Summer 2010 issue of PHOTONews Canada Magazine. Find PHOTONews online at http://www.photonews.ca Or on Twitter: http://www.twitter.com/PHOTONewsCanada Or on Facebook: http://www.facebook.com/PHOTONewsCanada
PM40040669 Return undeliverable Canadian addresses to 22 Telson Road, Markham, ON, L3R 1E5 COMPLIMENTARY ISSUE Photo by Darwin Wiggett DAN JURAK The Canadian Landscape DR. WAYNE LYNCH Traveller’s Camera Southern Destinations PETER BURIAN How To Pick the Perfect Lens MICHEL ROY – SPECIAL TECHNIQUE: Hummingbirds in Flight PLUS: How To Shoot Great DSLR Video! DARWIN WIGGETT Tips for Better Summer Pictures YOUR SOURCE FOR CANADIAN PHOTOGRAPHY VOLUME 19, NO. 2 · SUMMER 2010 · $ 6.98 News FREE COPY!
Transcript
PM40040669 Return undeliverable Canadian addresses to 22 Telson Road, Markham, ON, L3R 1E5
COMPLIMENTARY ISSUE
Phot
o by
Dar
win
Wigg
ett
DAN JURAKThe Canadian Landscape
DR. WAYNE LYNCHTraveller’s CameraSouthern Destinations
PEtER BURiANHow To Pick the Perfect LensMiCHEL ROY – SPECiAL tECHNiQUE:
SP AF17-50mm F/2.8 XR Di II LD Aspherical (IF)model A16
SP AF70-200mm F/2.8 Di LD (IF) Macromodel A001
SP AF90mm F/2.8 Di 1:1 Macromodel 272
SP AF28-75mm F/2.8 XR Di LD Aspherical (IF)model A09
SP AF17-50mm F/2.8 XR Di II VCLD Aspherical (IF)model B005
SP AF60mm F2 Di II 1:1 Macromodel G005
AF18-270mm F/3.5-6.3 Di II VC LD Aspherical (IF)model B003
fast-zoom
Fully compatible with Canon, Nikon, Pentax and Sony DSLRs
macro all-in-one zoom & wide-angle
Tamron’s Anniversary lens - the SP AF70-300mm F4-5.6 Di VC USD. Tamron’s very own ultrasonic silent drive (USD) mechanism delivers faster focusing. The lens utilises an advanced optical design that features an LD (Low Dispersion) and an XLD (Extra Low Dispersion) lens element made from specialised materials that prevent chromatic aberration. As a result, it boasts sharper contrast and image performance than all others in its class. The lens features Tamron’s proprietary VC (Vibration Compensation) image stabilization to assist in hand-held photography. Compatible with full frame fi lm and digital SLR and APS-C sensor-size DSLR.
SP AF17-50mm F/2.8 XR Di II LD Aspherical (IF)model A16
SP AF70-200mm F/2.8 Di LD (IF) Macromodel A001
SP AF90mm F/2.8 Di 1:1 Macromodel 272
SP AF28-75mm F/2.8 XR Di LD Aspherical (IF)model A09
SP AF17-50mm F/2.8 XR Di II VCLD Aspherical (IF)model B005
SP AF60mm F2 Di II 1:1 Macromodel G005
AF18-270mm F/3.5-6.3 Di II VC LD Aspherical (IF)model B003
fast-zoom
Fully compatible with Canon, Nikon, Pentax and Sony DSLRs
macro all-in-one zoom & wide-angle
Tamron’s Anniversary lens - the SP AF70-300mm F4-5.6 Di VC USD. Tamron’s very own ultrasonic silent drive (USD) mechanism delivers faster focusing. The lens utilises an advanced optical design that features an LD (Low Dispersion) and an XLD (Extra Low Dispersion) lens element made from specialised materials that prevent chromatic aberration. As a result, it boasts sharper contrast and image performance than all others in its class. The lens features Tamron’s proprietary VC (Vibration Compensation) image stabilization to assist in hand-held photography. Compatible with full frame fi lm and digital SLR and APS-C sensor-size DSLR.
Canada Post Publications Mail Agreement No. 40040669
Undeliverables to: Amplis Foto, 22 Telson Road, Markham, ON L3R 1E5
Every year, when the first warm breezes waft across my path, I turn my camera lens toward the spectacular photo opportunities that present themselves during the lazy, hazy days of summer. This is a time for family vacation, touring, and adventures that lend themselves to warm weather, a time to explore the wilder-ness and enjoy the magnificent scenery that abounds throughout Canada.
We have focused this issue of PHOTONews on the tools and techniques that will help you create memories to last a lifetime. From Dan Jurak’s spectacular prairie landscapes, to Dr. Wayne Lynch’s incredible wildlife images, Michel Roy’s outstanding hummingbird pho-tography technique, and Darwin Wiggett’s indispensable tips for better summer photos, our writers and photographers have pulled out all of the stops to help you capture the best that summer has to offer.
We often say that the most important ele-ment in photography is the creative vision of the photographer, but every now and then, technology steps in to remind us that there are new horizons to explore. Within the past few months, the digital SLR camera systems have made tremendous progress in the realm of motion pictures… DSLR cameras are being used to record movies and television pro-grams, and what was viewed as a novelty fea-ture just a year ago has now become a very serious artistic tool. We asked our resident tech expert Peter Burian to describe the latest in DSLR Video technology, and to provide some tips for better video – the possibilities for exceptionally fine results are now within the
reach of most DSLR photographers. Peter has also provided a guide to selecting the DSLR lenses that will produce the best results for still and video imaging.
In French, there is a saying “la plus ça change, la plus ça reste” – the more things change, the more they stay the same – and that can certainly be applied to a very special milestone that we mark in this issue – it’s the 60th anniversary of Tamron lenses – and while the company continues to produce award-winning leading-edge products for all of the DSLR systems, a large percentage of the lenses that Tamron has manufactured over the dec-ades can still be used with excellent results on the latest DSLR cameras. It is truly an incredible story, and a very impressive accomplishment.
Our next issue of PHOTONews will appear in the Fall of 2010 – until then, you can keep in touch with us, and with thousands of PHOTO-News readers, through our flickr® group, at www.flickr.com/groups/photonewsgallery/; you can share the digital edition of PHOTONews with your friends around the world; and you can keep up to date on the latest in photo-graphic products and events through our web-site www.photonews.ca.
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Capture the Fever. Share the Excitement.Catch the fever and become part of the excitement. Attend PMA Canada Photo Expo to:
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6 | PHOTONews
Highlights from the PHOTONews flickr® Group. Post your favourite shots!
Dan Jurak shares his techniques for spec-tacular landscape inages!
From ultra-wide to long telephoto, it’s the lens that makes the shot! By Peter Burian.
Reader’s Gallery 12 The Canadian Landscape 14
Pick the Perfect Lens 28
32DaRWIn WIGGETT
Summer Photo Tips
Darwin Wiggett explains how to make the most of summer photo opportunities!
Peter Burian reveals the secrets of DSLR videography.
Shooting hummingbirds in flight with Michel Roy.
Cool products for your photo adventures!
How to Shoot DSLR Video 38
Special Techniques 42 Editor’s Choice 47
Looking at summer from a new perspective... Photo by Darwin Wiggett
Summer 2010 | 7
8 | PHOTONews
F rom its inception in 1950, Tamron has crafted a reputation for innovative optical products of the highest caliber for photographic, video, and commercial applications. From it’s origins as a
manufacturer of camera and binocular lenses, the company, then known as Taisei Optical Equipment Manufacturing, focused on the pursuit of optical excellence through research and an unwavering dedication to improving production efficiency through the enhancement of precision manufacturing processes.
Celebrates Six Decadesof Achievements!
Sixty Years of Innovation and Excellence
NewsFlash
SP AF70-200mm F/2.8 Di LD (IF) MACRO
Summer 2010 | 9
north american photographers were first introduced to the line in 1957, with the arrival of the first 135mm F/4.5 lenses designed for use on 35mm SLR cameras. The “T” mount concept, which allowed a single lens to be used with interchangeable mounts matching a range of SLR cameras, was a unique approach to multi-system compatibility, and it was extremely well received by photograph-ers worldwide.
With the success of the early SLR lenses, the Tamron brand was registered in 1958, and the company began to expand the line of high quality interchangeable lenses. In 1961, the 95-205mm F/ 6.3 was designed, and it soon became famous as the first affordable zoom lens for 35mm SLR cameras; the com-pany’s reputation for manufacturing high quality, innovative, and affordable lenses was firmly established.
Through the 1960s, Tamron lenses exhib-ited a continuous series of successful intro-ductions. In 1966, the adapt-a-Matic range of interchangeable mount lenses provided
autofocus capabilities for a variety of SLR cameras. The company expanded in the field of industrial and broadcast television lens manufacturing as well, with a full line of ultra precision lenses and prisms.
