under Color Manage- printer window. When you select Gamut Warning, some
ment in the Print module. of your image may turn grey in the preview window. If
this happens, you probably want to choose Perceptual
rendering intent. This will move all of the colours in your
Epson SureColor SC-P600 – Photo Black (PK) image and ensure that no colours are out of gamut, while
A General Guide for Printing on Hahnemühle FineArt Papers retaining smooth transitions through the image. There
Installing Profiles

Please refer to your printer manual or our website for a detailed instruction how to install profiles for
is a downside to this choice as all of your colours will be
your printer.

Note: Your graphic-application needs to be restarted if it was open when profiles were installed. New
skewed slightly (although most people will not be able to
profiles will be detected automatically during the start of the application.
see the change). Choosing Relative Colorimetric render-
Settings

Print drivers will vary from printer to printer and from Macintosh to PC but the general setup will be the
ing intent ensures the most accurate colour, but if you
same. Be sure to select the proper profile for the printer, paper and ink combination you are using. In
our profile names you will find the proper combination to use. have colours out of gamut, you risk banding in those sec-
Print with Preview / General Settings: Print Driver / Media Settings:
tions of the print.
1) Source Space: Document 5) Media: Epson Premium Luster Printing with ICC profiles is a step-by-step process.
2) Profile: regarding to your paper and ink
combination
6)

7)
Quality: 4 (1440 dpi)

Mode: Colormanagement Off

You need to ensure that you have each of the choices in
your printer driver and in Photoshop or Lightroom set
3,4) Rendering Intent, Black Point Compensation:
Needs to be chosen regarding to the image
you‘re using. Eventually you need to test.

correctly. If this is done, you will get repeatable results.

No recommendation possible.

Each paper that you Start a logbook to record your settings in order to achieve
print with should this consistency in your prints.
have a data sheet.
Pay special attention
In the next issue of PHOTO News, I will be discussing
to the printer driver creating custom ICC profiles for absolutely perfect colour,
/ media settings as
Note: For traceable printing, please save the settings and recall these settings whenever you print.
Varying these settings could affect the outcome of your image. There are other factors that
can also affect the output, if needed please refer to you printer manual or image manipulation
and showing you some unique papers to try out these cus-
they are crucial to program for additional color management issues. The screen shots may vary in case of different
tom profiles.
02.2015 / Rev. 00

systems.

creating a great print. www.hahnemuehle.com

66  PHOTO News Final Frame

Macro Magic!

Nathalie Duhaime, of Ste-Adèle, Québec, captured this beautiful image of a flower with the Panasonic Lumix LX 100 that she
won in our PHOTO News Summer 2015 “On Vacation” Challenge. Nathalie set the LX100 for macro at 34mm focal length,
1/400 second, f/5.6 and ISO 200. The image was post-processed using Adobe Photoshop Elements 12.0 for Windows.
“I received this beautiful bouquet of flowers for Valentines’ Day, and one bloom stood out because of its spectacular colours.”

The PHOTO News Canada Summer 2016 Challenge
theme is “Macro Magic.”
Your assignment – to photograph a subject at close
range - entries must be shot between the 1/4 life size
“close-up” magnification ratio and the 1/1 and greater
magnification ratio of the “macro” category. Images may
be cropped and/or post-processed, and you may submit
images photographed prior to the summer of 2016.
The contest is open to all Canadian photographers.
Please enter by joining our flickr® group at www.
flickr.com/groups/PHOTO Newsgallery/ and look
for the Summer 2016 “Macro Magic” Challenge dis-
cussion thread, where you will find additional details,
samples, suggestions, and technique tips. It’s fun, it’s
free, and it’s a friendly environment for photographers
of all ages and skill levels.
The contest deadline for entries for the “Macro Magic”
Challenge is July 15, 2016.
See your pictures in print!
It is always a thrill to see your pictures in a na-
tional magazine – for every issue, PHOTO News
Canada selects reader’s images from the photos
posted in our PHOTO News Canada Reader’s
Gallery flickr® group pool – so take a look, sign
in, post a few of your favourite photos, and enjoy
our interactive photographic adventures!
The PHOTO  News Canada Challenge is
sponsored by Panasonic Canada, who
will present a special prize for the most
interesting image selected for publication
in the next issue.

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