canadian camera magazine fall 2015

The Canadian Landscapes

East Coast Aura

Superior - The Great Lake

The Landscape

West Coast Landscapes - Vancouver Island

O F F I C I A L P U B L I C A T I O N O F T H E C A N A D I A N A S S O C I A T I O N F O R P H O T O G R A P H I C A R TF A L L 2 0 1 5 • $ 9 . 9 5

Capture the Great Wide Open

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Landscapes this rich demand the finest detail.

CANADIAN CAMERA - 1

Sheena WilkieEditor-in-chiEf

14220 71 Ave.Surrey BC V3W 2L1

E-mail: [email protected] Breitkreutz, FCAPA

Publishing Editor

Jozef VanVeenenArt dirEctor

E-mail: [email protected] McMillan

AdvErtising MAnAgEr

E-mail: [email protected]

CANADIAN CAMERA ( ISSN1206-3401) is published quarterly by the Canadian Association for Photographic Art, Box 357, Logan Lake BC V0K 1W0. No part of this publication may be reproduced in whole or in part without prior written permission of the publisher and author. All photographic rights remain with the photographer. Opinions expressed are those of the individual contributors.

Contributions are welcomed from all CAPA members. Story ideas and low resolution photographs may be submitted to the Editor-in-Chief at [email protected]. CANADIAN CAMERA reserves the unrestricted right to edit, crop and and comment editorially on all submitted material.

SUBSCRIPTIONS: CANADIAN CAMERA is distributed automatically to CAPA members. Individual copies are available for $9.95. Library subscriptions cost $35.00 for four issues.

For further information, contact CAPA National Headquarters,

Box 357, Logan Lake BC V0K 1W0.Tel.: 1-250-523-2378

E-mail: [email protected] Mail Publication

Agreement #1665081

All rights reserved. Reproduction of any material appearing in this magazine in any form is forbidden without prior

consent of the publisher. Copyright of photographs remain with photographer.

Printed in Canada by

w w w . c a p a c a n a d a . c a

Sheena Wilkie 2 Phototalk

4 CAPA/Club News

6 CAPA 2014 Annual Digital Competition

7 CAPA New Members

Kelly C. Suchan 10 Member's Portfolio

12 CAPA Competitions Results

Dave Bosha 20 East Coast Aura

Doug Gibbons 24 Superior - The Great Lake

Mike Grandmaison 28 The Landscape

Richard James 32 West Coast Landscapes

- Vancouver Island

theCOVERBy Doug Gibbons

CAPA is a FIAP-affiliated organization.

ContentsVol. 16, No. 3 • Fall 2015

Founded in 1968, CAPA is a non-profit organization for photographers,

including amateurs, professionals, camera clubs, and anyone interested

in photography. The aims of CAPA are to promote good photography as an

art form in Canada, and to provide useful information for photographers.

CAPA ac complishes this through interaction with individuals and member camera clubs and by distributing slide sets, evaluating photographs, running

competitions, and publishing the quarterly Canadian Camera. CAPA also sponsors Canadian Camera Conference, a biennial summer

weekend of field trips and seminars held in a different city every other year.

CAPA is a member of the Fédération Internationale de l’Art

Photographique (FIAP).

CAPAOfficers & National Council Members

Message from the presidentLarry Breitkreutz, FCAPA

CAPA OFFICERSPRESIDENT

Larry Breitkreutz, FCAPA VICE PRESIDENTRod Trider, FCAPA

SECRETARYMichael Breakey, FCAPA

TREASURERLen Suchan, FCAPA

CAPA DIRECTORSATLANTIC ZONELeo Allain, MCAPAQUEBEC ZONE

Jean-Marc BeaudoinONTARIO ZONE

Rod TriderPRAIRIE ZONE

Harvey Brink PACIFIC ZONE

Larry Breitkreutz, FCAPADIRECTOR OF

PHOTOGRAPHIC IMAGINGDr. Bob Ito, Hon. FCAPA

DIRECTOR OF COMPETITIONSVirginia Stranaghan, FCAPADIRECTOR OF EDUCATION

Allen Bargen

MEMBERSHIP COORDINATORCAPA Membership

phone 1.250.523.2378 c/o Lee Smith Box 357, Logan Lake, BC V0K 1W0

E-mail: [email protected]: www.capacanada.ca

2 - CANADIAN CAMERA

Wow! What a weekend. CAPA Photo Expo was an incredibly enriching and rewarding experience. Over two hundred photographers from across Canada and the USA enjoyed an amazing time on the UBC campus in Vancouver, August 1-3. In addition, eleven Photo Tours gave participants an opportunity to get into the super, natural BC environment and enjoy creating images with fellow photo enthusiasts. To all who attended, and to the countless volunteers that helped us make this event an exciting reality – a big THANK YOU. Your support and participation is deeply appreciated. One of the highlights was the “CAPA Photo Expo Photographs” Facebook page, where you can see some amazing imagery created by some of the very talented and enthusiastic photographers who attended. Feel free to check it out. If you did attend, and have not yet uploaded any images, it’s not too late. We’d love to see them.

The CAPA AGM was held at the Expo on Monday morning. As a result of the proceedings I was honored to be asked to serve as your President of this exciting organization for the next two years. We are pleased to announce that Rod Trider, Ontario Zone Director, is also our new Vice President, while Len Suchan will continue as Treasurer, and Michael Breakey will continue as Secretary. We are also pleased that Allen Bargen is back, and has accepted the appointment as Director of Education, and that Sheena Wilkie will continue to edit this incredible magazine.

The next great CAPA conference event is scheduled for Ottawa in 2017. We will participate in the celebration of Canada’s 150th birthday. Watch for more information coming soon. We’d love to see you there.

I look forward to serving as your president, and am always happy to receive input, comments and ideas. My email is: [email protected] g

Sincerely,Larry Breitkreutz, FCAPAPresident

Expo committee: from left to right, Norah Corbet, Peter Owens, Ed Higham, Dennis Ducklow, Kasandra Sproson, David Bromley, James Yip, Kayla Stevenson, Bea Carlson, detlef Klahm, Carol Coleman, Sheena Wilkie, absent-David Laronde.

Linda Baker receives Bronze, Silver and Gold in Digital Nature

The Lo family excells

CAPA Photo Expo

CANADIAN CAMERA - 3

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Dave Brosha presents Early Bird prize to Richard James

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4 - CANADIAN CAMERA

phototalkSheena Wilkie, Editor-in-chief

Canadian Camera Themes for 2015/2016If you have a story idea for any of these themes please email

Sheena Wilkie at [email protected]

Winter 2015 - Theme Caring Photographers Deadline for submission October 1

Spring 2016 - Theme Creative Photography Deadline for submission January 10

Summer 2016 - Theme The Small World of Macro and Close up PhotographyDeadline for submission April 10

Fall 2016 - Theme Black and White - The Absence of Colour

Deadline for submission July 10

Winter 2016 -Theme Animals – Wild, tame and everything in betweenDeadline for submission October 1

facebook.com/TheCanadian AssociationForPhotographicArtwww.capacanada.ca

Tel.(250) 523-2333

CAPA Members… We need submissions for upcoming issues. Canadian Camera is YOUR magazine! We welcome your story ideas, news items, portfolios and reviews. We do reserve the right to accept or reject material as we see fit. We make every effort to achieve a balance of views, subject matter and geographical representation of our members.

How to send material • Please write your story idea as a para-

graph or outline of what you would like to write an article about and send it with several low res photos to [email protected];

• Photos must be JPG format;• If photos are scanned CMYK is

preferable to RGB;• Photos must have simple descriptive

filenames and include the photographer's name, e.g. Susan_Brown_barn_swallow.jpg;

• Please include your phone number, e-mail address and CAPA membership number.