In 1970, the company name was officially changed to Tamron Co. Ltd., and the develop-ment of core technologies continued. In 1976, the adaptall Lens series was introduced, incor-porating the advantages of lightweight macro focusing mechanisms and quick-focus fea-tures. The continuing success of the line led to the establishment of a U.S. subsidiary, Tamron Industries Inc., in 1979, and the first of the Super Performance (SP Series) lenses became available, led by the legendary SP 90mm F/2.5 Macro lens (Model 52B).
The 1980s saw a revolution in SLR camera designs, with autofocus SLR and compact 35mm cameras expanding the range of the consumer market. Tamron expanded manufacturing facilities in Japan, established operations in Germany and Hong Kong, and in 1984 the company was registered at the Tokyo Stock Exchange for over-the-counter trading. Capital increased to more than 3.8 billion Yen.
The 1990s was a decade of significant achievements for Tamron, with a string of
awards for excellence and innovation. The SP aF35-105mm F/2.8 was proclaimed European Lens of the Year, 1992-1993; The aF28-200mm F/3.8-5.6 aspherical was honoured as European Lens of the Year, 1993-1994, as well as being awarded the 1993 Grand Prize (Photographic Lens Section) by Popular Science Magazine. In 1997 the SP aF90mm F/2.8 Macro 1:1 was declared European Lens of the Year 1997-1998. The decade culminated with the aF28-300mm F/3.5-6.3 LD aspherical IF (Macro) winning the Camera Grand Prix ’99 Journalists Club Special Prize; European Lens of the Year 1999-2000; TIPa Lens Grand Prize; and Grand Prize (Photographic Lens Section) Popular Science Magazine.
With the dawn of the new millennium, the international awards and recognition con-tinued. In 2000, the Tamron aF28-200mm F/3.8-5.6 aspherical (IF) Super Macro II was selected as European Lens of the Year, 2000-2001. The following year, the aF28-200mm F/3.8-5.6 Super XR aspherical (IF) Macro won the title TIPa Best Lens in Europe 2001-2002. The medium format Tamron RF645 was awarded Camera Grand Prix 2001 Journalists Club Special Prize; Best Professional Photo Product in Europe 2001-2002; and EISa/European Professional Camera of the year
“From its inception 60 years ago, and on into the future, you may rest assured Tamron is, and always will be, deeply committed to making a continuous contribution to society by spearheading further developments in optical technology, pursuing the exciting possibilities of out-of-the-box optical solutions in a wide variety industrial fields, and creating innovative new high-value products based on its advanced proprietary technologies.”
The AF28-300 F/3.5-6.3 (A06) won European Lens of the Year 2002-2003; the Year 2000 Good Design Award; and the CAPA Lens Grand Prix 2002-2003.
10 | PHOTONews
2001-2002. In 2002, the aF28-300 F/3.5-6.3 (a06) won European Lens of the Year 2002-2003; Year 2000 Good Design award; and CaPa Lens Grand Prix 2002-2003. The aF28-75mm F/2.8 XR Di LD aspherical (IF) Macro zoom lens won European Lens of the Year 2003-2004. In 2005, the aF28-300mm F/3.5-6.3 XR Di LD aspherical (IF) Macro won the “2004 nikkei Superior Products and Services award” from nikkei Business Daily.
In 2005, with the expansion in mobile telephone technology, Tamron began market-ing operations for lens units for mobile phones – you may own more Tamron lenses that you thought!
With the introduction of VC technology – Tamron’s unique vibration compensation mechanism, photographers have a wider range of choices when they select lenses for the latest DSLR cameras. advanced optical technology has resulted in the creation of aSL Hybrid aspherical Elements that pro-duce the ultimate image quality in compact lenses, virtually eliminating spherical aberra-tion and image distortion in the high-power zoom series – one lens element can now take the place of multiple elements to deliver
uniformly high quality images at all focal lengths and apertures, in the remarkably compact long-range lenses.
Tamron designers continue the tradition of innovation with new products and technology – including camera lenses built into vehicles, and far-infrared-related optical and electronic components for a diverse range of emerging imaging categories. While we are most familiar with the photographic lenses, the full range of
Tamron products is reflected in the company’s famous corporate tag line: “Tamron – new Eyes for Industry.”
Discover the world of Tamron lens technol-ogy at www.tamron.ca.
NewsFlash
The SP17-50mm F/2.8 XR Di-II VC (Model B005), won the Digital Camera Grand Prix 2010 Interchangeable Lens Section Gold Prize.
Tamron’s SP60mm F/2.0 Di-II Macro (Model G005) was awarded the Digital Camera Grand Prix 2010 Interchangeable Lens Section Silver Prize.
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Summer 2010 | 11
SpringContest
Bird of Paradise (Crane Flower).Predrag Gutic, of Mississauga, Ontario, used a Sony Alpha 200 and DT 18-250mm lens at 45mm to photograph this striking floral display at the Centennial Park Conservatory. Settings were 1/40 second, f/5.6, ISO 400 with an exposure compensation of +0.7 EV. “My daughters liked the flower, and asked me to take a picture of it. I’m glad I did as it turned out wonderful.”
Osprey with Breakfast.Karen von Knobloch, of Kitchener, Ontario, caught this Osprey on
Easter Sunday morning as it soared above the Grand River in Blair, Ontario. Nikon D300S with 70 to 200mm f/2.8 VRll and the Nikon
TC-20E lll 2X teleconvertor for a combined 400mm focal length. 1/600 second at f/5.6, ISO 400, Exposure Bias: -1/3 EV.
”It can be a challenge to catch images of birds in flight, and the fact that the osprey had it’s breakfast in tow was a bonus.”
Don’t miss our Summer PHOTONews Challenge – see page 50 for details, and post your best shot at the PHOTONews Flickr® group… www.flickr.com/groups/photonewsgallery/
Congratulations to the winners of the quarterly PHOTONews Challenge!
My home, ma maison. Robert Benoit, of Pierrefonds, Quebec, captured this photograph at the 12th Edition “Papillons en Fête” Spring Butterfly display at the Jardins Serres Hamel in L’Ancienne-Lorette, near Quebec City. “I used my Nikon D80 with a Tamron 18-270mm lens at 110mm, and SB600 flash, shooting at 1/100 second and f/5.6, ISO 200. The setting, angle, and composition made it an interesting image.”
Fifty Point Sunrise Ralf Nowak, of Hamilton, Ontario, used a Nikon D300 with 18-135mm AF-S lens mounted on a Manfrotto 190XPROB tripod with 486RC2 head to shoot this striking image at 1/15 second, f/16, ISO 200, focal length 18mm. ”This shot was taken at Fifty Point Conservation Area in Stoney Creek, Ontario. The gradient colours of the sunrise are amazing.”
12 | PHOTONews
Reader’sGallery
West Pierre Noël de Tilly, of Quebec city, captured the essence of his favourite car using a Nikon D80 and 18-135mm zoom at 135mm. 1/1.3 second at f/13, ISO 100, tripod mounted. Post-processed in Adobe Photoshop CS4 on a Macintosh computer. “This is my Westfalia after a complete restoration.”
Balance Sue Thompson, of Chatham,
Ontario, set up this interesting study in shape and lighting, and
photographed it with a Canon PowerShot S5 IS. 1/60 second at
f/2.9, ISO 160, Edited in Photofilter. “The photo was created for a Flickr
Assignment called ‘Balance: point-and-shoot’. I had seen similar
photos to this, but I wanted something different so in my editing
program I created the reflection. The egg was not cooked so I had to
be extra careful when taking this shot! I use a point-and-shoot
camera and only freeware editing programs. This picture was taken in
my homemade light box.”
Spring Storm (Filename: Homestead May 20 09 12)
Thane Vanderaegen, of Lethbridge, Alberta, made this stunning image with a Canon
EOS 40D and 17-40mm L-series lens, shooting at f/5.6; f/8, and f/11, at 2.5
second time exposure, ISO 100.”While ‘hunting’ old homesteads,
I noticed a storm starting to set in near this farm just east of Granum, Alberta. The
sunset poking through was an added bonus. The shot was bracketed with 3
exposures and processed in Photomatix and Photoshop CS3. I used onboard flash
to try and open-up the shadows in the front of the building.”
Summer 2010 | 13
PHOTONews Magazine is delighted to recognize the work of the following Canadian photographers, whose vision and creativity brightens our Reader’s Gallery this issue.
Our new website now includes a special gal-lery section, where all readers can view the work submitted and post comments… we encourage you to post your favourite image, no larger than 600 pixels tall – a selection of the best of the images will be published in each issue of PHOTONews!
Readers participating in the published gal-lery will receive a special gift. Photographers will retain all copyright to the images shown in the gallery, both on-line and in print.
Take a few minutes to review your favour-ite images, and visit http://www.flickr.com/groups/photonewsgallery/ for com-plete instructions for submitting photo files to the PHOTONews Reader’s Gallery!
