canadian camera magazine summer 2015

Creative Portraits - André Gallant“Pas de deux” - Jean-Marc Beaudoin Classic Portraiture Lighting - Len GrinkePhotographing People In The Streets - Maurice Henri

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 TS U M M E R 2 0 1 5 • $ 9 . 9 5

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CANADIAN CAMERA - 1

Sheena WilkieEditor-in-chiEf

14220 71 Ave.Surrey BC V3W 2L1

E-mail: [email protected] Shapka

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

Rick Shapka 2 Message from the President

Sheena Wilkie 4 Phototalk 5 CAPA Photo Expo 2015 6 CAPA/Club News 8 CAPA Notice of Election of Executive 9 CAPA 2014 Annual Digital Competition 10 CAPA 2014 Financial Statement 11 CAPA New Members André Gallant 12 Creative Protraits Irene Marie Dorey 19 Paranormal Photography Jean-Marc Deaudoin 20 Pas de deux Len Grinke 22 Classic Portraiture Lighting Ralph Milton 25 The Inner Me Maurice Henri 26 Photographing People in the Street 28 CAPA Competitions Results

theCOVERBy André Gallant

CAPA is a FIAP-affiliated organization.

ContentsVol. 16, No. 2 • Summer 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 presidentRick Shapka

CAPA OFFICERSPRESIDENT

Rick Shapka, FCAPA VICE PRESIDENT

Volunteer Opportunity SECRETARY

Michael Breakey, FCAPA TREASURER

Len Suchan, FCAPA PAST PRESIDENT

Jacques S. Mailloux, Hon. 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, FCAPA

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

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Registrations for the CAPA Photo Expo 2015 continue to come in. CAPA Photo Expo will be held at the beautifully photographic UBC campus, in the new student union building. Everything coming together about the conference appears fantastic! A brand new facility, excellent variety and quality of speakers, with an emphasis on making images before, during and after the event; participants will come away having been treated to a great summer learning experience. If you have not registered yet, I suggest you do so soon to get your choice of presenters, workshops

and photo tours.

One of the many interesting photographic subjects to be presented and discussed at the CAPA Photo Expo is people, or portrait pho-tography. It can be challenging for some, but it is very rewarding to make an accomplished portrait. Two of our presenters at the Expo, Joel Grimes and Dave Brosha, each take a unique personal approach to the making of a portrait. That is what portrait photography is

all about; investing time to develop a personal interest, which results in a compelling image of a person, or people.

In this summer issue of Canadian Camera you will see wonderful portraits made by some of our talented members who enjoy this genre of photography. In addition to the images, the articles will share some of the thoughts that go into visualizing a great image of a person.

Summer provides a great time to make images of people! People are active in the great weather, participating in interesting activities. Travel, and the longer days may find you at not so familiar places where you can use your imagination and visual eye to chose some-thing unique to capture with a person as a main attraction.

What makes a compelling image of a person? Is it the lighting, a mood, the com-position, a compelling look from the subject, or the surrounding environment that con-notes something about the person in the photograph? The photographer can influ-ence or shape these aspects of the final image. Knowing something about the person will enhance the personal story.

Successful portraits and those photogra-phers who make the most interesting portraits tend to be comfortable with, and like people. They enjoy interacting with their subjects, learning something about them for the ses-sion.

When I first made pictures in a studio environment, most of the images did not work very well. Why? Because I was more concerned about the light and equipment setups required to make the image techni-cally well rather than I was interested with the person to be photographed. Lessons learned!

Keeping with the objective of providing a practical shooting event, I am pleased to announce that Lensbaby (http://lensbaby.com/usa/) in cooperation with Beau Photo has become one of our sponsors for the CAPA Photo Expo. Kirsten Hunter of Lensbaby will be there to conduct two Monday photo workshops as well as provide their many lenses for your use at the Photo Expo. Kirstin will be at the Beau Photo booth for the trade show.

Phot

o by

She

ena

Wilk

ie

CANADIAN CAMERA - 3

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For those who have used a Lensbaby lens, you know they are fun, interesting and creative. I encourage you to attend one of the workshops and try a variety of the Lensbaby product. Those registered for the Photo Expo will have an opportunity to win one of the two lenses donated by Kirsten and the company.

Targeted at the portrait photographer, Lensbaby recently announced the “Velvet 56, a classic portrait lens.” It will be avail-able to be demonstrated and purchased at the Photo Expo. Check it out, the Velvet 56 lens on You Tube video.

It is that time of year again when the Nominations Committee is looking for people who are interested in serving on the CAPA Board of Directors. This year Lynda Miller, our DR from the Central Okanagan, chairs the committee. Please see the notice of nomination on page 8. Please consider serving, or nominating a member.

Really hope to see you at the CAPA Photo Expo! g

Sincerely,Rick Shapka, FCAPAPresident

Hi Ms. Wilkie,

I'm renewing my membership because in the last two issues of Canadian Camera there has very diverse and interesting content. That said, don't forego the birds and mountains, they are always good to see, in a more balanced presentation. The Association now appears to be more interested in and relevant to my photographic interests.

Thank you, best regards.

David Johnswww.davidjohns-portraits.cawww.roadartcollection.com

Leter to the Editor

4 - CANADIAN CAMERA

phototalkSheena Wilkie, Editor-in-chief

www.redriverex.com/competitions/photo-contest

Many photographers tell me they don’t photograph people, but when I look at their Facebook page, or their Flickr feed or website I see portraits of people. Don’t kid yourself, we all make portraits. People are the single most photographed subject on the planet.

This issue’s theme is near to my heart – portrait photography. I used to think I began photographing people when I started my portrait business but when I look through family photo albums I realize that I have been making portraits since I was a kid. Albums full of portraits I have made of other freckled faced kids, pimply faced teens, first loves, a husband, kids and now two beautiful granddaughters. My family sees me with a camera the same way the Royals see the paparazzi. “You are a pest, by the very nature of that camera in your hand.” – Princess Anne.

There are so many types of portraiture, from street photography, to formal

studio, all take a unique set of skills. I’ve tried my hand at most but whatever type of portrait I am making I love the

process. Whether it is meeting with the subject, getting to know them better,

putting them at their ease or, candids on the street, catching the subject’s eye, smiling, lifting the lens, anticipating their reaction as I look through the view finder – luckily for me it is almost always positive. Each portrait is like making a new friend.

With summer and its photographic possibilities on the horizon, I hope you take some time to make portraits and make many new friends! g

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

"So many people dislike themselves so thoroughly that

they never see any reproduction of themselves that suits. None of us is born with the right face.

It’s a tough job being a portrait photographer."

- Imogen Cunningham

CANADIAN CAMERA - 5

Exploring Photography Sea to Sky

Join us in Vancouver to explore and fuel your passion for photography at CAPA Photo Expo, August 2015. The Canadian Association for Photographic Art

is creating a vibrant arts community to welcome photographers from the Pacific Northwest, across Canada, the US and other countries.

Mark your calendar and plan now to join us for a weekend of interactive workshops, photo tours, print displays, presentations, competitions,

trade show and most of all photographic exploration.