When to send it

You may submit a story idea any time but for time sensitive material our submissions deadlines are:

• Winter Issue Oct. 1st• Spring Issue Jan. 10• Summer Issue April 10• Fall Issue July 10

Where to send itCanadian Camera c/o Sheena Wilkie, Editor-in-Chief E-mail: [email protected]

SUBMISSION OF STORY IDEAS, PORTFOLIOS AND NEWS ITEMS

Canada truly has one of the most vast and diverse landscapes on Earth. This issue is dedicated to the beauty of that diversity. Our five contributors manage to literally cover a lot of ground both geographically and instructively.

Personally I find landscape photography to be one of the most contemplative types of photographs to make. The opportunity to be outdoors – enjoying nature – no rush – just waiting for that right moment. Unfortunately the right moment doesn’t always come. As Ansel Adam’s said “Landscape photography is the supreme test of the photographer – and often the supreme disappointment.”

I have backup drives full of disappointing landscape photos from many different photography trips. But I do have some landscape photos that I am pleased with. Interestingly, most of them are from the area around our Cariboo lake property where we spend a lot of time. Which leads me to the conclusion that repeated efforts in the same area are bound to produce better results than the one off trip to photograph Mono Lake in a day. (I have a lot of disappointing landscape photos of Mono Lake.)

I hope this issue inspires you to get out and photograph your own Canadian landscape. g

Sheena Wilkie, FCAPAEditor-in-Chief, Canadian Camera Magazine, www.phototalk.ca

“From Bonavista to Vancouver Island, From the Arctic Circle to the Great Lake waters”

CANADIAN CAMERA - 5

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6 - CANADIAN CAMERA

CAPA/Club News

CAPA 2015 11th Anniversary

Annual Digital Competition

EVENT SPONSORS

• Canon PowerShot G3-X Camera ($1,199.99 MSRP)

• Epson SureColor P800 Inkjet Printer ($1,555.00 MSRP)

• Lowepro Vertex 100 AW Bag• Vanguard Kinray 53 Photographers

Backpack (Green)• $150 Gift Certificate towards a Blurb

Print Product• Adobe One-Year Creative Cloud

Membership

• Canon PowerShot G1-X Mark II Camera ($849.99 MSRP)

• Epson SureColor P600 Inkjet Printer ($960.00 MSRP)

• Lowepro Event Messenger 100 Bag• Aurora 34” White Shoot-Thru Umbrella• $100 Gift Certificate towards a Blurb


Membership

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Membership

This is the 11th Anniversary of this highly anticipated competition! We are pleased to announce the participation of Canon Canada as one of our major sponsors.

This year, the competition has been simplified by limiting it to a single topic.

OUR 2015 TOPIC: “CAPTURING THE MOMENT”What are you competing for? How about one of three fabulous prize packages!

1st PRIZE

2nd PRIZE

3rd PRIZE

Our thanks and appreciation goes to John Elliott of the Ottawa RA Photo Club for the creation and integration of the online submission system to the CAPA Website.

www.capacanada.ca

The winners will be announced in a future issue of Canadian Camera Magazine

The competition is open to CAPA individual and family members only, who are perma-nent Canadian residents. If you are not a CAPA member, and you belong to one of our many CAPA clubs, we encourage you to join as an individual or family member. All entries must be submitted electronical-ly no later than midnight (Pacific Standard Time: GMT-8:00) September 30th, 2015, through our online submission system on

the CAPA website. Your CAPA member number and a valid e-mail address are required to login and register. E-mail and regular mail entries will not be accepted and will not be returned. The rules and guidelines governing this competition are posted on the CAPA website. Any e-mail enquiries should be sent to [email protected]. Participation is limited to 2 entries per member. You may sub-

mit either color or black and white photos. Manipulation in editing software is permit-ted. Judging will be carried out in Atlantic Canada in October 2015 and the results will be announced in Canadian Camera Magazine and on the CAPA website.

Competition Chair: Léo AllainEmail: [email protected]

CANADIAN CAMERA - 7

Fall 2015CAPANEW MEMBERS

Atlantic ZoneCecile Capson, NB

Darryl Robertson, NS

Quebec Zone Kim-Cynthia HatchAndrea Hausmann

Ontario ZoneStephen Balke

Kevin BeerMurielle Cassidy

Dany ChanSusan DaybollFrancis KingLisa KirtonJohn Nicol

Shahid SharafuddinMelissa Woodward

Jeffrey Wu

Prairie Zone Elizabeth Hak, ABOttmar Philipp, AB

Keith Putt, MB

Pacific ZoneSusan ChaseDonald ChoCarrie Cole

Marilaine DelisleFabian Dominguez

Gavin FirkserRandy Gibbons

Angeline HaslettEdward HaslettGordon Martin

Christina OstenstadSteve Ray

Jan SampsonAlan Sha

Peggy SloanBrenda Stewart

Anita TeljeurJanet Webster

DONATIONSDon Brown

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Eagle Valley Photography Arts Club Print to Canvas Show

Eagle Valley Photography Arts Club opened its doors in the fall of 2009. Located in Sicamous BC, the club maintains a steady membership of 20 photo enthusiasts. It doesn’t sound like much, but with a popu-lation of 2100 it’s a strong group of people working together and participating in the Arts.

Living in such a beautiful part of the prov-ince has given incentive and inspiration to many. We have a diverse and sundry art group in the community, consisting of paint-ers, sculptors, writers, and musicians. The talent and natural aptitude of these individu-als is astounding!

It was for this reason that president, Kim Hyde created the idea of a collaboration between the painters and photographers. At the beginning of each year the club mem-bers hand over a print of their photo to the two painting groups. The artists each choose

a photo to paint, incorporating it with their own unique styles. Thus, the annual Print to Canvas show was born, and has become a very popular event in Sicamous. It makes for a beautiful and interesting show, and also highlights the wonderful talent we have here in Sicamous.

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North Shore Photographic Society News

The North Shore Photographic Society will be hosing the 32nd annual North Shore Challenge on Saturday, March 5, 2016 at the Kay Meek Centre in West Vancouver. The competition is open to individuals as well as clubs and everyone is invited to enjoy this evening of exceptional Images.

Individual photographers will be able to submit entries to the Challenge by registering on-line for a nominal fee and upload-ing 1– 3 images. A panel of qualified judges will pre-screen these entries and select at most one image from each photographer to be entered in the Challenge. Up to 120 photographs from individ-ual photographers will be chosen as Challenge entries and will be competing for prestigious CAPA medals awarded to the top three images in the show.

CAPA-member photo clubs from BC and the Yukon will participate in the Challenge. Approximately 180 images submitted by clubs will be included in the competition.

Keep your eye on www.nsps.ca for details as they become available.

8 - CANADIAN CAMERA

Red River Ex Photo Salon in WinnnipegThis years recipient of the CAPA Gold Medal for High aggregate: Jordan Nepon of Winnipeg, MB.

He had all 12 images entered accepted and score 20 or higher on all images for a total of 251 and beat out last years recipient also in the running by 1 point.

CAPA is very pleased to announce that Canon Canada has become one of our major sponsors. This year they will be donating three amazing camera for our Annual Digital Competition.

Welcome Canon and thank you!

CAPA/Club News

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One Saturday Morning:Kelly C. Suchan

M E M B E R ’ S P O R T F O L I O

The alarm clock sounds with its familiar chime. Its 5 AM but it does not matter as I’ve been staring at it for about 10 minutes now. The first thing I always do is check Heart Mountain from my bedroom window. A heavy fog has masked the beauty that usually greets me from this vantage point. It looks like some photo opportunities await.