After the Rain Fernando Farfan of Ottawa photographed this tulip after a rainstorm, using a Pentax Optio W-80. No studio, no strobes, just slight post-processing in Lightroom 2 to adjust the background area. Exposure data: 1/60 second at f/3.8, ISO 64, 6.1mm focal length (equivalent to a 34mm focal length in 35mm format). “I love this picture for its simplicity, and because it symbolizes the magic of opportunity. I took the picture with my point-and-shoot camera, after spending all afternoon shooting with my SLR and a wireless flash - after all my gear was packed away, I saw this single flower and decided to use the little camera , and « voilà »“.
Dinner’s Ready Nikita Nikolaev, of Toronto, took this picture with his Nikon D40 and Nikkor 18-200mm VR zoom lens at 26mm. Exposure was 1/160 at f/6.3, ISO 200, exposure bias -2/3 EV. Auto white balance chose “cloudy”. ”This image makes me think of a little farm boy riding his bike all day, and then suddenly called by his mother for a delicious midday meal.”
Shooting landscapes is something everyone has done. It’s wherever you happen to be. The mountains,
the forests, the prairies and the coasts of Canada, all provide unique backdrops for photographers to express their creativity.
I have found that it isn’t necessary to drive for hours or to travel to the farthest corners of the planet to get unique and interesting photos. Quite the contrary, I believe the best landscapes are the ones close to home.
I happen to live in the middle of the Alberta prairie. Many Albertans would think of the Rockies if they wanted to capture interesting landscapes, but it’s not necessarily so.
I have come to appreciate the unique beauty of our flatlands. What you see here can’t be captured on either coast, or in the national parks. Of course, the Parks are beautiful, but I can’t be there every day to
catch the subtle changes of the seasons. The same can be said for wherever you
live. Whether it’s the lakelands of Ontario or the coast of Newfoundland, the best landscapes are only moments away. By shooting where you live, you can observe the land changing in ways that the casual visitor can’t imagine.
What I do when shooting landscape images is applicable to anyone, anywhere. It’s not so much about the terrain – it is more about the weather and the light. Your daily access to changing weather in your area is one of the keys to your success as a landscape artist.
The most striking landscape vista is more than a study of scenery – it is the act of capturing a moment in time. A passing storm, an unusual sunset or a foggy mor-ning; all can turn the most ordinary of places into something special. For me, this is the allure of the landscape.
Light, weather and location are, in des-cending order, the most important parts of a successful landscape photograph.
Summer is about contrasts in weather. A fast moving storm provides the drama and power to contrast a summer afternoon. Cool morning fog is replaced by scorching after-noons. That being said, mornings are my favourite time to be driving on backcountry roads, looking for interesting scenes to capture.
With the sun close to the horizon, everything has more depth. The low light throws shadows across the ground and makes grasses, shrubs and trees more three-dimensional. The same location that looked magical in the early morning will be almost unrecognizable during the middle of the day.
One of the joys of shooting close to home is finding out how beautiful it is where I live. So many people will drive for hours to the mountains or the coast to
shoot landscapes when the treasures that we seek are so close by.
Easily ninety percent of the photos that I take are within twenty kilometers of my back door, and a fair number of “country” scenes are inside the city limits of Edmonton. The same applies to where you live. Use that to your advantage. You have access to your area 24/7, with all of the lighting and weather conditions that make for effective photographs. Venture hours or days away from home to find landscape images, and you have to take the weather that you’re given during your short stay.
I make a habit of checking the weather forecast before I retire for the night. I want to see if there is going to be anything unusual happening. Will it be clear? Cloudy? Rainy? Some mornings, it’s better to stay home. If it’s going to be gray and overcast, I stay home because the light is too flat, even early in the day. Generally, flat light is not
16 | PHOTONews
good for wide landscapes, but it is well suited to tight shots where the shadows are soft – if they exist at all.
The forecasts that catch my attention are the ones where the humidity is high, the winds are calm, and the temperature is drop-ping. Morning fog is almost sure to happen. If there’s a chance of it, I am out the door before the sun is up. a morning of light fog where the sun is burning a hole through it is a photographers dream – everything is trans-formed into a fantasyland. Flat, uninteresting prairies become almost unrecognizable com-pared to how they look during mid-day. The world is a very special place when the sun is low and the fog is laying on the land.
The subtle nuance of light is also critical for recording the most effective landscape images. The old saying about having the sun at your back might make sense for portraits, but not so much for landscapes.
I often find myself looking towards the sun when composing my landscapes. This can make for better photos, but it presents a few technical problems.
Shooting into the sun, your camera has a greater range of light to capture. The range of illumination from highlight to shadow can be too much to record in one exposure.
When the range of light from highlight to shadow is extreme, if you expose for the bright areas of the image, the middle tones and shadows will go black. Conversely, if you expose for the middle tones and shadows, then the highlights will get blown out.
In the days of film, photographers were limited to what they shot, especially with transparency film, which had very little exposure latitude. The best you could do was to put a graduated neutral density filter in front of the lens and hope for the best. Those same filters work well today, but they have a few things going against them.
The time when the light is good for shoot-ing is limited. When the sun is on the horizon, it is only a matter of minutes before it’s up high in the sky and things start looking flat. Every second counts. Sorting through filters, putting them on, taking them off, all eats up precious shooting time. When I am shooting
fast, I find that it is easy to lose equipment while running from place to place. This can become very expensive, very quickly!
an easier and more elegant solution to recording the increased dynamic range of the scene is to shoot HDR or high dynamic range images. Simply put, you shoot three pictures of the scene – one at the metered exposure, one overexposed and one underexposed, and then combine the three images, taking the highlight and shadow detail from the over and under exposed images and replacing them on the middle exposed image.
It sounds complicated, but it’s not. The technique is actually very simple – I always shoot with a tripod and shutter release. My camera is set to expose three successive frames at a -2 EV, 0 and +2 EV. Everything is shot this way. If I don’t need the extra exposures for my final image, I delete them from my hard drive to save space. Sometimes I will only need the under exposed and normally exposed image to get my working shot.
There are many ways to combine your multiple exposures. The easiest way is through post-processing software, and the program I use for it is Photomatix. This recommendation comes with a caution. Photomatix makes it very easy to get the sur-realistic, overblown, halo filled images that have caused many to think that is what all HDR images look like.
In my mind, a good HDR image is one that looks “normal”. no halos. no poster-izaton, just a well-exposed, well-lit scene.
as with any program, it takes a bit of prac-tice to find out how to use it properly. Early on, I was bedazzled by the effects that were produced by Photomatrix, and I went over-board with them. I cringe when I look at how I processed those photos.
If mornings don’t pan out, the summer can provide spectacular weather, especially from mid-afternoon to early evening, when it is not unusual to see thunderstorms. I always have my camera gear locked and out of sight in my vehicle should I see a storm approach-ing on the horizon.
The most visually interesting part of a storm is the weather front as it moves through your area. I have often caught storms blowing by, and I try to take a few pictures of the cloud formations at the front, then I get back in the vehicle and drive ahead of the storm, stop, and rephotograph them again and again. You have to stay just ahead of the weather – as soon as the storm front passes over you, it is either raining or the sky has turned totally gray which doesn’t work well in pictures.
The contrast of a mile high wall of clouds against blue sky can be impressive, and often the winds pick up, adding motion to trees and grasses giving your pictures an impressionistic look. Your photographer’s reflexes are import-ant during these moments – you have to act fast, because in a matter of minutes the best photo opportunity is over. Learn to compose quickly and shoot, shoot, shoot. If you don’t shoot it, it’s lost forever. These aren’t the days of film where every exposure cost you money. Take advantage of that.
When I chase these storms, I always look for some kind of foreground to refer-ence the sky with. Most often it is a fence post, sometimes it can be a barn or quonset or an old vehicle. My eyes are always scan-ning the sky and horizon for a good match.
The more predictable and easier time of the day to shoot is the evening. You can plan a little bit ahead to find a suitable location. Fifteen or twenty minutes before the sun is about to set, you can get a fair impression of how the skies will look and what will make an interesting foreground.
Because I usually shoot close to home, I have an idea of where the trees might look interesting. There could be an old granary
that is falling down or a farm dugout that can provide reflections to a late summer even-ing sky.
Familiarity with an area is asset when the light is changing quickly. In a few minutes the light you were looking for could be gone. That is part of the allure and the reward of shoot-ing close to home.
The same places can look so different depending on the time of day or the time of
year. It’s always a challenge and one that I am always looking forward to. Spend some time getting to know the area where you live. You will come back with more interesting photos than you could ever imagine, and you might wonder how you could have missed them before.
The largest photography trade fair in the world will take place from September 21 - 26, 2010, at the Koelnmesse complex, in Cologne, Germany, the fourth-largest exhib-ition facility in the world. With more than 1,370 exhibitors, and 160,000 members of the photographic industry on-site, repre-senting 160 countries, this is the “place to be” for people involved in the photographic and video industries.
Photokina is a six-day extravaganza of vis-ual imaging conferences, displays, and work-shops, with photo galleries and competitions on-site, including ten exhibits of award-winning international professional photographers.