REGISTRATION NOW OPEN AT WWW.CAPAPHOTOEXPO.CA

Mark your calendar and plan now to join us at CAPA Photo Expo on August 1-3, 2015 For more information visit www.capaphotoexpo.ca

AUGUST 1-3, 2015

Our roster of presenters includes:

• Joel Grimes (Keynote Speaker) THE ART OF CREATING www.joelgrimes.com • Brenda Tharp (Keynote Speaker) EXTRAORDINARY EVERYDAY PHOTOGRAPHY

www.brendatharp.com• Dave Brosha MASTERING CREATIVE LIGHT www.davebrosha.com • Teri Lou Dantzler MOBILE PHOTOGRAPHY www.teriloublog.com • Derek Hayes CREATIVE USE OF THE FISHEYE LENS www.derekhayesphotography.com • Chris Harris EXPRESSING EMOTION THROUGH PHOTOGRAPHY

www.chrisharris.com • Rick Hulbert PHOTOGRAPHIC COMPOSITION WITH AN ARCHITECTURAL ATTITUDE

www.rickhulbertphotography.com• Marc Koegel LONG EXPOSURE PHOTOGRAPHY www.silverlandscapes.com• John Lehmann PHOTOJOURNALISM AND STORYTELLING www.lehmann.ca• Andrea Siriois USING PHOTO IMPRESSIONISM TO ACHIEVE YOUR VISION www.andreasirois.com • Sharon Tenenbaum THE IMPORTANCE OF VISION IN YOUR PHOTOGRAPHY www.sharontenenbaum.com See

you in Vancouver

in 2015!

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facebook.com/TheCanadian AssociationForPhotographicArt

CAPA/Club News

Have you wanted to learn how to evaluate images at your club, or learn what judges look for when an image is evaluated at a competition? If you have, then you may wish to participate in one of the CAPA Judging Programs.

We are in the process of determining where, and when the CAPA Judging Programs, will be held beginning the fall, 2015 through spring, 2016.

If your club has an interest in hosting, or if you have an interest in attending a program, please contact us at either [email protected] or [email protected] or any of the CAPA zone directors.

Confirmed Programs: • Surrey Photography Club will be hosting a CAPA judging

program on Saturday, September 19th. The venue will be 10767 – 128th Street, Surrey BC.

Details at the capacanada.ca website.• Ontario: Two programs will be run in Ontario in the remain-

der of 2015; one open only to existing judges as a refresher course, and one fall program open to all CAPA members and club members. Details to come.

Tentative Program: • Mid Vancouver Island, BC will be late September. Details to come.• All confirmed program details and registration information will

be on line at the CAPA website.

CAPA JUDGING PROGRAMS …a valuable member service

Abbotsford Photo Arts ClubAward-winning photographer, Bryan F. Peterson is coming to the Abbotsford Photo Arts Club, he will present ideas on using creative exposure to add a WOW factor to photos. He will also introduce many new ideas to fuel a passion for photography. An inspiring coach, Bryan brings his infectious enthusiasm, vast knowledge, and creative imagery to APAC’s 38th Annual Photo Seminar.

Fees: $95 (Sept. 1- Oct. 21)Early Bird Rate $85 (May 1-Aug. 31)

At the Door $110 (cash only)

Michael J. Fox Theatre, 7373 MacPherson Way, Burnaby, BC

For more information and registration: www.apac.bc.ca

Request a free Hot Spot Photography Map pullmanchamber.com

facebook.com/PicturePerfectPalouse pullmanchamber.com • 800-365-6948

Robert Tetzlaff

CANADIAN CAMERA - 7

www.capacanada.caTel.(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:

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

CAPA Photo Expo 2015

Savouring life intensely

For those of us who love photography, the question that often arises is, “What is a great photograph?” This, of course, leads to the next question, “How do I take a great photograph?” Ansel Adams, arguably one of history’s greatest photographers gave some insight into these questions when he said, “A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed.”

But how do I do that? How do I express the deep emotion that I feel when I see the beauty around me; in nature, in things made by humans, or in people? It’s not for lack of trying. With the advent of the cell phone camera almost everybody is a photographer, and we’re constantly taking pictures. The ubiquitous “selfie” has morphed into the “usie”. Facebook alone records that 250 million photos are uploaded to their site daily. That’s a lot of pictures. But how can I create images that are truly memorable? That rise above the simple record shot of the, “I was there,” variety? That will stand out among the 250 million daily offerings?

The speakers and presenters at CAPA Photo Expo 2015 were carefully selected to help us answer these questions. With

dynamic presentations, well-crafted work-shops, and by immediately applying what we’ve learned in photo walkabouts and tours, there will be many opportunities to grow as photographers, so we can each express our personal vision more effectively.

I would like to take this opportunity to thank everyone who has registered for the Expo, and is planning to join us at UBC in Vancouver. Your support is deeply appreci-ated. I’m sure that you will have an amazing growth experience, you will gain new vision and inspiration, and you will learn new skills to express your own personal vision. And perhaps, like icing on the cake, you will make some new friends. If you haven’t registered yet – well, it’s simple. Just go to the website: capaphotoexpo.ca and you can join us. The famous Magnum photographer, Marc Riboud once said, “Taking pictures is savouring life intensely, every hundredth of a second.”Join us, and together we will find new and exciting ways to savour life intensely.

Larry Breitkreutz, Chair – CAPA Photo Expo 2015

CAPA/Club News

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[email protected] • www.capacanada.caTel.(250) 523-2333

CAPA/Club News

NOTICE OF ELECTION CAPA EXECUTIVE OFFICERS

FOR THE 2015-2017 TERMThis notice is published in accordance with the bylaws of the Association. All elected positions are open to CAPA individual or family members in good standing.

As a volunteer organization, we are always looking for members who want to get involved with the National Organization. We invite all interested people to join us in the promotion of Photography in Canada.

Members who are interested in standing for the following positions should send a request to the Nominations Committee via email to [email protected]. Please include your membership number along with details of your regional and/or national service to CAPA and any positions held in camera clubs or other relevant photographic experience.

All responses must be received by June 15th, 2015.

CAPA EXECUTIVE OFFICER POSITIONS TO BE FILLED

POSITION NAME STATUS

President

Vice President

Treasurer

Secretary

All Board positions that must be filled after the nomination deadline date or between elections are filled by appointment by the President and approved by the Board of Directors.

Lynda MillerChair, CAPA Nominating Committee

CANADIAN CAMERA - 9

The Annual Digital Competition is the one CAPA competition with merchandise prizes. There will be three winners and 10 CAPA Honour Awards will also be given. By participating in this compe-tition you will have a chance to win fabulous prize packages. “A list of prizes will be made available at a later date.” This competition is open to CAPA individual and family members only; those members who are permanent Canadian residents. If you are not a CAPA member, and if 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 electronically no later than mid-night (Pacific Standard Time: GMT-8:00) September 15th, 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. All participants will be confirmed as members in good standing and living in Canada with our database, before their

entries are accepted and judged. 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. Inquiries should be sent to [email protected]. Make sure you include the title of the competi-tion and the word CAPA in the subject line, or your message may be tagged as spam.

Participation is limited to 2 entries per member. You may submit either colour or black and white photos. Manipulation in editing soft-ware is permitted. Judging will be carried out in Ottawa in October 2015, and the results will be announced on the CAPA website.

Competition Chair: Léo AllainEmail: [email protected]

A list of prizes will be made available at a later date.

CAPA Annual Digital

2015 Competition The theme of the 2015 ADC is Contradictions

EVENT SPONSORS

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

CAPA/Club News

Get Your CAPA Clothing & Merchandise Today!