Coffee on, lenses cleaned, battery charged and bag packed. I’m ready. The old truck growls as I turn her over. Must be too early for her tired and worn engine. The fog is thick as I head down the street and out of town. What images will be captured this morning with all this fog? Is this a waste of time? I think to myself. I’m out now so I forge on. I’ll check out Gap Lake on the way to one of my favorite spots.

With the sunrise still over an hour away I have lots of time to set up at my destination. Fog is lifting as I round the bend to Gap Lake. I’m stunned. Gap Lake is a mirror reflecting Wind Tower perfectly. The blue hour color amazes me. I stop, set up and shoot. Only enough time to fire off 3 sets of 13 image HDR brackets. Wind has picked up and the mirror is gone. Time to pack up and move on.

Truck seems happier as I fire her up and head to my next spot. I guess she was just cold. After a short drive I’m parked, packed and ready for the hike. With coffee in hand I begin to notice the fog is lifting nicely revealing some beautiful cloud formations. I guess it goes to show that you never know till you get out there.

After a short hike I arrive at the loca-tion I had in mind as I was staring at the alarm clock. Tripod up and camera mounted I review my settings. F-11? Check. A.V. mode? Check. ISO 100? Check.Focus set? Check. Now I’m ready to frame my shot. As I look through the viewfinder I notice the fog has moved back in and is masking Wind Tower. So I wait and I wait. It’s not looking good so I walk around to see if anything interesting pops out. I notice the fish-ing path. Wow! With the low lying fog and McGillivary in the background this looks promising.

Racing back I grab my tripod and re-frame to capture the image I’m wit-nessing unfold in front of me. After double checking my settings I study the framing of the image. Remember the

CANADIAN CAMERA - 11

One Saturday Morning:Kelly C. Suchan

M E M B E R ’ S P O R T F O L I O

rules, I think to myself. Ok path on the right third. Mountain to the left, looks good. I fire off 4 sets of 13 image HDR brackets. Should be good. Clouds are fantastic I sure hope I captured them I think to myself as I walk around looking for something else that strikes me. Ah ha railroad tracks bending around the hill with the sunrise. Looks promising. I re-position and re-shoot. Sure hope these turn out! Ok what next?

As I scan my surroundings I see Wind Tower starting to peek through the fog. Perfect! Time to re-set at my original location. While framing my shot I notice how still the Bow River has become. What a beautiful mirror. After firing off several HDR brackets I move, re-frame and fire several more. What a sunrise! What a morning! As

I head home I can’t help but think I almost missed this great opportunity. If I turned around because of the fog I would have never been able to wit-ness and capture this incredible sunrise. Excitement builds as I head home. Can’t wait the get these images down loaded and start working on them.

Photography has interested me all my life and have only started getting serious about it in the last year and a half or so. I am currently the treasurer and an active member of the Canmore Camera Club. Landscapes and macro are cur-rently my main interests. As my skills develop hopefully so will my subject matter. A lot of people ask me why 13 image HDR and I ask why not?

I live in Exshaw, Alberta, which is the gateway to the Rocky Mountains.

This area provides spectacular vistas and vantage points for photography but so does every other place in the world. It’s funny I live here but can’t wait to get on the flat prairies and shoot. That next great image is out there just waiting to be captured so grab your gear and get out there. You never know what you will find!

(All images were shot on March 21-15 in the span of about 2 hours. They are 13 bracket HDR using Photomatix to merge, Lightroom 5 and various Topaz plug-ins. Shot with a Canon 450D(xsi) using EF-16-35mm F4L lens. My camera is only capable of shooting 3 bracket HDR so I manually change the E.V. for each shot. (A steady hand is a must!) For HDR I always shoot at F-11 with ISO at 100.) g


Digital Portrait - Club Date: March 20, 2015 Host: Saskatoon Camera Club, Saskatoon, SK

Gold CertificateLondon Camera Club, London, ONJiabi Yang, May Marion Buccella, Winter Portrait Gary Molenkamp, Mandy Steve Slack, Vintage Coke Ad with a Twist Dan Lavery, Loue Ulyana Kordyuk, Enigmatic

Silver CertificateCamera 35, St. John’s, NLEric Bartlett, Muscle ManGeoff Whiteway, Beautiful Lady Greg Noel, The Hood Jerry Curtis, Shireen and Tito Ron Drake, Water Street Fixture Joe Chase, Zoha

Bronze Certificate Langley Camera Club, Surrey, BCJim Hatch, SassyRaymond Chau, Eye Contact Lorna Scott, Rosie Melissa Van Londersele, Lily Rick Leche, Softly She Goes Daryl Wilson, Given Her All

Certificates of Merit 1st – Peter Coombs, Foothills Camera Club, Calgary, AB, Homeless2nd – Greg Noel, Camera 35, St. John’s, NL, The Hood 3rd – Daryl Wilson, Langley Camera Club, Ft. Langley, BC, Given Her All

Honourable Mentions4th – Etobicoke Camera Club, Toronto, ON 5th – Foothills Camera Club, Calgary, AB

GOLD, London CC, Gary Molenkamp, Mandy

SILVER, C35, Greg Noel, The Hood

1st CofM, FCC, Peter Coombs, Homeless BRONZE, LCC, Daryl Wilson, Given Her All

CAPA Competitions


Portrait Digital - Individual Date: March 20, 2015 Host: Saskatoon Camera Club, Saskatoon, SK

Gold – Prize of Corel Painter Pro provided by Corel Software Peter Ferguson, Welland Camera Club, Fonthill, ON, Cowboy Trucker

Silver Roberta Dixon, North Vancouver, BC, Vanita

Bronze Bharat Mistry, Whitby, ON, Game Face Cold

Certificates of Merit 1st – Peter Ferguson, Fonthill, ON, Cowboy Trucker 2nd – Fiona Green, Coldstream, BC, Sagacious 3rd – Bharat Mistry, Whitby, ON, Game Face Cold

HM’s4th – Detlef Klahm, Langley, BC5th – Fiona Green, Coldstream, BC6th – Don Berthman, Winnipeg, MB 7th – Wendy Royer, Edmonton, AB GOLD, Peter Ferguson, Cowboy Trucker

SILVER, Roberta Dixon, Vanita

BRONZE, Bharat Mistry, Game Face Cold

2nd CofM, Fiona Green, Sagacious

CAPA Competitions


Digital Theme - Club Date: March 20, 2015 Host: Beach Photography Club

Gold Certificate Trillium Photography Club, Burlington, ONDan Copeland, Night Shift Sandy Barbour, Sunrise John Overmeyer, Trees Under Milky Way John Strung, Mute Swan Mary Gilmour, Atiana Larry Strung, David Silhouette

Silver CertificateVictoria Camera Club, Victoria, BCBob Gray, Reflective Impressions Dan Takahashi, Magical Sunset Spirit Rocks Steve Barber, Doorway in Morocco Barbara Burns, Starlet Richard Webber, Light Shafts Jonathan Adams, Got a Light

Bronze CertificateLatow Photographers Guild, Burlington, OnTom Stephens, Cupola Craig Gidley, Goodnight Steeltown Bob Walling, Foothills Sunset Chuck Burdick, Radiant Dawn Dan Jones, Sonny Glen Jones, The Neon Tunnel