This year, Photokina features a spe-cial “Meet the Communities at Photokina” section for the photo enthusiast. Organizers of photography festivals, publications, blogs and industry associations will meet here to exchange ideas and receive feedback from amateur photographers using their platforms.
at the beginning of the year the organiz-ers of photokina - Koelnmesse and the Photographic Industry association - invited photographers from around the world to apply for an exhibition area at photokina 2010 in Cologne. More than 60
photographers entered this competition in the hope of winning one of the coveted exhibition areas. a total of twelve exhibitions have now been selected. They will be pre-sented to the public in the halls of the Cologne exhibition center from September 21 to 26, 2010.
“The broad spectrum of themes and the high quality of the submitted photographs has convinced us and proven that the deci-sion to move in a new direction and hold an open competition to create new photography exhibitions at Photokina was absolutely right,” said Oliver P. Kuhrt, Executive Vice President of Koelnmesse GmbH. Christian Müller-Rieker, Managing Director of the Photographic Imaging association, also praised the submit-ted applications: “It was very difficult to select the exhibition concepts that will be presented at photokina 2010 from among all the impres-sive entries. almost all of the applicants would have deserved to win.”
In addition to the classic exhibitions such as the premiere of the national Geographic exhibition “The Dolomites - The Stone Heart of the World,” the best images from the “Glanzlichter” (Highlights) competition and the UnICEF Photograph of the Year exhibition,
which have proven to be very popular among the visitors to Photokina over the past years, there will also be numerous works showing dif-ferent approaches to the medium of photog-raphy, from traditional photo documentation right through to very personal and emotionally moving photo series.
The exhibition “Beyond the Evident” will present UnESCO’s World Heritage Sites with the help of large-format digital infrared pho-tography, enabling the observer to see the sites in a completely new light and from an unusual perspective. The panoramic photo-graphs were created with the use of a large-format camera, a rotatable base, and an infrared-sensitive trilinear scanning system. The images reflect the mystical aura of some of the most beautiful sites in Guatemala, from pre-Columbian times to the colonial period
These and other events promote the interaction between suppliers, imaging spe-cialists, professional photographers and con-sumers, making Photokina an indispensable communication and networking opportunity.
For more information, visit the website at www.photokina-cologne.com for the latest information on the supporting program, news and press releases.
Photokina 2010Koelnmesse, Cologne (Germany), September 21-26
Last winter, in Florida, with snow on our boat dock and the neighbour-hood children playfully tossing snow-
balls at each other, I went swimming. Imagine yourself floating alone in gin-clear water, less than three metres deep, surrounded by 60 wild animals, some of which are over three metres long and weigh almost a metric ton. Periodically, the creatures surface around you to breathe, some of them just an arm’s length away. at first, you don’t know whether to be frightened or fascinated, but you soon realize that these are gentle giants without an aggres-sive bone in their body, and you relax and
enjoy the magic of the moment. In less time than it takes you to squeeze into a wetsuit, you have been mesmerized by this enchant-ing animal. You have entered the world of the Florida manatee.
One author likened the manatee to a giant baked potato with flippers. as I quietly floated, I watched young manatees nursing, others sleeping on the bottom with their whiskers buried in the silt, and some nosing their companions with their bristly lips. On one occasion, one of the smaller animals swam directly towards me. I cautiously reached out and lightly stroked its back and it
Florida
22 | PHOTONews
PhotoDestinations
Sandhill Cranes.
rolled over as if wanting me to scratch its belly. I did, and soon it was rubbing up against my legs and returning to have its belly scratched over and over again. at one point, it wrapped its flippers around my arm and I laughed so hard into my snorkel that I started to choke. I have worked with wildlife all over the world and the manatee is the only animal
I know of that approaches humans for no other reason than to be touched. My morning swim turned out to be a touching experience for both of us.
I first went to Florida in February 1979 and was immediately impressed with the range of photographic opportunities. I’m not talking about the glitz and glamour of Miami
Beach, the roar of race cars and revelers at Daytona, or the fairyland of Disney World, but the other side of Florida, the side where nature and wildlife are the star attractions.
Since that first visit, I’ve made over a dozen winter trips to the sunshine state. On my early trips I concentrated on Everglades national Park in the south, but in recent years,
by Wayne Lynch
Summer 2010 | 23
Florida Manatee.
24 | PHOTONews
I moved my travels north and found a nature photographers’ paradise.
Central Florida is relatively sparsely popu-lated and peppered with wildlands such as the Withlacoochee State Forest and the Ocala national Forest, and enlivened with wetlands and rivers where you can be alone with nature and savour the solitude. If you promise to keep it a secret, I’ll tell you all about it and how you can discover the wintertime visual delights of central Florida.
My photo adventure always starts in Tampa. The good news about this trip is that you don’t need a local tour operator to coordinate the details. You can easily arrange everything by yourself, which keeps the costs down. My base of operation has always been
the coastal city of Crystal River, the unofficial “manatee capital of the world”. I book a rental car on-line, pick it up at the Tampa airport, and badda-bing badda-boom within less than 90 minutes I’m having my favorite treat – a hot fudge sundae and a large coffee at McDonalds in Crystal River. I’ve never tented in the area so I don’t know about camp-ground facilities, but there are a number of relatively inexpensive motels and good rates are available on the internet. The nicest motel in town is the Best Western, but other choices include: Holiday Inn Express, Econo Lodge and Days Inn.
Manatees congregate in the Crystal River area in winter to seek out the warmth of nat-ural hot springs that continually pump water
at 23°C into the river system from an under-ground aquifer. Manatees are tropical marine mammals and they generally prefer water temperatures above 20°C.
This past winter, central Florida experi-enced record cold temperatures and the wat-ers in the Gulf of Mexico sometimes dipped to 10°C. In response, as many as 450 mana-tees sometimes clustered around the hot springs in the Crystal River area. Typically, the manatee season runs from november to april, when the greatest number of animals seek a warm-water refuge in the area.
I sometimes swam with the manatees when the air temperatures were below freez-ing; not to demonstrate my machismo, but because such cold temperatures ensured that a large number of animals would be huddled together around the hot springs, providing a wealth of photo opportunities. no matter how tough we Canadians are, you still need a neoprene wet suit if you want to stay in the water any length of time to enjoy the manatees, even when the water is at 23°C. If you don’t own a wet suit, and I wouldn’t recommend that you buy one for this occasion only, you can rent one, as well as a mask, fins and snorkel from local dive shops in Crystal River. The best shop in the area is american Pro Diving Center (www.americanprodiving.com). You’ll also need a boat, canoe or kayak to reach the hot springs, all of which you can rent locally. My recom-mendation is that you join a commercial manatee snorkeling tour to get a feeling for the animals and the circumstances and then go off on your own once you know how the system works. american Pro Diving offers daily manatees tours that last three to four hours and include equipment and wet suit rental for around $100. Trust me, manatees are addicting and you will want to swim with them more than once.
Underwater camera equipment is quite specialized but here are some suggestions. When I started working with the manatees, I used a 6-megapixel Canon Point-and-Shoot in a plexiglass housing. The housing cost around $300 and the system produced Great Egret.
Summer 2010 | 25
some pretty good JPEG images. I soon wanted better quality and I immediately jumped up to an Ikelite (www.ikelite.com) housing for my nikon digital SLR. The hous-ing cost nearly $3000 so it’s an expensive option but if you want professional quality images this is a good route to go. Ewa (www.
ewa-marine.com) makes flexible housings for digital SLRs that cost much less than an Ikelite. The Ewa system is basically a thick plastic bag with a glass port on the front. I’ve never used one but I suspect they would work quite well in the shallow depths where manatees are found.
Manatees are just one of the reasons to take a winter photo trip to central Florida. Several rivers in the area offer the nature enthusiast a chance to paddle back in time for a glimpse of Old Florida. Here you can focus on forests of live oaks hung with waving gar-lands of Spanish moss, groves of saw
Purple Gallinule.
Juvenile Alligator – you do not want to swim with this fellow!
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palmetto and longleaf pines that whisper in the wind, and lofty bald cypresses with but-tressed trunks anchoring their great height.
My two favorite rivers to explore are the Withlacoochee and the Chassahowitzka. So many place names in Florida are derived from the Seminole Indian language, which lends an exotic flavour to the location. Withlacoochee means “crooked river” and Chassahowitzka means “pumpkin hanging place”, after a wild climbing vine that produces gourd-like fruits. Both rivers empty into the Gulf of Mexico, so both are influenced by the daily rise and fall of the tides, especially the Chassahowitzka. at low tide you can manoeuver a canoe or kayak into secluded backwaters where raccoons for-age for crabs in the mud, ospreys swoop over-head, and egrets and herons stealthily hunt the shallows for unsuspecting fish. along the two rivers, it’s possible to photograph secretive black bears, elusive barred owls, and hunting river otters and bobcats. Canoe and kayak rent-als are available along stretches of both water-ways, and usually cost about $30 for an eight-hour rental.