For information email [email protected]

10 - CANADIAN CAMERA

[email protected] • www.capacanada.caTel.(250) 523-2333

CAPA/Club News

CAPA Financial Statement

CANADIAN CAMERA - 11

Summer 2015CAPANEW MEMBERS

Atlantic ZoneMargaret Boothroyd NB

David Brosha PEPatsy Moorcraft NB

Laszlo Podor NS

Quebec ZonePhilippe Lalande

Jean-Marie PhilippeLinda Rutenberg

Ontario ZoneKhalid Alnahdi

Robert AndrewsElizabeth DavidsonJason DiMichele

Ed FletcherChristine Hess

Peihai LiMichael ManettBharat MistryHong Pham

Mohammad RafieeArt Shaw

Lynn ShawAndree Thorpe

Jean-Paul VilleneuveDana Warnquist

Vic WhitcroftDoris WoudenbergGhassan Zreikat

Prairie ZoneJoye Bennett ABHarv Emter AB

Dianne Fuson ABKenn Green MB

Heather Loewenhardt SK

Louwrens Olivier ABSheila Pearce AB

Jannik Plaetner SKLethbridge Photography

Club ABChristina Varro ABAmy Wildeman SK

Pacific ZoneJonathan Adams

Bill AndersonCharne BairdDiane BelykRobert Belyk

Douglas CaplanGary Chan

Yvonne ChienIan Clay

Wendy ClayNatalie Coates

Dennis CrabtreePilar Dean

Kenneth DeEllLois DeEll

Joan DenisJoan Dolson

Michael ElkanPhung Fong

David FriederichTrish HannaRobert Heap

Anne HoganVera Huston

Jacqui JamesJohn Kalley

Joann KennedySusan KnowlerTony KnowlerSelena LaingKenneth Leet

Bill LockeKellee Maglio

Kathryn McgarveyJosee Menard

Rick NeidigGeorge PierceBonnie PryceWendy Pryor

Wayne ReevesDonna RobertsonChristal Rusnell

Andrea SeraphimMark SippolaAlbert Tsai

Mohammad Zahid

DONATIONS

Mildred S. BarrieYvonne ChienPhung FongAlbert Tsai

[email protected] www.capacanada.ca

CAPA Pewter Medal for Good Service goes to Lynn Fulton of Kitchener, Ontario

Grand River Imaging and Photographic Society 2015 recipient of the CAPA Pewter Medal is Lynn Fulton. She has been a member of the club for 7 years and has always kept the club's best interests foremost in her decisions, whether stepping in as president when the office was vacated, volunteering for any task that is needed or sharing good advice based on her wide experience. Lynn is the strong keel that helps our club steer true.

Thank you Lynn for your loyalty to Grand River Imaging and Photographic Society (GRIPS) of Kitchener, Ontario.

www.gnigami.ca

Tenba, MeFoto and Elinchrom products are available at leading photo specialty retailers.

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Tenba Shootout BackpacksFor serious photographers, the Shootout is Tenba’s ultimate no-compromise backpack. You’ll be amazed at what you can pack inside. And don’t let its streamlined looks and lightweight fool you. This bag is built for the rugged outdoors. The Shootout, available in different sizes, features unique side pods that allow access to cameras and lenses without removing the shoulder harness, plus Tenba's exclusive multi-stage tripod carrier.

New! ELB 400 Lighting KitThis revolutionary portable off-camera flash system is perfect for outdoor photographers who want to travel light but insist on quality lighting. Features an increased power range, new OLED display, 20% faster recycling, built-in wireless receiver, and new flash modes: strobo, sequence and delayed. Two light kit includes ELB 400, spare Li-ion battery, Skyport transmitter, charger, strap, sync cord, flash cable, reflector and case.

Vistek_CC_Summer_2015_Third-Vertical.indd 12015-04-29 12:28 PM


It seems in this day and age, everyone is taking pictures, and there really are photographs everywhere. Not only has this elevated the quality of photography, it has also pushed photographers to be more daring and creative with their image capture. Composition rules are now referred to as guidelines, and everyone is embracing uncon-ventionality, especially with portrait photography. The posed portrait with a cheesy smile has been replaced with dynamic photos full of emotion and edgy lighting. The traditional photo of the bride and groom looking at each other smiling has been replaced with images of the couple holding hands while jumping out of a plane or rolling in the sand on the beach in their formal attire. It’s the era of daring to be different. How exciting is it to be a photographer right now!

I still remember the words of wisdom the first editor I worked with told me, “Posed portraits are posed portraits. You’ve got to get more life in your photographs. Capture feelings

and emotions, show us some of these people’s personalities. We want to see a connection with you and your subject”. It’s after that talk that my pictures began selling.

Creative PortraitsBy André Gallant

Portraits fall into two categories, posed and candid. With the posed portrait you have more control over lighting, background selection, props, concepts and direction of the subject matter. Try and have your posed image look like a candid capture. Last summer I photographed a young girl at my house. Rather than photograph her sitting in the garden holding a few daisies, I opted for something more playful. I bought some sidewalk chalk, and drew large flowers, cats, and a school bus on my paved backyard. When Sahar arrived for the photo shoot, all she had to do was play with the chalk. I climbed a stepladder so I could shoot from an unusual perspective. At one point I asked Sahar to show me her hands, when she looked up, big smile on her face, that was the image. A sense of innocence captured.


On the other hand the candid is more spontaneous, as you can’t plan on the light, background or props. You work with what is offered to you. While traveling to India a few years ago, I walked by a young boy sitting on the steps to his house with the cutest puppy. The overcast light was gentle and the weathered steps were the ideal background. I began taking pictures, but the boy was really serious. To break the ice I started to clown around and got this reaction. When the puppy looked at the young boy, I caught that connection between the two of them.

On that same trip, while traveling through the Shakawati region, I stopped for a chai tea in a small village. Elegantly dressed and wearing a colourful turban, an elderly man showed up while I was drinking my tea. With various gestures I asked if I could take his picture. He was agreeable and quite animated. This made me feel at ease so I was able to take my time. I made various compositions. Then I cropped in close on his face to create some tension within the image. I find this unusual crop to be effective as it draws you in close to him.

As a travel photographer I know the importance of telling a story with photos. I was in Havana this past February, and although I took a few thousand photographs, it is this one image that tells Havana’s story. When looking at the image I feel the desperation. The faceless portrait becomes extremely expressive.

Going to Antigua Guatemala for Holy week was an incredible experience, spiritually as well as photographically. Semana Santa is a week filled with religious processions in the streets decorated with alfombras (sacred carpets made up of coloured sawdust). It is an incredible opportunity for street photography and a chance to take compelling portraits of the locals. With crowds of people toting cameras, it feels less intimidating to take pictures of strangers participating in various parades. The portrait of this man at the helm of a huge wooden float full of religious statues carried by sixty people was rendered even more dramatic after the smoke of burning incense filled the air.

Sometimes, the environment where you photograph can be relevant to the


portrait. It adds a sense of place and belonging. This is the case with this photograph of an elder man from Pienza Italy. When I noticed him by this small restaurant, purposely I stepped back so I could take more of the surroundings which add relevance to this location portrait.

Although the 135 mm telephoto lens is a good candidate for portraiture, don’t shy away from using the other lenses in your camera bag. For the image of the boy shepherd from the province of Rajasthan India,

I purposely chose to shoot close to the wider angle of a 24 - 105 mm. This made the boy appear really close to me as well as the viewers of the image, and

fast enough in order to make sure your images are sharp. You may find auto focus desirable although my preference is to focus manually - an old habit I’m comfortable with. With these settings, I was able to capture this young boy in Antigua Guatemala just in time before he noticed me and scurried inside.