Certificates of Merit 1st – Viki Gaul, Photographic Guild of Nova Scotia, Bedford, NS, Backlit Snowy Balancing 19842nd – Kerri Jo Stewart, Delta Photo Club, Delta, BC, SkytrainTunnel3rd – Pete Herlihy, Brampton Photo Group, Brampton, ON, PeteHerlihy, Torso Shadows

HM’s 4th – Images Alberta Camera Club, Edmonton, AB 5th – North Shore Photographic Society, Vancouver, BC 5th – London Camera Club, London, ON 5th – Cowichan Valley Camera Club, Cowichan Bay, BC

SILVER, VCC, Barbara Burns, Starlet GOLD, TP, Larry Strung, David Silhouette

3rd CofM, BPG, Pete Herlihy, Torso Shadows

2nd CofM, DPC, Kerri Jo Stewart, Skytrain Tunnel

BRONZE, Latow, Craig Gidley, Good Night Steeltown

1st CofM, PGNS, Viki Gaul, Backlit Snowy Balancing 1984

CAPA Competitions


CAPA Theme Digital - Individual Date: March 20, 2015 Host: Crescent Beach Photography Club, Surrey, BC

Gold - Prize of ProShow Gold provided by Photodex Software Bharat Mistry, Whitby, ON, Lights Out

Silver Natalya Gunde, North Shore Photographic Society, North Vancouver, BC, Backlit Owl

Bronze Jason Duncan, North Shore Photographic Society, North Vancouver, BC, Prairie Tree Stormy Sunrise

Certificates of Merit 1st – Natalya Gunde, North Shore Photographic Society, Backlit Owl 2nd – Derek Hayes, Crescent Beach Photography Club, Madrid Railway Station 3rd – Geoff Milne, Crescent Beach Photography Club, Stormy Tetons

HM’s4th – Lloyd Dykstra, Grand Prairie, AB 4th – Geoff Milne, White Rock, BC 6th – Derek Hayes, White Rock, BC

GOLD, Bharat Mistry, Lights Out

BRONZE, Jason Duncan, Prairie Tree Stormy Sunrise SILVER, Natalya Gunde, Backlit Owl 1

2nd CofM, Derek Hayes, Madrid Railway Station

3rd CofM, Geoff Milne, Stormy Tetons

CAPA Competitions


Digital Wildlife - Club Date: March 20, 2015 Host: Photo Fredericton, Fredericton, NB

Gold Certificate Etobicoke Camera Club, Toronto, ONBruce Lewis, Loon with ChickRaymond Hsu, Orb Weaving SpiderJoe Iocco, Great Grey Owl in StormJune West, Male Bluebird on BursDiane Brown, Me and My ShadowShirley Trentowsky, Osprey Siblings

Silver CertificateLondon Camera Club, London ONBill Boswell, Snowy OwlBruce Laing, Near MissSherry Butts, Dragon FlySteve Donnelly, Yellow Crowned Night HeronMary Chambers, Snowy EgretSuzanne Southon, Family Love

Bronze CertificateChilliwack Camera Club, Chilliwack, BCBert Sharp, ChipmunkLouise Pollock, Spotted TowheeRyan Gajsek, ChickadeeEd Haslett, Northern Pygmy OwlAngeline Haslett, Bald EagleWill Snow, Northern Pygmy Owl

Certificates of Merit 1st – Angeline Haslett, Chilliwack Camera Club, Bald Eagle2nd – John Williams, Camera 35, Landing Eagle3rd – Joe Iocco, Etobicoke Camera Club, Great Grey Owl in Storm

Botany AwardHeather Engel, Trillium Photographic Club, Burlington, ON,Wild Columbine

Honourable Mentions4th – Camera 35, St. John’s NL 4th – Trillium Photographic Club, Burlington, ON

GOLD, ECC, Joe Iocco, Great Grey Owl In Storm

BOTANY, TP, Heather Engel, Wild Columbine SILVER, LCC, Suzanne Southon, Family Love

BRONZE, CCC, Angeline Haslett, Bald Eagle

2nd CofM, Camera 35, John Williams, Landing Eagle

CAPA Competitions


Theme Digital - Individual Date: March 20, 2015 Host: Crescent Beach Photography Club, Surrey, BC

Gold - Prize of ProShow Gold provided by Photodex Software Bharat Mistry, Whitby, ON, Lights Out

Silver Natalya Gunde, North Shore Photographic Society, North Vancouver, BC, Backlit Owl

Bronze Jason Duncan, North Shore Photographic Society, North Vancouver, BC, Prairie Tree Stormy Sunrise

Certificates of Merit 1st – Natalya Gunde, North Shore Photographic Society, Backlit Owl 2nd – Derek Hayes, Crescent Beach Photography Club, Madrid Railway Station 3rd – Geoff Milne, Crescent Beach Photography Club, Stormy Tetons

HM’s4th – Lloyd Dykstra, Grand Prairie, AB 4th – Geoff Milne, White Rock, BC 6th – Derek Hayes, White Rock, BC

GOLD, Theodore lo, Kestrel

SILVER, Don Peterson, Snowy Egret

BOTANY, Bruce Gunion, Coprinus Micaceus Fungi

2nd CofM, Don Berthman, Cougar Cub

BRONZE, Mimi Lo, Egret Parent with Chick 1st CofM, Mike Wooding, Altamira Oriole

CAPA Competitions


AV Show Digital – Travel and Photo Essay Date: May 1, 2015Host: Toronto Camera Club, Toronto, ON

Travel EssaysGold - Prize of SilverFast SE Plus provided by Lasersoft Theodore Lo, London, ON

Silver Keith Graham, Chilliwack, BC

Bronze Sarnia Photography Club, Sarnia, ON

Photo Essays Gold – Prize of SilverFast SE Plus provided by Lasersoft Mimi Lo, London, ON

Silver Maggie Sale, Guelph, ON

Bronze Kas Stone, Dublinshore, NS

Honourable Mention4th – Jim Hatch, Surrey, BC

GOLD, Mimi Lo, L'Anse Aux Meadows

TRAVEL GOLD, Theodore Lo, Land of the Incas

BRONZE, Kas Stone, Bent Nail (Scrapyard Art)

SILVER, Maggie Sale, Rust Art

TRAVEL SILVER, Keith Graham, Scotland

TRAVEL BRONZE, Sarnia Photography Club, Fun in Chicago

CAPA Competitions


Newsletter Competition Date: Apr 1, 2015Host: Virginia Stranaghan, Director of CAPA Competitions

Gold Certificate Victoria Camera Club, Victoria, BCVCC, Close Up,

Silver CertificateImages Alberta Camera Club, Edmonton, ABIACC, Imagery

Bronze CertificateLatow Photographers Guild, Burlington, ON LPG-Latow in Focus

Post Card Competition The Post Card Competition (deadline May 15th) was judged on May 31st with Betty Andres, Judy Higham and Nancy Ricker acting as judges. The winner has received a Corel Software package and all winners have received Certificates.

The overall Winner was Sandra Hawkins for At the Wall

Honourable Mentions, in no particular order.

Theodore Lo, Loving CoupleSandra Hawkins, Snowy OwlSandra Hawkins, Rainy Day in DubrovnikLes Raskewicz, The Last StandLes Raskewics, Ilot and Co-PilotKas Stone, Birch BoardwalkKas Stone, Sunday MorningKas Stone, Frosted Sunday

www.capacanada.caTel.(250) 523-2333

GOLD, VCC, Close Up SILVER, IACC, Imagery BRONZE, LPG, Latow in Focus

CAPA Competitions


East Coast AuraDave Brosha


Anyone who has spent any amount of time in Atlantic Canada knows that there’s a pull to the region that goes far beyond its natu-ral beauty. Although best known, geographically-speaking, for its countless kilometers of sea coast, the East Coast provinces draw you into their aura through a mix of land, history, people, and song. You arrive feeling like you’ve been dropped into a world of authentic culture and soul, and this, I find, lends itself to the process of pho-tography, and, ultimately, your unique voice within that process.