Photographing from a wobbly watercraft can be a challenge. I use my trusty Gitzo tri-pod for stability, and when circumstances don’t allow it I use a mono pod.
On every winter trip that I’ve made to Crystal River, I’ve always managed to squeeze in several road trips to Paynes Prairie Preserve State Park, about a two-hour drive away. Besides scenery, alligators, wading birds, bison and wild horses, the main attraction in winter is the throng of bugling sandhill cranes - numbering in the thousands. With a little effort, you can find yourself standing on the edge of a wetland at sunset or sunrise, savouring the wild music of a flock of cranes winging overhead. The photographs I take home, albeit sometimes beautiful and evocative, always seem so much less impressive than the memories I have of those moments. I’ve photographed on every continent on the planet multiple times, and fellow photographers are often surprised when I tell them I’m going to Florida again. at first, they don’t believe me when I say how much fun it is; but slowly, as
I describe the photo possibilities, they start to see why I’m so enamored with the place and they quiz me further on when, where and how they can see it for themselves. Remember, you promised not to tell a soul. Hope to see you next winter in the wilds of the sunshine state.
Other Sites to See# 1 Gatorland: Visit this alligator farm
near Orlando between February and april to photograph elegant wild egrets and herons courting, nest-building and raising chicks at unbelievably close range.
# 2 Rainbow River: Canoe or snorkel its crystal-clear waters and see underwater snapping turtles and alligators.
# 3 Floral City: The central avenue in this picturesque town is flanked with ancient live oaks and worth a visit.
American Alligator – this one is a juvenile – and very dangerous!
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Primary Lens TypesLet’s take a look at the most important lens categories, the benefits of each, their charac-teristics and a few specific models of each type. Before doing so, it’s worth noting an important aspect re: compatibility.
Most recent lenses are intended for use with the numerous DSLRs employing a sensor smaller than 24x36mm. Each manufacturer specifically designates such products; Tamron uses the Di II label. They’re not suitable for a 35mm film camera or a DSLR with an over-sized 24x36mm (full-frame) sensor like the EOS 5D Mk II, nikon D700 or Sony a900. That’s because they cannot project an image circle that would fill the larger frame. But you can certainly find multi-platform lenses too, such as the Tamron Di series, suitable for any type of SLR camera.
Telephoto Zooms: When you want to fill the frame with a distant subject, a much longer focal length will be necessary. I’ll often use a lens like the Tamron aF 70-300mm f/4-5.6 Di LC Macro 1:2 at air shows, zoos and national Parks and at cycle or go-kart races. Long focal lengths not only magnify a distant
subject, they provide a narrow field of view or scene coverage. This makes it easier to include only the important subject, without a lot of the surroundings. Whether that’s a T-ball batter, a small waterfall in a vast landscape, or a black bear surrounded by tourists’ cars, you can avoid including extraneous items.
Choosing
a LenSBy Peter K. Burian for PHOtONews
i used a 70-300mm zoom to capture this image – 300mm, 1/200 second at f/8, iSO 200, with the camera on a tripod.
Summer 2010 | 29
Long lenses seem to produce “com-pressed perspective”: subjects at different dis-tances appear closer to each other than the eye normally perceives, making for an interest-ing effect. The higher magnification produces shallow depth of field: a limited range of sharp focus, especially with a nearby subject – at a wide aperture like f/2.8 to f/5.6 – it’s possible to blur a cluttered background. The viewer’s attention is then drawn to the center of inter-est in a photo. I find a telephoto with a very wide maximum aperture – like the pro-grade Tamron 70-200mm f/2.8 Di LD (IF) Macro – particularly useful for such effects at f/2.8. This type of lens can also be used with a 1.4x or 2x teleconverter for greater effective “reach”.
Much longer telephotos are available too, including the Tamron aF 200-400mm f/5.6-6.3 LD DI (IF), for situations where the sub-ject is farther from the camera. I have often
used a super tele focal length for striking por-traits of wading birds, for tight close-ups of Indy cars battling for position, or the facial expressions of distant athletes. Do note how-ever that long focal lengths amplify the effect of even slight camera shake with blurring that reduces sharpness. Use a rigid tripod when-
ever possible to maximize the optical poten-tial of the lens.
Ultra Wide Zooms: Do you find your current lens or lenses too restricting? Do you often want to fill the frame with a large group of people, an entire building or an expansive landscape? Or are you interested in creating
Virtually every digital SLR camera is available in a kit with an 18-55mm f/3.5-5.6 or similar zoom and this lens is fine for getting started. Of course, it was designed primarily for light weight, compact size and a very affordable price. Hence, it certainly won’t meet every need so every manufacturer also offers numerous other lenses. These include models with a wider maximum aperture for action-stopping shutter speeds, more rugged construction, and special amenities such as extremely close focusing ability. Naturally, you can also find entirely different focal lengths too, both much shorter and much longer.
For an interesting perspective, i shot a portrait of this P.E.i.
fisherman at 17mm, 1/250 second at f/10, iSO 200.
entirely different photographic effects? If so, you’re a candidate for a very short focal length lens such as the Tamron 10-24mm f/3.5-4.5 Di II LD aL IF with incredibly wide scene coverage.
at the 10mm end, a lens like this provides approximately a 108-degree field of view, encompassing more than your eyes can see without scanning a scene. By comparison, an 18mm focal length will provide a much less expansive field of view of about 76-degrees. The exact field of view depends on the camera brand, and the size of the sensor. That wide-angle perspective makes a small cabin seem more spacious, or a sweep of wildflowers seem more expansive. Except in
very close focusing, depth of field will also appear more extensive, making it possible to render the entire scene sharply from the fore-ground to the background.
In addition to including more of a scene in a single photo, a very short focal length also provides expanded perspective. Move in close to a nearby subject and it will be unusually large and prominent in your photo. anything at a greater distance is “pushed back”, rendered much smaller than the eye perceives. I find this exaggerated near/far relationship useful for an interpretive - instead of a documentary - depiction of reality.
Tilt the camera upward to include an entire building, and another trait becomes
obvious: linear distortion. Whenever the cam-era back is not parallel to a subject, the per-spective will seem unusual. Vertical lines will lean inward out of plumb, the edges of the horizon bow upward and a tall building will appear to be leaning backward. The solution to linear distortion is simple.
Hold the camera level, so the back—and hence, the digital sensor—is perfectly parallel to the subject. Of course, you’ll then need to move further back to include an entire tall subject in the frame. When that’s not possible, take advantage of the dramatic effects that are possible. Move in very close to the building and tilt the lens way up to make your creative intentions
30 | PHOTONews
When researching specific lenses check the Specs or Features charts for important amen-ities and technology. Look for specifics as to internal focusing (IF) for fast autofocus and high-grade optical elements. aspherical and low dispersion (LD) glass correct optical aberrations (flaws) for better image quality. a wide max-imum aperture of f/2.8 is also useful in a lens you’ll use for serious photography. If your DSLR body does not include a built-in stabilizer, a vibration control feature is a definite asset.
While shopping, you’ll also find single focal length lenses. They may feature extremely wide maximum apertures for low light
photography, or focal lengths specifically for portraiture or perspective control options for architectural photography. They’re fine for specific applications but zooms outsell them by a huge margin. Because of their greater ver-satility, I now use only zooms except for a Macro lens, and occasionally a (rented) 600mm super telephoto. Instead of missing photo opportunities while others are changing position or their lenses, a zoom allows me to work quickly. When it’s important to capture a fleeting instant, it’s great to be able to concen-trate on exposure and precise framing for the best composition.
Important Lens Features
the Louvre, Paris, shot at... 10mm 18mm
clear to anyone who will view your photos. an extremely wide angle of view – and
the unusual perspective – does require some experimentation, so practice, search for suit-able subject matter and try unusual view-points. Some of the pictures will seem “distorted” or “unnatural” but others will be “dynamic” or “dramatic”. Whether for prob-lem-solving in cramped spaces or for making unique photos, a very short zoom will surely prove to be a suitable investment.
Multi-Purpose Lenses: During very long days of touring cities or hiking, a single wide angle to telephoto zoom (on a compact DSLR) can be a blessing. Tucked into a hip pack or slung over a shoulder, the weight/size
rarely becomes a burden. an image stabilizer (or Vibration Control) system is a definite benefit with an all-in-one lens that won’t often be used with a tripod, such as the Tamron aF 18-270mm and aF 28-300mm f/3.5-6.3 Di II VC LD aspherical (IF) Macro.