(ISO 500 - Shutter speed 1/200th second - Image stabilization on - f/8)

When taking portraits my temptation is to move in close to the subject and fill the frame. Although this can produce intense portraits with no background distractions, it can fail in showing a sense of place. This is why I like using a zoom lens to get a variety of images, from tight crops on the face to environmental portraits which show where the person lives, or works. For this portrait of one of Trinidad’s “rooster men”,

I purposely zoomed wide to include some of the surroundings of the quaint town. It adds dimension and space to the image, and there is beautiful harmony between the colours.

There is a lot you can do after haven taking your portraits. Digital processing has opened the doors to creativity, and this is often when photographers put their imprint on their images. Using adjustments in Photoshop or using specialized filters such as Nik’s Silver Efex Pro, or Topaz’s B&W Effects, you can convert your colour images to black and white. Perhaps you can experiment with select colour. After converting your portrait to black and white, you can then paint colour back in parts of the photograph to emphasize something and make that stand out (perhaps the eyes, a piece of clothing or a prop). A few steps are were involved in creating this self-portrait. The colour photograph was converted to black in white in Photoshop. Then in layers I painted back the colour in the tie, buttons on the jacket, ring and on the decals on the background. Finally I added a textured image (in black and white as well) over the whole picture, erasing that layer over the face and hands. This added an overall antique look to the final image. Post processing can be very helpful in creating your own vision.

it accentuated the feeling of distance from the herd of goats. The effect draws you in. Also, notice how I shot from a slightly higher angle to the boy, which appears to make him look vulnerable. Shooting at a lower angle would have the opposite effect making him look more commanding. Wide angle lenses are a great choice when shooting environmental portraits.

When traveling, I enjoy walking around with the camera and one lens (usually a 70 - 300 mm) looking to take candid photographs of people. You have to be quick when doing this, which is why it can be helpful to use a higher ISO, set your camera to shutter priority and choose a shutter speed


De nos jours, tout le monde semble prendre des photos, ce qui fait en sorte qu’il y a une abondance d’images partout où l’on regarde. Ce phénomène pousse les photographes à élever la qualité de leurs images et à être plus audacieux et créatifs avec leur pho-tographie. Les règles de composition ne sont maintenant que des guides. On semble avoir adopté un genre non conventionnel, spé-cialement envers les photos de type portrait. Les photos banales avec de faux sourires sont maintenant remplacées par des prises dynamiques et pleines d’émotions, avec un éclairage avant-gard-iste. Les photos de mariage où le couple se regarde dans les yeux, main dans la main, font maintenant place à des images du couple se tenant les mains en sautant d’un avion, ou en roulant dans le sable à la plage portant leurs beaux vêtements formels. Quel bon temps pour être photographe!

Je me souviens encore des conseils de mon premier éditeur au début de ma carrière: «Tes portraits sont bien, mais pas assez naturels. Tu dois ajouter de la vie dans tes photos. Essaie de capter plus d’émotions et de sentiments. Démontre-nous la personnalité de tes sujets.» C’est suite à cette conversation que mes photos ont commencé à se vendre.

Il y a deux catégories de portrait: le posé et le candide. Avec le portrait posé nous avons plus de contrôle sur la lumière, la sélection de l’arrière-plan, les accessoires, le concept ainsi que les directives pour le sujet. L’été dernier, j’ai photographié une fillette de 5 ans à ma maison. Au lieu de faire une photo

Concevoir des portraits uniques et créatifs


ordinaire de l’enfant assise dans mon jardin, tenant quelques marguerites, j’ai choisi un concept plus animé. J’ai acheté une boite de craies à trottoirs et j’ai dessiné quelques tableaux dans ma cour, tel qu’une multitude de fleurs, un chat et un chien, ainsi qu’un autobus scolaire. Lorsque Sahar est arrivée chez moi pour la session de photos, je lui ai demandé de s’amuser autour des dessins en tenant quelques craies dans ses mains. Pour avoir une perspective différente en prenant la photo, je suis monté dans une échelle. Spontanément, j’ai demandé à la fillette de me montrer ses mains. Avec son grand sourire, Sahar m’a regardé. Cette image démontre l’innocence d’un enfant.

Pour ce qui est du portrait candide, il est plus spontané, car il est plus dif-ficile à planifier. Il faut travailler avec la lumière disponible et on doit accepter l’environnement dans lequel on est. Lors d’un voyage en Inde, quelques années passées, j’ai rencontré un jeune

garçon assis sur les marches devant sa maison. Près de lui se trouvait le plus beau petit chiot. Le décor simple et la lumière délicate étaient idéaux pour prendre une photo. Après quelques prises, j’ai réalisé que l’expression du

garçon timide était un peu sombre. Pour briser la glace, j’ai fait quelques grimaces, pour obtenir cette réaction. Soudainement, le chiot a regardé le gar-çon et j’ai immédiatement capté cette connexion entre eux.


Pendant ce même voyage, lors d’une visite dans la région de Shakawati, je suis arrêté brièvement dans un tout petit village pour prendre un thé chai. Durant cette pause, un homme avec une allure élégante portant un turban coloré s’est aussi arrêté pour boire un thé. C’est à ce moment que je luis ai demandé si je pouvais prendre sa photo et il a accepté. Puisqu’il était très animé, cela m’a mis à l’aise et m’a donné confiance: j’ai pris mon temps et capté plusieurs images tout en vari-ant les compositions ainsi que les prises de vue. Le cadrage un peu différent apporte une certaine intensité et mène à un rapprochement du sujet.

Étant photographe de voyage depuis vingt cinq ans, j’ai réalisé l’importance d’illustrer une histoire en photo. Au mois de février cette année j’ai eu la chance de passer une semaine à la Havane à Cuba. Lors de ce voyage, j’ai pris plus de mille photos, mais c’est celle-ci qui représente mieux la Havane. On peut ressentir le désespoir

de ce jeune homme, sans même voir son visage.

Un voyage à Antigua au Guatemala fut une expérience incroyable, autant spirituellement que photographique-ment . Semana Santa (Semaine Sainte) est une semaine remplie de processions religieuses dans la ville d’Antigua, où les rues sont décorées d’alfombras (tapis sacrés fait de sci-ure de bois colorés). C’est l’occasion idéale pour photographier les gens qui participent aux diverses parades ayant lieu au cours de la semaine. Avec des foules munies de caméra, il est aussi plus facile de prendre en photos ceux qui défilent dans les rues. La photo de cet homme qui guide la parade du jeudi saint est encore plus spectacu-laire grâce à la fumée de l’encens qui se déplace dans l’air.

Parfois, l’environnement où l’on prend nos photos peut être tout aussi important. Le tout peut ajouter un sens d’appartenance. Tel est le cas de la photo de cet homme âgé, prise à

Pienza en Italie. En préparation, j’ai remarqué que le décor était très beau et, à mes yeux, typiquement associé à l’Italie. Intentionnellement, je me suis reculé afin d’inclure les environs dans ce portrait.

Bien que le téléobjectif de 135 mm soit renommé comme l’objectif idéal pour le portrait, n’hésitez pas à utiliser les autres objectifs qui se retrouvent dans votre sac d’appareils-photo. Pour l’image du garçon berger de la province du Rajasthan en Inde, j’ai délibérément choisi d’utiliser le grand angle de mon objectif 24-105 mm. C’est pour cette raison que le jeune berger semble être tout près de moi, alors que le senti-ment de distance avec le troupeau de chèvres est accentué. De plus, j’ai photographié le garçon d’un angle plus élevé, ce qui le fait paraitre vulnérable. Photographier à un angle plus bas aurait eu l’effet opposé, en donnant l’impression de dominance.