East Coast AuraDave Brosha

Personally, I feel a soul charge when I spend an early morning out photographing in salt air, or sit and watch fog roll in across a moody bay. I could spend an hour looking at different angles of an empty sea shell, and eagerly anticipate what might be around the corner of a rugged, rocky shore. The best part of landscape photography, for me, is always just the act of heading outdoors, and even if I head home without a quote-unquote memorable image, I never regret the experience of simply being there.

Photographing in Atlantic Canada isn’t any different, per se, than photograph-ing any other area of Canada—your best guide behind the lens will always be your own vision, sense of creativity, and explo-ration of a place with both mind and eye rather than any “how-to” guide—but here’s three things to consider when plan-ning any photographic trip East.

The Ocean Is My Soul

Although my family is from Nova Scotia, I was born in Alberta. And as much as I love Alberta, I always felt like

the ocean had my soul. Cross-country trips “home” to Nova Scotia solidified that for me. As soon as we would start breathing the damp air, I felt like waves and seaweed and slippery rocks and sand between my toes was where I belonged. I moved East as a teenager and it felt from the first day like I had lived there forever. That the Atlantic was holding my place. That I was complete.

Water is admittedly my major inspira-tion when I photograph in the East, and I never lack ideas setting up my tripod on the shores of some lonely beach at sun-rise. Photographing straight-up waves and ripples can usually hold my interest, from gentle lapping to full-on gales, but here’s some other techniques and con-siderations I make when photographing shoreline:

(1) Look for a foreground - I’ll contradict this right from the get-go by stating that there’s lots of images of the ocean, itself, that hold a mystique. However, if there’s one major component of my landscape photography that I’ve really changed over the years (I think,

for the better), it’s to look for anything that can give my images depth. I like drawing the viewer into, and across my images, rather than leaving them with a sense of flatness. Foregrounds are one of the primary ways of doing this, but you can also use colour contrast, texture, lines, and other components to help you achieve depth.

One of my personal favourite ways to achieve a strong foreground, which will give me depth when balanced against an equally compelling background, is to get low and close to my foreground subjects. This helps to make your fore-ground larger-than-life, and often can make seemingly insignificant geograph-ical features like cracks in a rock, or a ripple pattern in the sand, or a single lone wheel, strangely compelling.

(2) Use a neutral density filter to add interest - I am a huge fan of neutral density (ND) filters and use them often when photographing in Atlantic Canada. Neutral density filters effectively allow you to cheat the normal rules concerning length of exposure: by placing a dark piece of glass over your lens, your exposure times become lengthier. The darker the ND filter, the longer an exposure you’ll be able to achieve. This is useful any time you have a moving


component in an image that you want to render differently than the eye sees. A choppy sea will become smooth as glass. Running water in a river or brook will become soft and misty. A sky with clouds racing will become streaks and leading lines.

(3) Try to capture the mood of the scene, and not just the colour - One mistake a lot of people make when photographing ocean scenes (I’ve been guilty of this, too!) is to focus only on a dramatic sunrise or sunset. They may see a cloudy morning after being woken by the morning alarm and pull the covers back up. That is—in my mind—a mistake, and increasingly over the years I’m drawn to mood over colour. Look for a misty, foggy morning and ask yourself, “How can

that lead to a memorable image that goes beyond colour?” Look to capture the sheer power of the ocean through a 1/10th-second exposure (which will still render waves close to what the eye sees, but usually give you some dramatic streaking lines). Look for the darkness of an impending storm, a flash of lighting, the feel of rain drops on a cauldron of churning water.

There Is More to the East Coast than Ocean

I think it would be fair to say that the stereotypical view of the majority of people when they hear “East Coast photography” would be of the ocean. Again, it’s a seaside playground with some of the most spectacular coastline you’ll find anywhere in the world. But it

would be a mistake, from a photography perspective, to limit yourself to just coastline: the Atlantic Provinces offer up so much more.

Some of my favourite places and photographic subjects in the East have included the Cape Breton Highlands, home to incredible lushness in the summer and inspiring colours in the autumn. In my home province of Prince Edward Island, I’m as drawn to the gentle rolling hills, picturesque fields, and abundance of foxes to hold my camera’s attention as the abun-dance of water. In Newfoundland, local colour and culture has attracted my lens, as has the vast epic nature of Gros Morne National Park. In New Brunswick, Fundy National Park has offered up some of the best forest hikes I’ve ever been on. These are just a few


quick mentions and don’t even scratch the surface of what these provinces have to offer. Explore, and look beyond the immediate coast.

Let the Night Light Your Way

One of the biggest things I do with my own landscape photography when I’m not feeling inspiration, especially if I’ve photographed a place often, is to ask myself, “What might this place look like if I returned after dark?” The world is truly a different place at night—if you can get over the initial shock of not being able to see, trying to operate your camera in the dark, and hearing things that go bump! in the night. I’ve seen some of my strongest Milky Way displays in Eastern Canada, and have also surprised myself by seeing the aurora borealis an incredible six

times in my first two winter months in Prince Edward Island. Moving from Yellowknife, Northwest Territories where the aurora was almost a nightly occurrence, I hadn’t expected it to follow me East.

Nighttime photography—especially when its thought-out and you hold yourself as a photographer to the same standards as you would with your day time compositions (rather than just focusing on what’s in the sky)—can take on, I find, a magical air. It’s just such a unique world that I continually find my breath taken away by what my camera renders with a long exposure under the stars.

In short, Atlantic Canada is a photog-rapher’s paradise, but it’s like anywhere: the strongest photographs will come out of being out there, exploring, being con-nected to the land and the conditions,

and being open to receiving whatever it is that nature has to offer. The technical side of photography is always the minor consideration: how you see the world around you and how willing you are to look for the uniqueness in any loca-tion will always guide you to stronger images. g

Dave holds a passion for the world and an eye for the beauty it contains. He is an award-winning commercial, personal, and adventure photographer, educator, and writ-er. Dave is on a continual journey to seek out and capture the beauty of this world – whether it’s the beauty of some of most extreme and pristine environments in the world, or the beauty of some of a person’s most personal moments. Dave’s work has been published in countless media outlets around the globe – online and in print.

www.davebrosha.com


One of the most underrated drives in Canada is along the north shore of Lake Superior between Sault Ste. Marie and Thunder Bay, Ontario. I have traveled this 700km stretch many times in the last 30 years. My home in Marathon being centralized, gives me the flexibility to venture east or west within half a day’s drive.

SuperiorThe Great Lake

Doug Gibbons

Magnificent landscapes twist and turn between the few towns and First Nations reserves along the shoreline. You could easily take a month to travel this route exploring provincial park systems to name a few, Lake Superior, Neys, and Sleeping Giant. One hidden jewel along the way is Pukaskwa National Park, a world of its own. There is much to see and photograph within the local trail

system close to the camp grounds at Hattie Cove. Many folks use this as a jumpstart to kayak heading south 70km along this rugged shoreline with many secluded coves and sandy beaches to explore. Others can be dropped off by boat at the Parks boundary and backpack along the coastal trail system.