In my experience, one of the better multi-purpose zooms provides good to very good image quality particularly in the central 75% of the image area. That’s fine because in most photos, our primary subject is not near an edge of the frame. For the best results, I’ll shoot at f/11, the optical “sweet spot”; this also provides greater edge sharpness/bright-ness. Granted the shutter speed is longer than at wider apertures but that’s easy to
solve (if necessary) with a higher ISO setting. Macro Lenses: Designed to focus much
closer than the “macro” designated zooms, a true Macro lens is great for extreme close-ups. (I covered this type of lens - and suitable techniques - in the Spring 2010 issue.) In a nutshell, a lens like the Tamron aF 60 mm f/2 Di II or 90mm f/2.8 Di Macro can provide very high magnification (as high as 1x) of a stamp or coin, an insect or a small blossom. although optimized for great sharpness in extreme close focusing, a true Macro lens can provide superb images at other distances as well. note too that a 60mm or 90mm is ideal for a head-and-shoulder portrait, providing pleasing perspective.
Summer 2010 | 31
no matter technically advanced an SLR may be, it is actually the lens – and the creative vision of the photographer – that makes the image. Consequently, the optics are the single most important part of any camera system. Granted, a few photographers have produced a body of exceptional images with a 50mm lens. On the other hand, the vast majority acknowledge the need for several focal lengths and lens types: for problem-solving, for creative effects and for the most suitable perspective for each type of subject.
There’s no merit in acquiring equipment that’s unlikely to be used regularly. But a new lens type – substantially different than those already owned – can certainly enhance your abilities. Experiment until you learn how the new purchase can be used to the best effect, and begin to reshape your creative vision accordingly. Experiment, try the frequently-recommended techniques and break the “rules” occasionally. a selection of lenses that span the wide-angle to telephoto focal lengths can provide a virtually unlimited view of the world around you!
The Bottom Line
the ultra-wide SP AF10-24mm F/3.5-4.5 Di ii LD Asprehical (iF) is great for interiors and street shots.
24mm 70mm
32 | PHOTONews
Summer is the season when photographers work hard, shooting everything from wed-dings and family events to soccer games and backcountry nature scenes. We want to do it all… but the season is short. To help you get the best possible photos from Canada’s short summers, read on for some of my favorite summer photography tips and techniques.
Tip 1 – Get Up Early
Sure, it’s holiday time and you want to sleep in, but outside your door the mornings are alive with possibilities. as a landscape photog-rapher, mornings are the most important time of day. The light is sweet, the air is calm and the atmosphere ethereal. In the early hours of the morning, mist rises off lakes, birds chortle
Ah summer… it seemed to take forever but it has finally arrived.
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away, and the scenic overlooks have no crowds; what a great time to be out witness-ing the world as few people see it!
I never regret getting up and going out for an early morning shoot, and the best part of being up so early is that well deserved snooze on a hammock in the sun during mid after-noon – you still need leisure time, just enjoy it later in the day.
Tip 2 – Use a Polarizer
although many photographers know about polarizing filters, few use the filter to its max-imum potential. a polarizer not only makes blue skies richer, it saturates all colours by removing reflective glare.
Polarizers are easy to use - just screw one on the front of your lens and then spin it around until you see the effect you like (more saturated colours and less glare). I use a polarizer almost all the time, but there are times when I think a polarizer is critical:1. For photographing side-lit scenes at
sunrise or sunset – with a polarizer you
will see an increase in colour saturation and detail in both the landscape and the sky.
2. For shooting detailed intimate land-scape or close-ups in overcast light – a polarizer removes the grey sheen from reflective highlights on your subjects.
3. Whenever you see a rainbow, slap on a polarizer, spin it around until you see the rainbow intensify and snap your award-winning shots.
4. Use a polarizer to remove glare from water, metal or glass.
5. A polarizer works wonders on blue sky days, to remove glare and increase colour saturation.
Tip 3 – Go Light
nothing saps your creative energy more than hauling a giant camera bag loaded down with gear. More and more I find myself going “ultra light” with photo gear on day hikes and travel trips. For example, when I hike or backpack I take only a small entry level DSLR (a Canon Rebel) and a single do-it-all lens like the
Tips for Better
Summer Photos By Darwin Wiggett
1
3
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Tamron SP aF17-50mm F/2.8 XR Di II LD. This fast little lens is a great performer in a small package and suits all my needs when in the field. another popular lens for travel pho-tographers is the Tamron aF18-270mm F/3.5-6.3 Di II VC, which has a 15x zoom range, macro capabilities, and vibration com-pensation. With one lens you can do it all.
Tip 4 – shoot the shade
Hey it’s summer, it’s all about the sun… right? While the sun is great for tanning, direct sun-light is a difficult light source for photograph-ers because it’s so bright and contrasty. Take a portrait in the sun and your subject ends up with squinty eyes and a shiny face. The easy
remedy is to move your subject into the shade of a tree or the wall of a building. Shaded light is soft and indirect and makes for flattering portraits. Remember that shaded light is cool in colour and often adds a blue tone to photos. This is easy to counteract with your digital camera - just change the white balance to ‘shade’ or ‘auto’ and the blue cast by the shade will disappear and you will have a lovely portrait.
Tip 5 – Capture the Big Vista
There are two keys to great landscape pho-tography. First, you need light that flatters the subject (getting up early helps), and second,
you need to invite the viewer into your frame. Successful landscape images make the viewer feel like they are standing right there with you. To create this effect you will need a wide-angle to normal lens setting on your zoom (any lens setting at 50mm or less on a full frame camera and 35mm or less on an aPS-c sized camera). Find a foreground sub-ject that is interesting and helps lead your eye to the background. Compose your photo, preferably while your camera is on a tripod, and set your camera to aperture Priority mode. Choose an aperture like f/16 or f/22 (the camera will pick the appropriate shutter speed). now focus one-third of the way into the frame using either manual focus or by selecting an appropriate auto-focus point. By focusing one-third of the way into the frame and picking a large number on the aperture dial you will see the most depth-of-field (amount of apparent focus) possible, giving you a classic scene with sharp detail from foreground to background. Remember - a tri-pod is necessary for success because with larger numbers on the aperture dial, you will
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Summer 2010 | 35
be shooting at slow shutter speeds. Without a sturdy tripod, you risk blur or fuzzy focus with slower shutter speeds.
Tip 6 – steady it with a Tripod
Speaking of tripods, some photographers seem to think that they can be cumbersome and annoying to use. But a tripod lets you use any aperture or shutter speed you want. For example, if you want to capture long exposure effects like silky waterfalls, you’ll need a tripod to hold your camera steady for the slow shut-ter speed used.
Most photographers think a tripod is a minor photo accessory, and they are not will-ing to spend much on a good tripod. From my perspective, selecting a tripod is just as important as choosing a lens. I would invest in a good tripod before investing in a second lens or a flash. Expect to pay as much for a great tripod as you would for a good lens. Currently, my favorite tripod is the Gitzo GT2542L, a carbon fiber model that weighs in
at 3.1 pounds and is as sturdy as a rock. I like the extra height of this tripod for eye-level shooting and the fact that it can also go right down to ground level. Top off the tripod with
a good ball head and a quick release camera plate and you will have a system that you’ll love to use for creative photography.
Tip 7 – Action Made Easy
Whenever my subject is moving, I think action. To capture suspended action in sports pho-tography I switch my camera to shutter prior-ity and pick a shutter speed faster than 1/250th of a second. The faster the subject is moving (race cars, race horses, sprinters), the faster your shutter speed choices need to be to stop movement. Someone walking toward you can be frozen at 1/250th of a second but someone sprinting across your frame will only be stopped by a shutter speed of 1/1000th or higher.
To make fast action shots set your camera to shutter priority, pick the shutter speed you want and let the camera select the aperture for correct exposure. Sometimes if you pick a very high shutter speed (like 1/4000 of a second) you might get a blinking aperture value in your viewfinder, warning you of underexposure because the light is just not bright enough for such a short exposure. To remedy this situation, adjust your ISO (the
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sensitivity of the camera to light) to higher levels (e.g. 400, 800, or 1600 ISO) until you no longer get an aperture warning. Then fire away, confident that your camera is at the right shutter speed to suspend the action.
Tip 8 – Experiment and Have Fun!
as adults, we are acutely aware of what others think of us. So we “play it safe”. We wouldn’t dream of attracting attention to ourselves by rolling around on the sidewalk trying to get the perfect angle on a cityscape. after awhile, all our pictures start to look the same; there is no spark, no life, and no freshness.
This summer, think like a kid. Explore, experiment, feel the joy and freedom of responding to your subjects. Cast aside your expectations of who you are, who you want to be, and what others might think. Dance with life - your photos will be much better for it!
Summer is about joy and freedom. Photography should not be work - so shed some gear, add some essential tools (tripod and polarizer), and try out some of my sum-mer tips… shoot in the shade; experiment with various lens aperture settings; get out early to capture the morning light, and enjoy the art of photography. You will come away with cards full of memorable photos.
As recently as mid-2008, few of us could have imagined shooting
video with a digital SLR camera. While that feature was becoming common in digicams with built-in lenses, it simply did not exist in a DSLR until August, when the D90 was released. Since then, most new DSLRs have been equipped with a “Movie mode” with varying levels of versatility and resolution. All can provide HD quality clips however, and some can actually meet broadcast standards.