Lorsque je voyage, j’aime bien me balader avec ma caméra et un objectif


(habituellement 70 - 300 mm, avec sta-bilisateur d’images) à la recherche de portraits candides de gens locaux. Dans ce cas, il faut faire vite alors je conseille d’utiliser un ISO plutôt élevé (entre 500 et 800), réglé votre caméra afin de donner priorité à la vitesse et de choisir une vitesse d’obturation assez élevée pour rendre vos photos plus précises. Une autre possibilité est d’utiliser le focus automatique (bien que person-nellement, je préfère le focus manuel). En employant ces réglages de l’appareil photo, cela m’a permis de capturer

l’image de ce jeune garçon à Antigua au Guatemala au bon moment. Dès qu’il m’a aperçu, il est entré chez lui à toute vitesse. (ISO 500 - Vitesse d’obturation 1/200ième de seconde - Stabiliseur d’images - f/8).

Par habitude, lorsque je photogra-phie quelqu’un, ma tentation est de cadrer mon sujet de très près. Ceci peut intensifier le portrait, car il n’y a aucune distraction à l’arrière-plan. Par contre, on peut aussi perdre le sentiment créé par l’endroit où cette personne habite ou travaille. C’est

pour cette raison que j’utilise de plus en plus un objectif zoom, qui me donne beaucoup plus de flexibilité lors de ma prise d’images, du grand angle à la télé-photo. Pour ce qui est du portrait de l’homme et de son coq, photographié à Cuba, j’ai fait l’usage de mon objectif 24-105mm afin d’inclure le village pittoresque de Trinidad dans la photo. Ceci ajoute un sens d’espace au portrait, complémen-té par une belle harmonie de couleurs.

Après la prise de vos portraits, vous pouvez procéder au traitement de l’image. Le traitement numérique ouvre les portes à la créativité, et c’est souvent lors de cette étape que les photographes ajoutent une empreinte unique à leurs images. Avec l’aide de filtres spécialisés tels que Nik Silver Efex Pro, Topaz B&W Effects ou ceux que l’on retrouve dans Photoshop, vous pouvez facilement convertir vos images couleur en noir et blanc. Il est aussi possible d’expérimenter avec une sélection de couleur que vous pou-vez repeindre dans certaines parties de votre photo après la conversion en noir et blanc. Imaginez un por-trait en noir et blanc où les yeux sont peints en bleu, ou l’image d’une nou-velle mariée où seulement le bouquet de fleurs est coloré. Vous trouverez une multitude de filtres qui sauront ajouter une touche de créativité à vos images et qui vous aideront à perfec-tionner votre vision. g

André Gallant is a freelance pho-tographer living in Saint John NB who specializes in imaginative travel, people, and stock photog-raphy around the world. Gallant continually experiments with new visual approaches and techniques in both his professional and per-sonal photography. He is well known for his wonderful books and fabulous workshops. Find out more about André at andregallant.com


There is a truism in photographic circles that states “the camera sees what the human eye does not”.

Never is this as evident as when applied to the paranormal.

Kingston Ontario’s national histori-cal site Fort Henry is a popular tourist attraction and is haunted. I know first hand this to be true.

August 28th, 2011, Joanne Green, a colleague from the Ontario Science Centre came to Kingston for a visit. I wanted to impress her with my hometown’s most memorable visitor experiences. Our final stop of the day was to “The Fort” to take a $5 self –guided tour.

Fort Henry boldly claims it knows of two resident ghosts. John Gunner Smith, is a soldier who died dur-ing the famous battle of Fort Henry and French general Nils Von Schultz was kidnapped and held at the Fort. Joanne and I chatted with a Fort Security Guard asking her if she had ever seen a ghost. She smiled and said no but many times felt uneasy with unexplained noises, doors shutting and lights turning on & off on their own. She said her fellow co-workers had their experiences too.

My Experience with an Apparition Paranormal Photography

As we begun the tour, I was amazed that we had the whole Fort basically to our-selves. As we walked the halls cameras in hand the tour was uneventful. We talked about how cool it would be actually cap-tured a ghost in digital form. I – being a bit of a cut up - grabbed a white table cloth from a display of brochures, threw it over my head and did my best ghost impression. Joanne, of course laughed, but cautioned me this was not the place to mess with stuff like that.

So the tour ended and our next stop was downtown to a popular patio res-taurant for a glass or two of merlot.

Fast forward 2 years. With time on my hands, I decided to go through my iphoto library and delete any sub-standard images. I came upon the Fort Henry photos. The photos were okay, boring. I had taken 30 photos within seconds of one another. Then I came to the images of the “Wine Cellar” an enclosed bricked room at the end of the hall approximately 40ft. by 40ft. with a single door entrance and exit. A room filled with original barrels for the offi-cer’s wine and beer for the lower ranks.

4 continuous images - click, click, click, click - and there it was/is… a soldier leaning against the wine barrels

in a casual way. This soldier that was NOT visible when I took the photo two years hence. An undeniable full body apparition!

My sisters believe this soldier got a kick out of my ghost impersonation and felt comfortable enough to let me know.

I contacted the authorities at Fort Henry who were taken back by my cap-ture. They examined the jpegs through forensic tests and determined there was no tampering with the files and it would be impossible for me to have staged this event. They said simply, “You have something here. It is what it is”. Then they stopped taking my calls. It was leaked to the Fort’s Facebook page but quickly downplayed as just some fun.

“So, to date, my biggest photographic “high” is when I captured a full body apparition at Kingston’s Fort Henry’s wine cellar. Seems like the world isn’t ready for that one!”

Has anyone else out there had a para-normal photographic experience to share? I would love to hear from you! g

Irene Marie Dorey,Graphic designer, Illustrator, Event Photographer


It all started in high school where I chose photography as an after school activity and there I was introduced to the pleasure of dark-room film development. My first camera was a full manual Praktica camera with a hand light meter.

“Pas de deux”

By Jean-Marc Beaudoin (Quebec Zone Director for CAPA)

www.f22.ca

Since then I have always carried a cam-era. The passion really came in the early 2000’s when digital imaging became the future of photography. Being a full time computer professional since 1982, the numeric era became natural. Being able to control the process all the way from shooting up to the final product is still a revelation for me. When colour is not an added value in a photograph, I never hesitate to turn it black and white, and Lightroom does it all for me.

My ballet dancing photography pas-sion happened by accident ten years ago. My former photography club was approached by the “Académie de danse Véronique Landory”, a small local ballet school, to take photos during their ballet classes and sell them to the parents at the annual closing show. The purpose was (and still is) to raise additional funds for this non-profit organization.

There were many of us over the years who photographed those ballet classes, but now there is only two of us remaining. Colette Bordeleau, a good friend of mine, and I have continued since fundraising is still very impor-tant for this school. Being the only two photographers to cover all the classes became a definite advantage for me. We got so involved that we are now both members of the board of the ballet school.

The ballet students have become accustomed to the same faces photo-graphing them over the years, which makes our job easier. On many occa-sions they pose for the camera very naturally. One day a talented dancer came up with that idea of going urban and doing photo shoots outside around Montréal to create images where ballet dancing contrasts with normal urban

life. We ended up with four advanced and talented dancers for our project.

This type of photography is like yoga to me because, mostly, because I do it for myself. Of course, I do take the Mom and Dad souvenir photos but, I’ve become a little bit selfish and catch what my photographic eyes see. The grace and elegance of ballet dancing puts me in a contemplative state.