I keep more to the local trails in the area taking with me a Nikon D800,

Gitzo/Manfrotto tripods along with three lens, Nikon 17-35mm, 24-70, 70-200, all 2.8’s. I find for the shooting I do this range of gear will cover most of my needs. Weather is a factor along Superior’s coastline, which can change in an instant. It is best to dress according to the seasons, wind, rain, heat, bugs, snow and fog can be overwhelming at times. Taking care of your gear is just common sense in these elements, so ensure you invest in good quality camera bags and backpacks for peace of mind.

Speaking of fog, which can blanket the coastal shores for days during the summer this can be a great occasion to get creative. In these situations I work with “Off Camera Flash” (OCF) to give a


lighting edge to my imagery within foggy dull landscapes. There are a couple of approaches you can take either using a manufacturer’s intelligent Speedlight strobe with either one or two flashes. With the Nikons you can use an on cam-era flash or the popup one if it is available as master and the (OCF) set to remote. This flash setup on a stand away from the camera will create a strong directional light creating a sunlight source on a dull day. You will have to do some research within your manual to set this up prop-erly and experiment.

The other approach is to use all man-ual settings with the camera and strobes. Purchase at least two remote triggers, Pocket Wizards or equivalent. Set one on


your camera’s hot shoe and the other con-nected to your (OCF) will trigger once the shutter is released. A good hand light meter is a must to get accurate ambient and strobe exposure readings. The possi-bilities are endless as to how you want to shape your image using (OCF) adjusting ambient and flash to extremes.

As you travel along the north shore make it a priority to visit the communi-

ties and stay in the area for a few days if possible. Most locals are open to giv-ing tips as to where you will find unique places to photograph which could be historical for the region. Just west of Marathon (15km) just off the HWY is Mink Falls. This is a beautiful location to test your skills, using a tripod to create long exposures to get that fluid look of water from the falls and creek. Close to

Dorion is Ouimet Canyon, a large gorge cutting through the landscape which can be a challenge to photograph. Taking multiple images and stitching them together in your photo editing software to create a panoramic will make this a worthwhile visit.

From Wawa towards Sault Ste. Marie you travel through Lake Superior Provincial Park, hugging the coast with


some of the best scenery along the north shore. Katherine Cove, Sand River, Montreal River, Pancake and Batchawana Bays are worthwhile stops along the way with their own personalities.

Moose and deer are abundant around dusk by the HWY during the spring to fall seasons and can be quite hazardous if you do not maintain your alert. Winter along the north shore can be very reward-ing, shaping the landscape into a high key pallet and working with its unforgiv-ing moods. Be cautious when traveling this time of year with sudden flash freez-es, whiteouts, and extreme cold fronts, preparation is in ones best interests.

The last couple of winters have seen Lake Superior freezing over, making it a paradise for ice caves, huge drifts and sculpting formations as far as the eye can see. Dressing in layers for warmth and protecting your camera and batteries is essential when photographing in these extreme environments. On clear cold days you can capture the warm colour of the setting sun piercing on shards of ice while living the moment out here on the Great Lake. g

Born and raised in Stratford, Ontario, photography has been a passion for most of his life. Since the late 80's, Doug has been residing in Marathon on the north shore of Lake Superior. "The Canadian north shore of Lake Superior is one of the most rugged, moody and breath-taking landscapes anywhere, I am quite fortunate to call this backyard my home".

Doug's ability to express his vision is portrayed by understanding and capturing these decisive moments. His photographs have won several national and international awards over the years and have been featured in several publications. As a full time professional photographer he also is commissioned for industrial, commercial and portrait photography.

www.dgphoto.comwww.doug-gibbons.artistwebsites.com


A landscape photograph portrays a particular place at a particular time as seen through the eyes of a particular person. It can focus on a natural setting or include man-made objects. Essentially, it is a portrait of the land or an earthscape if you will. It can be documen-tary in nature or reveal a more interpretive and personal approach. Every decision we make, from the choice of lens to the vantage point to the filter we select, affects how we interpret the scene in front of us.

The LandscapeBy Mike Grandmaison

Photography is the vehicle through which I was able to discover this great country Canada. As a result of looking through my camera’s viewfinder, I have become much more aware of my surroundings. Photography has literally heightened my ability to see and feel. When you look at a photograph, you stand in the shoes of the person who created that image. Each one of us has a unique approach based on our personal experiences, likes and dislikes, prejudices, education, genetics, social background and environmental influences. What we choose to photograph, and how we photograph it says a lot about the subject, about the world we live in, about what we think, how we feel, what we believe in, and ultimately about ourselves. When we look at a landscape, we also see through the eyes of a species, not just that of an individual. We are constantly searching for beauty and this is evident in our art throughout our history.

I am constantly searching for opportu-nities to create photographs. Observation and patience are the powerful tools that allow my personal discoveries to reveal


themselves. I seldom photograph with something specific in mind, preferring instead a more contemplative approach. It’s not necessarily about seeing more but seeing differently. Walk slowly. Pay attention to your surroundings, to what's in front of you and not what is around the corner. The more you look, the more you see. A great photograph is almost always a distillation. What is left out of the frame is as important as what is left in. As Freeman Patterson is fond of saying: "Fine images demand careful preparation".

The earth speaks to those who are receptive. It begins with knowledge and respect, respect of the natural world and for life in general. One hundred years ago, most of us lived in rural settings whereas today most of us inhabit urban settings, experiencing nature in highly managed parks. In the process, most of us have lost our connection to the natural world. Ansel Adams introduced the con-cept of 'wilderness mystique' saying that "even if we never experience wilderness, we need to know it exists". Photography has been an important tool for conserva-

tion over the years as witnessed by the work of Adams and others in helping to establish national parks and preserves.

Craft is important but it's not para-mount; vision is. Vision is a way of seeing and representing the world through your own eyes. My vision is one of a beautiful but fragile landscape and my inspiration comes mostly from the natural world

within Canada. Nature is an energizing force, a place for revitalization and, for many, a spiritual sanctum. Wonder is the fuel which sustains vision. Mother Nature provides us with inspiration almost everywhere we look. While the earth is full of natural wonders, it isn’t necessary to travel the globe to create beautiful landscapes. Your very own


backyard can be an excellent source of inspiration because it’s free, there is no need to travel and you are always there in the best light.

‘The vista’ or ‘big landscape’ is often what attracts us to make a landscape photograph. The grandiose, light-filled landscape is hard to resist. Unfortunately, there is a trend for acquiring ‘trophy’ shots proclaiming “Look, I have been there!” -- instead of immersing oneself in the experience of seeing and creating. The ‘intimate view’, on the other hand, with its lack of a horizon, tends to be more personal, more intimate and more unique. It is unlikely you will encounter a similar image made by another pho-tographer.

The importance of light in creating excellent photographs is undeniable. Its intensity (bright or dark), its quality (whether it is soft and indirect or harsh and direct as in front, side or backlight), in addition to its changing color through-out the day and seasons, can transform a scene from the mundane to the spec-tacular. All too often however, we forget about time, the other raw ingredient in making photographs. As David Ward so aptly states: “Time is light’s equal part-ner”. The time that elapses while the shutter is open, the time one considers before pressing the shutter (timing), the time of year and the geological time - all of these manifestations of time can have a great influence on an image. David Ward further adds: “The true gestation of a photograph is not in seconds, or frac-tions of seconds, of exposure but rather the years the photographer has spent on a journey that is both physical and intel-lectual before reaching the point when the shutter was opened”.

While we live in a world of technol-ogy, my choice of equipment is limited to


quality tools that assist me in capturing my vision of the scene in front of me. Beyond the obvious camera and lens, no piece of equipment is as important as the tripod. I work with an assortment of lenses from wide angles to long telepho-tos. While wide angle lenses are typically used to capture the ‘big landscape’, I fre-quently use medium to long telephotos lenses to create more intimate views of the grand landscape. Three types of filters help me control light: polarizing, neu-tral graduated and, on occasion, neutral density filters.