For example, the feature film Reverie was shot with a D90, while the season finale of the TV series House (aired on 17/05/10) was made entirely with an EOS 5D Mk II. Granted, DSLRs have some limitations and drawbacks versus a dedicated HD camcorder in terms of functionality and convenience of operation, but there are benefits as well. If you are just starting to shoot videos, or if you have been frustrated during earlier attempts, read on. With a basic appreciation of the tech-nology, and by using appropriate techniques, it’s certainly possible to achieve great satisfaction.
From Live View to Movie Mode
Video capture was slow to work its way up to DSLRs for one primary reason: the reflex mir-ror often blocked the light path, preventing a full-time electronic display. Only after that challenge (and some smaller technical issues) were overcome, was it possible for such cameras to provide a live view display of the subject on the LCD screen. additional modifications also made it relatively easy for the engineers to add a movie mode.
However, live view posed one serious problem. When a DSLR uses conventional phase-detection autofocus, the live “feed” to the LCD screen is interrupted for a moment due to the necessary reflex mirror flip-flop-ping. That’s annoying when shooting stills in live view and it would have been unaccept-able during video capture. That’s why some cameras disengage autofocus when Movie mode is selected.
Other DSLRs do provide aF, using con-trast-detection technology, employing the imaging sensor instead of the autofocus sensor. This eliminates the need for reflex mirror action – and interruption of the video – during aF operation. This type of aF is cer-tainly convenient but it is significantly slower than phase-detection. When the system hunts for focus during video recording the results are very distracting. Hence, some manufactur-ers recommend manual focus even with DSLRs that provide aF in Movie mode.
Movie Mode Features
aside from the autofocus issue, let’s take a brief look at the useful options available in
Get
Better Videos with a
Digital SLR Cameraby Peter K. Burian
Genus GFOC Follow-focus system.
Summer 2010 | 39
Movie mode. Most cameras allow for import-ant features to be set before recording such as Picture Styles, exposure compensation and overrides for sharpness, contrast and satura-tion. With most (but not all) cameras, the aperture can also be pre-set before video recording; a few provide aperture control while you’re shooting a clip. Either feature allows for depth of field control.
Because a DSLR employs a huge sensor compared to a camcorder (such as 22.3 x 14.9mm versus 3.6 x 4.5mm) you can achieve much shallower depth of field. The limited range of acceptably sharp focus allows for isolating a subject against a blurred back-ground. This effect is particularly dramatic when using a very wide aperture (such as f/2.8) especially in close focusing or with a telephoto lens. Just as important, the over-sized pixels can capture more photons (light particles) in less time for better quality, par-ticularly in low light.
If the camera or lens is equipped with an image stabilizer or vibration control system, shake compensation can be provided during video capture. Of course this device cannot
work miracles when the camera is held in one hand. as well, the sound produced by the sta-bilizer motor – and by the autofocus motor with some DSLRs – is recorded on the audio track by the built-in mic. That can be minimized by using an optional external mic, but only a few DSLRs accept this type of accessory.
Useful Video Techniques
While DSLRs vary in their Movie mode fea-tures, the key to making better video is straightforward: maximize the positive aspects and minimize the drawbacks. after testing many of the consumer-grade DSLRs, I can offer the following tips for getting better results with less frustration.
Use the Right Memory Card: Because Motion JPEG files consume a great deal of space, load 8GB media and carry spares if you plan to shoot long clips. also use a fast (Class 6 or 233x, or faster) card that can keep up with the large stream of data.
Set High Resolution: all DSLRs with Movie mode can generate low resolution vid-eos in small files for use on a Web page, such as VGa (640x480 pixels). These may also be
acceptable for viewing on a small computer monitor. But you’ll probably want to display your clips on a widescreen TV so select the higher 720p HD (1280x720) mode. Some cameras can also record at an even more impressive Full HD 1080p (1920x1080) and you may wish to try that as well. Of course, the 1080p video files will be much larger; they’ll consume more space on a memory card and editing will be frustrating unless you use a very fast computer.
Pre-set the Overrides: Even if the cam-era allows for functions to be changed while recording a video, pre-set these to avoid sud-den changes during the actual video. Shoot a test clip to decide whether you need to set exposure compensation (for a brighter or darker video). also decide as to the most suit-able picture style mode such as Standard, Portrait or the Vivid or Landscape style for more dramatic results. You may also wish to modify the level of Contrast, Sharpness and Saturation that any picture style will employ.
Focus Manually: Since aF in Movie mode – if it’s available – will be slow and somewhat noisy, manual focus is more
Genus Matte Box clips onto your lens. Shown here with the advanced adapter bar system.
suitable. (When the camera-to-subject distance will not change, you can simply pre-focus, of course.) Granted, manual focusing and zooming can be awkward when holding a DSLR away from your body in order to view the LCD display. Single-handed support also increases the risk of camera shake. For greater convenience and for more professional-looking videos, mount the camera on a tripod.
Keep it Slow: Move the camera slowly and smoothly. avoid very fast panning since this can produce blurring and a distortion called “jello effect”. Zoom slowly and infre-quently, to avoid an effect that most viewers will consider distracting or annoying.
Use a Video Head: Compared to a con-ventional tripod head, a video head can pro-vide smoother pan/tilt effects to prevent jerkiness in your movies. This type resembles a pan head but most adjustment controls can be achieved with a single handle which can be loosened, tightened and locked. The better models – including the Manfrotto 701HDV mini head, or the compact Gitzo G2180 – are equipped with internal fluid cartridges. The more affordable photo/video heads. like the Manfrotto 20391RC2, employ Teflon pads (or a silicon lubricant) for smooth pans and tilts.
Set a Wide aperture: In dark loca-tions, set f/2.8 or f/4 if your camera provides aperture control in Movie mode. Or use P mode which should set a wide aperture
automatically. This will minimize the need for the camera to set a high ISO so digital noise (graininess) will be less problematic. Setting a wide aperture also maximizes the effective distance range of a video lighting kit.
add Some Light: For “cleaner” more professional videos in dark locations, consider an LED light for nearby subjects. Check out the LitePanels MicroPro Lite kit, for example. This accessory produces slightly warm (5600K), illumination without the heat, flicker, harsh effects or inconsistent colour produced by many conventional “hot” lights. It’s com-pact, lightweight, includes a built-in dimmer switch and is powered by 6 aa batteries or an optional aC adapter. a MicroPro Lite can be mounted on the camera or used remotely if you add an optional base plate or an articu-lated extension arm.
edit Your Videos: In order to maximize the viewing experience for friends and family, plan to do at least some basic editing of the video files. Cut any particularly distracting moments or problems caused by some tech-nical difficulty. More advanced video editing is also possible (for colour and brightness adjust-ment, adding music etc.) but that’s not essen-tial if your clips are acceptable in most aspects.
Most DSLRs generate videos in the aVI or QuickTime MOV format, using Motion JPEG compression. This computer-friendly technol-ogy allows for using consumer-grade editing
software such as iMovie or Final Cut Express (Mac only), QuickTime Pro, Corel Video Studio X2, Sony Vegas Movie Studio, or my favourite, adobe Premiere Elements 8. Check the list of features for each program and select the one that’s most likely to meet your needs. Since video editing is not intuitive, be sure to take advantage of any tutorials on the companies’ Websites.
Maximize Display Quality: Plan to show only your best videos on a widescreen TV. If you have not yet started editing, try to start and stop a clip so as to avoid displaying any problem sections: camera shake, hunting for focus, a very quick, distracting zoom, etc. Buy an HDMI cable with a Mini HDMI (Type C) plug on one end to connect the camera to the TV. (Large consumer electronics stores that sell cameras should stock this accessory.) You simply cannot get the same quality when using the old-style aV cables with RCa plugs.
Share Your Videos: Several free video sharing sites are available on the Internet, including Google Video, Yahoo! Video, the very popular YouTube and Vimeo. Be sure to check each as to the file formats, resolution and file size that can be uploaded; these aspects vary from site to site. Many video enthusiasts prefer Vimeo (free) especially with the Vimeo Plus option ($60 US per year). The latter provides even cleaner HD quality and allows for uploading a full 5GB of 720p clips per week.
40 | PHOTONews
a DSLR with a Movie mode is not as conven-ient as a dedicated HD camcorder with its fast autofocus as well as greater versatility and con-venience of operation. But the ability to record video clips is a real bonus with a camera sys-tem that’s already very desirable because of its vast range of photographic features.
an increasing number of photo enthusi-asts have come to appreciate the absolutely gorgeous movies that the latest DSLRs can
generate with high-grade lenses and suitable accessories. after a study of the owner’s manual and some experimentation, it’s pos-sible to master the basics in a few days. Use serious shooting techniques, begin to explore editing software and get inspiration and advice from others on a Web site such as Vimeo. all of that will pay off and you’ll soon be making crowd-pleasing movies that you’ll be proud to show and share.
The Bottom Line GSNDF - The New Genus ND Fader.