I like to arrive on site at least one hour before the shoot begins. This helps me to find the most advantageous spots, predict how the surrounding light will behave, and figure out the best angles.

It is also very important for me to get to know the model. What does she do? What does she like? Those basic ques-tions help us to create a relationship. Trust is critically important in portrait work. Safety is also essential. I will never ask the model to do something that could cause injury. It is vital to encour-age the model and to show her our work while shooting. Seeing what we do is a definite motivation for them.

When Minolta stopped making DSLRs a long time ago, I had to


choose another photographic “reli-gion”. My choice was Olympus gear. It was probably my way of being dif-ferent but I did, and still, like their technologic creativity. Just remember they were the first to introduce the anti-dust system, live view and the in body image stabilization. And I really like the ergonomics of their camera

bodies. Olympus also introduced the mirror less camera with interchanging lenses cameras.

I currently have an Olympus E-30 with an E-500 as a backup body with Zuiko 14-54mm f2.8-3.5, Zuiko 50-200 f2.8-3.5 and a Zuiko ED 50mm f2.0 lenses. Also I have my LensBaby which I use when I just want to have fun.

I have a tripod but never take it when portrait shooting.

My philosophy when I go shooting is to find what I am not looking for then nothing else can interfere between my mind and my camera. This way I have no expectations because I know that if I have something precise in mind I will miss a lot of other great shots. g


Classic portraiture is making a comeback! The last few years has seen a continuation of the trend to a more editorial or journalistic style of portrait photography. Advancements in camera technology, particularly in the ability to capture images in low light, have made it possible to make images that were all but impossible to make not that long ago. These developments in low light capabilities of the camera mean that photographers no longer needed to drag all kinds of heavy lighting gear with them. Certainly, this improvement in technology has led to more spontaneity in portrait work and spurred the growth of the editorial and journalistic styles of portrait photog-raphy. However, understanding the classic portrait lighting patterns, combined with a spontaneous approach can raise the bar on creat-ing amazing portraits.

Classic Portraiture Lighting By Len Grinke

There are two things at the heart of portraiture: body position and lighting. While both are equally important, it is necessary to first understand the role of

light in a portrait and how to use it to create a portrait. When lighting a por-trait, consider three elements - quantity, quality, and direction.

Light quantity is simply how many photons are hitting the subject and it is what dictates the exposure.

Light quality is a reference to how hard or soft the light source is. A hard light source is small relative to the subject and gives a very harsh look. The transition from highlight to shadow is abrupt. A soft light source, on the other hand, is large relative to the subject and gives a very gentle look that has a gradual transition from highlight to shadow. While I hesitate to label one light as good or bad, when starting out I would recommend using a soft light source. A soft light source has the ability to smooth complexions and it is an overall easer light source to use than a hard light source. A hard light can be tricky to control, but when handled can also create some very excellent portraits. The

Split lighting


Hollywood glamour portraits of the 30’s and 40’s are great examples of portraits done with hard lights.

Light direction is key to the success of any photograph. In portraiture, there are generally considered to be four lighting patterns for the face. These patterns are created by very specific light directions. These are.

• Split lighting • Rembrandt lighting • Loupe lighting • Butterfly lighting

Split lighting is when one half of the face is light and the other half is left in shadow. The light is “split” down the center of the face. This is achieved by placing the light source at a 90 degree angle to the face. In other words, directly

off to the side of the face. Split lighting can be used to create a very dramatic feel to the image. Since no light from the light source is reaching the shadow side of the face, a reflector is usually need to bring up the detail in the shadows. This then gives, the photographer control over how the final image will look.

Rembrandt lighting and loupe lighting are very similar. They are both achieved by placing the light at a 45 degree angle to the face. This allows the light to sneak over the bridge of the nose and put a triangular patch of light on the opposite cheek. The shadow created by the nose is important to watch. If the shadow extends across and joins up with the shadow on the cheek and is nearly touching the upper lip, then you have a Rembrandt lighting pattern. If the shadow does not cross to the cheek

and does not touch the lip, then you have a loupe lighting pattern. What makes the difference is the height of the light. The higher the light, the closer to a Rembrandt look you will get, and lowering will give you a loupe pattern. Pay special attention to the eyes and the shadow created by the nose. For most portraits, you want to make sure you have light in the eyes and that the shadow from the nose does not go past the upper lip. On the other hand tough, try to avoid having the nose shadow pointing up.

Butterfly lighting is popular in glamour photography. The light placement is high and in front of the face. This lighting pattern will minimize texture and detail in the skin, helping to create that glamour look. Shadows are usually controlled using reflectors from

Rembrandt lighting


underneath the subject. Because of the light on top, reflector on bottom design, and this lighting pattern is also known as Clamshell lighting. Make sure that the light is far enough back from the subject to get light in the eyes.

Once you know the basic lighting patterns, it’s just a matter of knowing which one to use and when. The two determining factors will be what you have available to you and what are you trying to create.

Butterfly lighting works great for glam-our situations since it will smooth out texture. This means it will work great in any situation where you want to smooth out texture or rough skin.

Rembrandt lighting works well for most portrait situations. It is my go-to lighting method. Simply by controlling the shadows, it can be used for portraits from a very dramatic portrait to a busi-ness headshot. Rembrandt lighting looks good from almost any camera angle.

I will generally reserve split lighting for special cases where I want to make a dramatic portrait or I want to minimize something by hiding it in the shadows.

So why is classic portraiture making a comeback? Because classic portraiture is the study of how lighting, camera angle, and body positioning can be used to most flatter the subject and to tell the story that the photographer wants to tell. And once you have an understanding of how they fit together, the concepts can be applied to any style of portrait photog-raphy to help you create more dynamic and interesting portraits. g

Len Grinke is a North Vancouver based people photographer. He began his photography career in the mid 80’s shooting film, but when digital came about he packed up his analog gear and dove head first into digital photography. It has been his medium of choice ever since.

“Analog photography is a great medium to hone your photography technique and lighting skills, there are no preview, there is no second chance. To nail the shot, your technique must be bang on. The digital tools that are now available, remove many of the restrictions that analog photography had and allow me to work more freely with my subjects. But the core of a great portrait is still reliant on strong technique and lighting skills”

Len can be found at grinkecreative.com. He has also recently launched a new web site thephotog-rapherscode.com where he will be sharing his personal projects and photography techniques. You can also check out his workshops at either of these sites.

Butterfly lighting

The portrait is by Lynda Miller, well known to CAPA folks out west. Son-in-law Don McNair, an editor and artist living in Vernon, BC, did the caricature. They did their best with what they had to work with.


Somewhere between Ucluelet and Conception Bay, there must be a rein-carnation of Joseph Karsh. Karsh made Winston Churchill look human. I need a portrait photographer who can do the same for me.

Here’s my problem.

Einstein’s theory of relativity implies that your head is aging faster than your feet. It amounts to a mil-

lisecond over a lifetime, but I am the exception to everything including relativity. My face has aged twice as fast as everything else. I have wrinkles on my wrinkles. And I’m going bald. And losing my memory. The rest of me is just fine. Except my skin is three sizes too large.

I have a face that has seen 80 winters. Not a face that pulses personality, leathered by years of desert sun or Arctic blasts. It’s the sallow visage of a scribbler ravaged by a lifetime hunched over a keyboard.

Every portrait artist knows that people don’t want to look the way they actually look. Ask any wedding photographer. Photo mags are full of software to change a 90-year-old overweight Grandma Moses into a Barbie doll.