While I pursue the warm, golden light of morning and evening, I seldom shy away from the mid-day sun as dif-ferent subjects work well in different light. Inclement weather often create opportunities for dramatic images. Sun bursting through dark, ominous clouds, fog, frost, hoarfrost, rainbows, fogbows, sun pillars, crepuscular rays (God rays) can infuse a scene with drama. The sky, with its clouds, Milky Way, northern lights, moon and stars, offer additional opportunities for creating interesting landscapes.

What I love most about this country is its sheer beauty and diversity. I have worked and photographed through-out Canada but, in the late seventies, I adopted the prairie region as my adopted home. The word ‘prairie’ often evokes a vision of flat, boring and endless land-scapes. Those who live on the ‘prairie’, who know the land intimately, under-stand profoundly that there is so much more to the region than this inaccurate preconception so many of us have. I ini-tially expected the landscape to be ‘as flat as a pancake’ but it proved to be remark-ably diverse, ranging from flat farm fields lined with shelterbelts to rolling hills dot-ted by potholes or prairie sloughs to what

appeared like arid, desert-like habitat. As I came to understand later, the ‘prairie provinces’ consisted of much more than grasslands. The Prairie Region also fea-tures deserts, badlands, mountains and tundra, along with forests and wetlands. While the land itself is quite captivat-ing, the skies can often ‘steal the show’. The landscape can be bold and dramatic one minute but subtle and oozing with texture the next. A photograph can never replace the experience of photographing or of actually experiencing the moment. While the memory will fail, the photo-graph will always be a constant reminder of a moment in time, an experience cher-ished. g

Mike Grandmaison is passionate about creating images. His award winning pho-tographs have been published worldwide by some of the world's finest corporations including National Geographic, Canadian Geographic, Geo and Audubon to name a few. Ten postage stamp projects feature Mike’s imagery, including the ‘double rain-bow’ stamp in the recent Weather Series.

Mike’s passion for the natural beauty of his beloved country Canada led him to cre-ate a truly remarkable body of work that spans this country’s geography from coast to coast to coast. Mike has authored 13 cof-fee table books to date.

www.grandmaisonphotography.com

Mt. Baker Sunset: Christina Aitchison


What makes Canada’s West Coast landscapes so unique? Is it the thundering waterfalls descending from the rainforest-clad mountains onto an isolated beach, the driftwood, the sun setting into the distant ocean, or simply the awareness that most of the time you can be literally in the wilderness far away from civilization?

West Coast Landscapes - Vancouver IslandBy Richard James, Victoria Camera Club Vice-president and Close-Up editor.

The challenges are numerous. West Coast means rainforest, which in turn means the weather. Yes, you can get spec-tacular weather images, but you can also get you yourself and your gear very wet in the process. On Canada’s East Coast, sunrises are easy, on the West Coast we rely on sunsets for most of our low light-level images as the mountainous terrain often descends precipitously, sometimes 1000 meters, or more straight into the ocean and precludes sunrise photogra-phy on our mostly west-facing coastline. Conversely, on the east side of Vancouver Island, sunrises do work!

As with any other aspect of photog-raphy, timing is critical. Good storms

occur in winter, rarely in summer. Winter brings challenging access. For example, the Tofino area (Pacific Rim National Park Reserve) is only accessible by two mountain passes and, although they are low (200-300 meters), they are prone to heavy, wet snow in winter. Meanwhile, summer often brings marine fog which, although it can give interesting to spec-tacular images, may last all day and occur for weeks at a stretch. The east coast of Vancouver Island, however, is much more accessible, but also much less wild.

On the mainland it’s not much dif-ferent, wilderness away from civilization means how do you get there, by car to a few locations, by boat or float plane to

almost anywhere. You can drive south to White Rock or north to Lund from Vancouver with multiple access locations, but the next coastal access is a 1000 km, 12½ hour drive north from Vancouver on Highways 1, 97 and 20 with a chal-lenging road over the coast mountain range to Bella Coola. To go farther north you have to head back inland to Highways 97 and 16 to get to Kitimat or Terrace, a 1300 km, 16 hour drive, and that’s it. The next stop is Alaska.

Equipment and techniques will also challenge you. Long exposures to smooth the waves and clouds take much trial and error to get “just the right effect,” which you will not be able to reproduce the next day! Often you cannot change your viewpoint to change the framing. You will have to change your lens and be aware of the impact that this may have on the perception of depth and on the depth of field.

Now, for a quick tour around Vancouver Island we will let the pho-

Sandcut Beach: Carrie Cole

Botanical Beach: Steve Smith

Trial Island: Doug McLean


tographers describe their images for you. So, let’s start with the east side of Victoria. Looking from atop Anderson Hill in Oak Bay we see Mount Baker, a 10,780 ft. (3,290 m) active volcano in Washington State, looming above the Gulf and San Juan Islands on a beautiful late summer evening. [Mt. Baker Sunset: Christina Aitchison]

Moving round to the southern shores of Victoria, Trial Island and the manned Canadian Coast Guard lighthouse lie offshore and the Olympic Mountains in Washington loom over 30 miles away across the Strait of Juan de Fuca. The image was taken at dusk in the winter. We were shooting shore-birds and on the way back, turned at the top of the hill to capture this compressed view with the Olympics in the background. The stratus clouds were perfectly positioned to reveal and separate the snow- covered tops of the mountains and the colourful lighthouse buildings. In 1990 parts of the islands were set aside as the Trial Islands Ecological Reserve. [Trial Island: Doug McLean]

Heading west down the West Coast Road, Highway 14, Sandcut Beach is an easily accessible beach just 31 kilometres beyond Sooke. It is a 10 minute hike to the cobble shore along a well maintained trail. A short walk east will bring you to this picturesque waterfall gracefully flow-ing over a bluff. I used a 9-stop neutral density filter to attain a longer exposure and smooth the water. [Sandcut Beach: Carrie Cole]

Nearly at the end of the West Coast Road lies Botanical Beach at Port Renfrew. The first marine research station in the Pacific Northwest was estab-lished here in 1901 by the University of Minnesota and has since been used by a number of universities in BC and Washington state. This image was made at a very low tide in June 2014. I had climbed onto an isolated rock that was slowly being engulfed by the rising tide. I wanted to get the feel of the sea’s ener-gy and waited for a big wave to crest in front of me. I used luminosity masking in post processing to increase the tonal range and contrast, especially in the mid tones. [Botanical Beach: Steve Smith]

Wickanninish Beach: Gordon Griffiths]

Port Renfrew Driftwood: Caspar Davis

Pacific Rim Beach: Caspar Davis


While this massive piece of driftwood is clearly natural, most of the driftwood found along our beaches is debris from logging operations or log rafts that have broken apart at sea and then drifted ashore. This image was shot against the evening sky in Port Renfrew in May 2012. It is a three shot HDR image processed in Oloneo Photo Engine and Topaz Denoise and then refined in Photoshop [Port Renfrew Driftwood: Caspar Davis]

After returning to Victoria we head west on Highways 1, 19 and 4 to Pacific Rim National Park Reserve between Ucluelet and Tofino on the west coast of Vancouver Island. For many visitors their first view of the Pacific Ocean is the impressive arc of Wickaninnish Beach stretching over 16 km along the coast. This image was made late on a beautiful spring afternoon. I was fortunate to find the beach deserted because of the time of day and low tide. The usual tourists and surfers had left the beach. [Wickanninish Beach: Gordon Griffiths]