I need a portraitist who can show me oozing deep wisdom -- the tested integrity of an ancient sage. The inner me. So far, every mug shot shows a puss that any judge would send to the clink for life. Which is unfair, because I am really a fine, noble person. Sweet and gentle. Intelligent. Honest. Also very humble.

Never daunted by adversity, I decided to take matters into my own hands. I did a “selfie.” But all my carefully diffused lighting and soft focus notwithstanding, every wrinkle showed tack sharp. My beady, blood-shot eyes looked like a couple of mara-schino cherries in a glass of boiling buttermilk.

Photoshop to the rescue! It took hours, but I wiped every wrinkle. Expunged every spot. Purged every pore. The result? I looked like a reject from the Adams family. What my grandson calls the “undead.” A ruby eyed cadaver.

You’ve read about England’s King Henry VIII. He’s the guy who thumbed his nose at the Pope and pioneered our modern alternative to polygamy. Serial monogamy. He worked through a batch of wives, all of whom came to very sorry ends.

There’s a famous portrait of Henry VIII done by a painter named Hans Holbein. He has Henry looking tough and strong. In charge. Like a CFL linebacker. But historians say Henry was pudgy, pale and puny. Hans was well paid. He made Henry look like Henry imagined himself to look. The inner Hank.

Somewhere across Canada, there must be a reincarnation of Hans Holbein. A fine photographer whose integrity is not for sale. But could be rented. Someone who will make me look sanguine, like Spencer Tracy. Or wise, like Carl Sandburg. Or a genius, like Albert Einstein. Hey, I’m flexible!

But I don’t want to look the way I look. I want to look the way I’d like to look. The inner me! Is that clear? g

The Inner Me By Ralph Milton


Fine street photography is a form of visual and mindful meditation and if you do not force it, the rhythm of the street will reveal itself. I describe street photography as creating a carbon copy of a fragment of everyday life. Street photographers document reality and illustrate truthful instants, ones that most people don’t even notice.

PHOTOGRAPHING

People In The StreetsBy Maurice Henri

in advance of the shot and in seconds, visualize the photograph, and then take steps to prepare the correct framing and exposure.

Having a complete understanding of the technical aspects of your equipment is an absolute must. If you are fumbling with your equipment, you will miss the “decisive moment”. Precise tim-ing and reaction is what brings a street photograph from the ordinary to the extraordinary.

Street photography involves getting up close and personal to people or situations. To be effective with this type of shooting, you have to be in the moment and not a distant spectator. A telephoto lens will provide the comfort of viewing the action from afar but without an emotional con-nection. Wide-angle and normal lenses make you a participant and endorse the truth within the story, inspiring the view-er to feel something. Capturing emotion is the one basic element that any great portrait should possess.

An excellent photograph is not about aiming a skilfully adjusted costly camera at a person or scene; it’s about commu-nicating an idea, a concept, a feeling or a thought. Ansel Adams said "There is nothing worse than a sharp photograph of a fuzzy idea". Knowing what you're

Street photography is probably one of the most difficult genres of photogra-phy to master, because it is based on the unknown. You can select the com-position, but you can’t control how the characters will act to make your picture look perfect or convey a message.

In order to produce expressive street photographs, key elements are needed: observation, instinct, anticipation, timing and emotion. A good street photogra-pher will see a scene coming together


saying and saying it clearly is what makes an image people will remember.

Because this style of photography frequently requires moving into peo-ple's personal space, a relaxed, cheerful and honest attitude will help you inter-mingle with the locals. Unlike some portraiture that requires a more struc-tured approach; street photography involves inserting yourself into situ-ations where people are going about their business. Remember, not every-one will welcome you into their space. Therefore, approach your subject with caution and respect.

It is necessary to practice in order to perfect your composition skills to the point that it becomes instinc-tual. You have to see the scene in its entirety in your mind’s eye and trans-

fer the situation in an instant to your viewfinder without pausing to analyze. Therefore, it is necessary to not rely on your conscious mind, but to rely on your unconscious: you must react intuitively.

I never have a set objective when I go out to photograph the streets or with my approach to my subjects. Everything happens out of emotion and intuition. Observing the elements that influ-ence the creation of a photograph and absorbing the light, the location, the identity and expression of the person will lead you to see from the heart.

We’ve all heard the saying, “a photo-graph is worth a thousand words” and it’s because a good photograph always tells a story and if it’s a photograph of a person, it will show “who” the person is.

The human face is exceptional, full of wonders and mysteries and each person is unique. The photographer’s mission is to capture the soul of the person in the final image. If you can accomplish this, you will have joined a very select group of great photographic artists. g

Since 1989 Maurice Henri has been working in the field of photography (studio and loca-tion portraits, weddings, commercial and stock). He has participated in many pho-tographic projects (host & producer of a television series FOTO that aired nationally, founder of Cameras for Healing and of Photo Moncton International Photography Festival). His work has been featured nationally and internationally. You can see more of his work at www.mauricehenri.com and www.cam-erasforhealing.com


Digital Altered Reality Club

Date: Jan 20, 2015Host: RA Photography Club, Ottawa, ON

Gold CertificateTrillium Photographic Club, Burlington, ONGold - Doug Doede, Free At Last Tom Hanrahan, UpheavalSandy Barbour, Amongst The StarsJohn Bunyon, ExcalibarMary Gilmour, Wasps Nest PlayBela Acs, Separated

North Shore Photography Society, West Vancouver, B.C.Silver - Wayne Reeves, Self PortraitErnie Schoenhoeffer, Global WarmingTerry Beaupre, Death Takes Joanna AntonescoGregory Johnson, The TransformationStephanie Alexandra, Altered PowerSandy Schoenhoeffer, Primary Sphere

Camera 35, St. John’s NLBronze – Jim Stacey, Ghost of ShanawdithiJerry Curtis, ZombieEric Bartlett, WhiskersJoe Chase, YesssssssssKaren Chappell, Psychedelic Snow FlakeGeoff Whiteway, Junk Science

Certificates of Merit 1st Bela Acs, Trillium Photographic Club, Burlington, ON.,

Separation2nd Jim Greenway, Harbour City Photography Club, Nanaimo,

B.C., Red Trilliums3rd Wayne Reeves, North Shore Photographic Society, West

Vancouver, B.C., Self PortraitHM’s 4th - Toronto Camera Club, Toronto, ON 5th - Etobicoke Camera Club, Etobicoke, ON 5th - Crescent Beach Photography Club, Surrey, B.C.

Silver, Wayne Reeves, Self Portrait

Gold, Doug Doede, Free At Last

1st, Bela Acs, Separation

Bronze, Jim Stacey, Ghosts Of Shanawdithit

2nd, Jill Greenaway, Red Trilliums

CAPA Competitions


Altered Reality Individual Competition

Date: Jan 20, 2015Host: Latow Photographers Guild, Burlington, ON

GoldLasersoft HDR Studio 8 – from LaserSoft ImagingDoug Caplan, Langley, B.C.Untitled #197 Untitled #659 Untitled #749 Untitled #625

Silver Jim Hatch, Surrey, B.C.Cleaning the Lens Super Moon The Photography Portrait Painting

Bronze Peter Sauder, Toronto, ONFlower Child Duck Commander Jeepers Creepers It’s Not Polite

Certificates of Merit 1st Jim Hatch, Surrey, B.C., Super Moon2nd Doug Caplan, Untitled #6593rd Jim Hatch, Surrey, B.C., Portrait PaintingHM’s Lloyd Dykstra, Grand Prairie, ABLydia Dagg, Victoria, BC

SILVER, JimHatch, Super Moon

GOLD, DougCaplan, Untitled #659

3rd, Jim Hatch, Portrait Painting

BRONZE, Pete Sauder, Duck Commander

CAPA Competitions


Digital Novice Individual

Feb 10, 2015Host: Toronto Camera Club, Toronto, Ontario

Gold Medal Perfect Effects 9 by On One SoftwareVi Brown, Peachland, BC

Silver MedalAntje Danielson, Delta, BC

Certificates of Merit1st Vi Brown, Firefighting Heli

Corrections

In the spring issue we had a mix up. With our apologies here is the correct information.