The Long Beach area can be idyllic in summer but on an October day with strong winds off-shore and heavy surf, I took the trail south of the Kwisitis (Wikaninnish) Visitor Centre and found this striking view of a West Coast beach. Of several shots I liked this one best, with waves breaking all across the image. The image is deliberately some-

Chesterman Beach: Caspar Davis

Tofino Winter Storm Watching: Richard Willacy

Sunset Between the Rocks: Neil Boyle


what underexposed to preserve the sky and breaking waves. [Pacific Rim Beach: Caspar Davis]

At the North end of Long Beach, near Incinerator Rock, are several isolated rock outcrops giving a distant view between them towards Schooner Cove. Ten min-utes past sunset on Christmas Day in 2014, these large basaltic remnants of Vancouver Island's volcanic past framed the reflection of the already-set sun under-lighting the clouds, turning the dark grey sand to molten gold. [Sunset Between the Rocks: Neil Boyle]

A little further north along the coast towards Tofino, and outside of the park, lies Chesterman Beach, a surfers’ Paradise! Just offshore is Frank Island but it can provide little protection in a storm. It was another typical winter storm day on December 28th. The morning sunrise was accompanied by fog, gale force winds and lashing waves which provided the ideal conditions for “Storm Watching” on Vancouver Island’s rugged West Coast. [Tofino Winter Storm Watching: Richard Willacy]

But in summer, Chesterman Beach is a playground for all ages. In this case, my eye was caught by the figures of chil-dren, adults and dogs silhouetted against the skyline at low tide. Processed in Lightroom and Topaz B&W Effects. g [Chesterman Beach: Caspar Davis]

All of these images were made by members of the Victoria Camera Club. We welcome visi-tors at any of our meetings, field trips and workshops. Please see our website for details: vic-toriacameraclub.org. Our Club magazine, Close-Up, is available to all on our website as a down-loadable PDF.


Product Test Review: PrinTao 8 by LaserSoft Imaging

Occasionally we review a book, or product that we think CAPA members may have some significant interest in exploring fur-ther. This product review is about PrinTao 8, which is a relatively new software product for printing your images very pro-fessionally, provided you are a user of a Mac computer. You need to print using either a Canon or Epson printer.

Dan Bryer, D R from North Bay, and Rick Shapka from North Vancouver, conduct-ed the review. Dan prints from an Epson 7900 using Image Print 9, and Rick prints from an Epson Pro 3880 using Photoshop. For this review, both were provided with a full working version of PrinTao 8 soft-ware from LaserSoft Imaging from the USA office. Neither Dan nor Rick are professional printmakers, but are quite comfortable producing a high quality print image from a digital file.

What we did to test PrinTao 8:

• We used color-calibrated monitors (a NEC PA272W, and a LaCie 324i respec-tively), and each person exchanged digital files for the prints to be made. We printed exactly from the digital files exchanged; no changes to each other’s file.

• We each printed our own images, and then the other person’s images, using our own normal print workflow. Next we printed using the print workflow of PrinTao 8 software.

• When comparing the color prints from the 3880, using Photoshop as the print manager rather than PrinTao8, the pre-ferred print was the PrinTao 8 result. The prints seemed to be slightly lighter in overall tone. The colors are very real-istic, and closely match the calibrated monitor screen, the first time. Rick attri-butes this to the ICC profiles that are built into the PrinTao 8 software.

• The CAPA members who viewed the (blind test) prints pretty much agreed with the comments above. There was overall agreement that PrinTao 8 pro-duced a preferred print result to using Photoshop as the print driver.

• We primarily compared color prints, although Rick did a test with a black and white image. PrinTao8 produced a very nice print from the 3880. However there was a very slight yellow colorcast in the sky clouds that required an additional adjustment to obtain the final satisfac-tory print.

Overall Dan and Rick were pleased with the results from PrinTao 8. If you are look-ing to learn more about producing better prints, or move to the next step with your printing, we encourage to experiment and download a trial version of this product from LaserSoft Imaging.

**Neither Dan nor Rick received any com-pensation from LaserSoft Imaging for doing this PrinTao 8 product review. They used their own computers, printers, ink and papers for this print test. g

• Each of us compared the images printed, using the two differ-ent workflows.

• We met to com-pare, and discuss the image results printed with the different workflows.

• We then asked some other CAPA mem-bers to compare and discuss their print preferences, and rea-sons for their choices.

• All our print comparisons were based upon visual acuity, in light conditions that approximated 5500 degrees Kelvin.

Use of PrinTao 8 Software:

• The software is relatively easy to load and navigate. There are very under-standable tutorials available on how to use the software. Just Google PrinTao8.

• The screen shot shows the settings, and is a step-by-step process to follow to load an image for print. PrinTao 8 has made available 100s of ICC paper pro-files from which you can choose or you can choose to load your own custom profile. This is one significant advan-tage of using the software. Most popular paper profiles come preloaded with the PrinTao 8 software.

Results of the Print Tests:

• With any software there is a learning curve, but if you have some knowledge of working from your own computer and printer, you will learn this software fairly quickly. This is not to imply you will not have some questions, to which the PrinTao 8 representative Darren Vena responded quickly.

• When comparing the color prints from the 7900, using Image Print and PrinTao 8, there was a just noticeable differ-ence between the test prints. PrinTao 8 prints were slightly less saturated, with somewhat less contrast. Dan prefers the subtle differences of Image Print, but says considering the difference in soft-ware cost, others may not appreciate the difference.

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The Tahoe Backpack 150 is a focused pack built for an active life. Protective, sporty and lightweight, it offers lots of room for a day’s worth of photo and essential gear. And a separate and padded pocket fits your 10-inch tablet.

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It’s incredible what 50 odd megapixels can do to change the look of your photos.

The Canon EOS 5DS and 5DS R make everything you shoot more impressive. Landscapes take on an added dimension. Nature looks larger than life. And you should see what these two new full-frame EOS Canons can do for fashion and portraits.

The medium format-like resolution adds character to faces. In fact, the cameras’ ability to capture fi ne detail evokes interest in even the most mundane objects. Simply put, everything you shoot looks more stunning!

Whereas both cameras come with the same 50.6 megapixel sensor, the 5DS R – with its low pass fi lter disabled – takes full advantage of the sensor’s full-frame resolving power. More detail can be captured, perfect for landscape and commercial applications where the sharpest possible image is required.

With its advanced 61-point High Density Reticular AF system with up to 41 cross-type AF points, along with dual DIGIC 6 Image Processors, everything about the 5DS R is geared to capturing hi-res images.

Again, it’s in the details. To counter the effects of mirror vibration, the mirror in the EOS 5DS R is not controlled by conventional springs but instead is driven by a small motor and cams. Furthermore, the 5DS R is equipped with a Fine Detail mode that generates better gradations, more detailed textures and fi ne edges for smoother, more polished photographs.

The 5DS R is also loaded with a myriad of other neat EOS fi rsts. A crop mode selector allows for smaller fi le sizes (30.5MP for 1.3x and 19.6MP for 1.6x) while maintaining fantastic image quality. There’s even a built-in function that automatically creates time-lapse movies.

Come see the magnifi cent 5DS and 5DS R for yourself. A Vistek camera specialist will be more than happy to give you all the details and show you the magic.

Magic is in the details.

E X P E R I E N C E T H E W O N D E R O F T H E W O R L D ’ S H I G H E S T R E S O L U T I O N F U L L - F R A M E D S L R S

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canadian camera magazine fall 2015

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