CAPA Fall Print Open Competition October 30, 2014Gold to Pia O’Leary, London ON, Sunrise at Erg Chebbi

CAPA Fine Art Individual October 30, 2014Gold to Natalya Gunde, North Vancouver, BC, Peaceful

GOLD, Vi Brown, Firefighting Heli

SILVER, Antje Danielson, Dreamy Walkway

CAPA Competitions


Digital Open Club Competition

Date: March 20, 2015Host: Images Alberta Camera Club, Edmonton, AB

Gold Certificate Delta Photo Club, Delta, BCGold - George Pierce, PierKaroline Cullen, Larry Leslie Patricia MCairen, Gooseberry Falls Hop Phan, Off Season Roger Lasell, On RouteLarry Leslie, Zebra Collage

Silver CertificateAtlantic Lighthouse, Bedford, NSSilver- Ken Renton, Spoonmakers ApprenticeCarolyne Renton, Pure Joy Hugh McKervell, Eastern Lubber On Wall Nanciellen Davis, Pilgrims On Holy Ground George Mitchel, Beak And Thorn Clive Elson, Bug Aboard

Bronze CertificateEtobicoke Camera Club, Toronto, ONBronze- Rosa Wang, Drama of Dance Tony Paine, Starry Night Shawn McSweeny, Cross Bedded Sandstone David Westlake, Lake WanakaJohn Crhak, The Chase Michel Gagon, Alien Double Vision

Certificates of Merit 1st Ken Renton, Atlantic Lighthouse, Bedford, N.S.,

Spoonmakers Apprentice2nd Rosa Wang, Etiobicoke Camera Club, Toronto,

ON, Drama of Dance3rd George Pierce, Delta Photo Club, Delta, B.C., Pier

HM’s 4th - St. Catharines Photography Club, St. Catharines, ON 5th - Trillium Photography Club, Burlington, ON

Silver, Ken Renton, Spoonmakers Apprentice

Gold, George Pierce, Pier

Bronze, Rosa Wang, Drama of Dance

CAPA Competitions


Open Digital - Individual

Date: March 20, 2015Host: Images Alberta Camera Club, City, Alberta

Gold ProShow Gold, - Photodex SoftwareDavid Laronde, White Dress, North Vancouver, BC

Silver Robert Parker, Red Eyed Tree Frog, St. Catharines, ON

Bronze Robert Casement, Lake Powell Rock, Catharines, ON

Certificates of Merit 1st David Laronde, White Dress 2nd Robert Casement, Lake Powell Rock 3rd Don Peterson, Mount Bakers

HM’s4th – Don Peterson, Victoria, BC4th – Theodore Lo, London, ON6th – Mimi Lo, London, ON

Gold, David Laronde, White Dress

Silver, Robert Parker, Red Eyed Tree Frog3rd, Don Peterson, Mount Baker

Bronze, Robert Casement, Lake Powell Rock

CAPA Competitions


Pacific Zone Print Challenge

Silver, Lynn Schwehr, Sunrise on Mosquito Lake

Gold, Wayne Leung-Chung Ai, Old Lady and Cat

HM, Carol Coleman, Green Curtain

21 February 2015Host club: The Darkroom Group, Coquitlam BC

Club AwardsGold Medal - Chung Ai Photographic SocietySilver Medal - Richmond Photo ClubBronze Medal - North Shore Photographic Society

High Scoring Print AwardsGold Medal, Old Lady & Cat, Wayne Leung, Chung Ai Photographic SocietySilver Medal, Sunrise on Mosquito Lake, Lynn Schwehr, Prince George Photo SocietyBronze Medal, Frozen in Time, Hamid Ebrahimi, Delta Photo Club

Honourable MentionsWhite Sand, Tony Chen, Chung Ai Photographic SocietyRose, Ata Safar, Burnaby Photographic SocietyNun, John Dang, Chung Ai Photographic SocietyKestrel Against the Wind, Banco Yim, Chung Ai Photographic SocietyAstride the Beam, Kevin Farrell, Richmond Photo ClubBurmese Senior, Juliet Fricker, Vancouver Art Photo SocietyGreen Curtain, Carol Coleman, North Shore Photographic Society

CAPA Competitions



Bronze, Hamid Ebrahimi, Frozen in Time

HM, Kevin Farrell, Astride the Beam

HM, Juliet Fricker, Burmese Senior

CAPA Competitions



HM, Ata Safar, Rose

HM, Banco Yim-Chung, Kestrel Against the Wind

HM, John Dang-Chung, Nun

HM, Tony Chen-Chung, White Sand

CAPA Competitions


Mark your calendar and plan now to join us at CAPA Photo Expo on August 1-3, 2015

For more information visit www.capaphotoexpo.ca

Find out more at lowepro.com/prorunner©2015 DayMen Canada Acquisition ULC Distributed by DayMen Canada – Daymen.ca

There are times when you have to carry it all. Pro camera equipment for shoots. Multiple devices for workflow. Accessories and necessities for travel. The Pro Runner II series—the next-generation of our popular, professional backpack design—is purpose-built to organize and protect more gear, and provide more options for maneuvering in busy airports and crowded streets.

Pro Runner II SeriesMore gear. More options.

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High praise indeed from one of Canada’s leading and internationally-renowned nature photographers, Glenn Bartley. A Canon loyalist for years, Glenn talks about his latest acquisition, the Canon 7D Mark II.

“I was ready for an upgrade. But I’m pretty demanding. So in order for me to buy a new APS-C camera, Canon had to deliver a lot of camera, one that’s not just perfect for shooting fast-moving subjects, but subjects that move in and out of shadows in the blink of an eye. My subjects are also known not to sit still, so I need a high burst rate of say 10 frames per second. And because I hike for miles at a time, the camera absolutely had to be lightweight. Correction, make that rugged and lightweight. Most important, because I make my living on my pics and prints, the camera had to offer impeccable hi-resolution.

Somehow Canon knew what I wanted. Because the 7D Mark II delivers all that and more.”

Here’s the “more” Glenn is referring to: 20.2 megapixels, 65-point all cross-type autofocus, Dual DIGIC 6 Image processors for faster processing and for shooting Full HD video at 60p. USB 3.0 connectivity, a built-in Speedlite transmitter for controlling off-camera fl ash. And even built-in GPS for automatic location tagging – ideal for use in remote jungles.

And because it’s a Canon, Glenn can continue to use his stash of EF lenses, including the new Canon 100-400mm L.

Get the lowdown on the 7D Mark II. Talk to a Vistek camera specialist. Find out why the 7D Mark II is great for the Great Outdoors.

“This camera is defi nitely for the birds.”

Photo courtesy of Glenn Bartley, glennbartley.comRead Glenn’s full review at vistek.ca/go/glennbartley

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canadian camera magazine summer 2015

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