In addition to families who appreciate a DSLR’s movie mode, an increasing number of serious shooters are using cameras of this type for video recording. That includes semi-professionals shooting weddings and other events as well as pros who have switched from a video camera to a DSLR because of the advantages discussed earlier. If you fall into either category you will soon discover a need for accessories to make the process more convenient or to help you become more technically proficient.
I had the opportunity to be one of the first writ-ers in Canada to check out a new line of GEnUS brand accessories, specifically designed for those who shoot video with a DSLR. They range from com-pact, affordable items to high-grade equipment that would meet the needs of a professional production.
Let’s take a brief look at what’s available and the problem-solving benefits of each of these exciting new products.
Prism LCD Viewfinder: Because few DSLRs are equipped with an articulated LCD, GEnUS developed this product (GIVSTa) to make it possible to view the screen when the camera is held at a high or low level. attach either the horizontal or ver-tical viewfinder accessory to any 3-inch LCD using the Velcro attachment frame and you can shoot while holding the camera at just about any position. The hooded design also makes it an effective LCD screen sunshade when you remove the front flap.
Genus Loupe: not yet available at press time, but expected to be on the shelves during the sum-mer, this new accessory is designed for glare-free LCD viewing while shooting and in playback mode. It’s compact and lightweight, but it can prevent a lot of frustration on sunny days.
Sunshade: Designed to provide flare control in extreme side lighting, this device (GSS) clips onto an internally-focusing lens using an adapter ring. It’s equipped with a lockable filter holder that will rotate 360°, an important feature when using a polarizer or a graduated filter such as an nD Grad. The kit includes a “wide rayshade” that will minimize the risk of vignetting with wide-angle lenses.
DSLR Matte Box Kit: Similar in concept but more rugged and offering more features, the GEnUS matte box (GMK/DSLR) is preferable for serious vid-eography. The device includes two removable alum-inum trays for 4x4” (or circular) filters including one that can be rotated as desired. It’s also equipped with an aluminum “French Flag” at the top for pre-venting light spill from striking the front lens element and degrading contrast. You can attach the matte box directly to a standard or wide-angle internally-focusing lens (with an optional screw-in adapter ring) since it’s not excessively heavy.
Pros typically use a tripod, so the matte box can be attached to support rods (or rails) instead; they’re included in the kit and allow for mounting
the assembly on a tripod head. These special rails were designed to provide the raised platform that’s necessary with most DSLRs. By eliminating stress on the front of the lens, this setup provides greater security, and it also accepts add-on acces-sories. When a tripod is impractical, the rails can be attached to the optional GEnUS Shoulder Mount System (G-SCMK) instead. The latter provides great stability and is ideal in situations where the camera must be hand-held.
Follow Focus System: Because DSLRs are typically used with manual focus in Movie mode, pros using a support rail often add this (G-SFOX) device with a geared mechanism. That allows for very smooth manual focusing; there is no need to touch the lens itself. a large knob becomes the focus controller making it relatively easy to follow-focus a moving subject.
Some of the pro-grade GEnUS accessories rep-resent an investment in terms of video gear, but they offer excellent value because they help you produce a professional result. For a full appreciation of the construction, features and benefits of these devices, be sure to visit a retailer for a hands-on demo.
Accessories for Serious Video Shooters
Summer 2010 | 41
Genus Loupe. Sunshade GSS.GCSMK Shoulder Mount System.
GWMC / Genus Matte Box and GMB / DSLR Adaptor Bars System.Follow Focus on Matte Box.
42 | PHOTONews
W ith a camera and flash you can unlock the mysteries of nature.
With technologies like HDR, the camera starts to become expert at reproducing what the eyes can see. Sometimes the camera is much better at recording images than your eyes, and that is the case with high-speed flash photography.
I’m sure you have seen Professor Edgerton’s classic high-speed photos of glass breaking, water splashing, a bullet passing right through an apple and other subjects which occur at speeds that are much too fast for the human eye to register the image. While some of these photos are possible only in the physics lab, with a bit of thought, you can apply the principles of flash photography to many situations. Stopping high-speed motion with flash is not only a chal-lenge – it can be great fun.
Yes, I said stopping the motion with flash, not shutter speed. I do a lot of nature photog-raphy, and over the years I have used high-speed flash techniques to freeze the movement of a hummingbird in flight. Something the eyes can’t do – but with a good camera, flashes and some relatively simple techniques, you can cap-ture images that occur at speeds beyond the capacity of human vision.
To take photos of hummingbirds, you need… you guessed it – a hummingbird. It is well known that hummingbirds are found just about everywhere in north america during the summer, and they migrate south in the winter.
as soon as spring shows its’ colours in Canada, you should get ready to make your hummingbird studio set-up. The beautiful males are the first to arrive at their northern nesting grounds. To attract hummers, you
need a feeder with nectar. You can find them at pet supply stores at very reasonable prices. Choose a hummingbird feeder with a perch for your new friends to stand and relax while drinking the nectar you will prepare for them. The little fellows work very hard and they need to rest frequently.
To make the nectar, mix one part sugar with four parts water in a saucepan and bring it to a boil. as soon as it has boiled, take it off the stove and place the nectar in the refrigerator until it is cold. You can keep extra nectar in the fridge for another time. It is important to change the mixture every week, clean the feeder with warm water only, and make sure that no insects can get to the feeder.
When there are hummingbirds in the area, they will find your bird feeder, and with a bit of luck, you will see a new friend coming by for a snack – at first, you will only see a flash of colour as the bird surveys the area, and once it seems to be safe, you will hear a cool buzz around the feeder.
It’s time to take some photos!
We have all learned that to stop action with a camera, you have to raise the shutter speed, open the aperture, and raise the ISO to the roof – which also reduces the depth of focus. That approach to stopping action can work to some extent, but there are disadvantages when photographing small subjects at close range – the high ISO will bring lots of noise, and with the shallow depth of field, it will be almost impossible to get the whole little bird in focus.
CAPTURING HIGH SPEED ACTION…
Hummingbirds in flight! Text and photos by Michel Roy
There is a solution to the enigma of hummingbird photography – high speed flash photography! The idea is to use the extremely short duration of the flash to stop the motion, not the shutter speed!
I own professional cameras and lenses, but this technique can be used with many of the mid-range cameras and lenses.
I personally like to use a Canon Mark III 1DS with a 300mm 2.8
IS lens and a 20mm Kenko extension tube
to be able to focus at close range. at the beginning of the
hummingbird season, before the bird has a chance to get used to the presence of my set up and the flashes, I shoot from farther away, adding a 1.4 extender to the telephoto lens.
I use Canon Speedlites, but any flash with manual setting will do. When used in manual mode, low setting means very short duration of the light, the drawback of this low-power setting is that you need several flashes, and
you need them to be quite close to the bird feeder. My research into the flash duration of the various settings available for my flash units indicated that 1/16 power = 1/15,000 second, 1/32 power = 1/19,000 second, 1/64 power = 1/31,000 second, and 1/128 power = 1/35,000 second. So if you place
your flashes on manual setting at 1/32 (this is what I recommend), you will stop the action at around 1/19,000 of a second! But the flash range will only be around 2-3 feet – the solu-tion is to have many flashes.
Camera setting: manual mode, ISO 100 to 250, flash sync speed at 1/250 of second and lens aperture f/11 to f/22. People often ask me about the shutter speed – yes, if you don’t use flashes, the combination of 1/250 second and f/22 at ISO 200 will produce an image that will be very dark! You have to rely on the output of the flashes to illuminate the scene, and the very short duration of the flashes to stop the action. This is the principle of high-speed flash photography.
For my Canon set-up, the flashes are trig-gered by ST-E2 on-camera, or a master flash like a Canon 580 EX. all the other flashes are
set on slave mode. You can use radio slaves, or optical slaves to
trigger your flashes – test them in the actual setting to be sure that the optical slave triggers will work in relatively high ambient
light. You may have to aim the slave sensors toward your main flash,
and in very bright light, you may have to make a small “hood” to keep some of the ambient light off the slave sensor.
For the backdrop, you can use a photo, a plant, or anything colourful. When I use a photo, I like to blur it a bit in Photoshop before I print it, because it is placed quite close to the perch, and when I set the lens to a very small f/stop to achieve the greatest depth of field, the background will also be clean and almost in focus, which does not
Summer 2010 | 43
CAPTURING HIGH SPEED ACTION…
Hummingbirds in flight! Text and photos by Michel Roy
44 | PHOTONews
look very natural. My solution is to take the background image, blur it in Photoshop, and then print it; this is the secret of the great bokeh, which in reality is a simulation.
Flash placement for the hummingbird set-up is just like any studio photography set – with one exception – you want to have a bit more light coming from a low angle to illuminate the throat of the hummingbird, which is always impressive when the feath-ers are shinning.
I have read technique tips from many bird photographers who sit in a camouflage blind and wait for the birds to fly in for a visit. This technique can certainly work, because the birds are not really afraid of us, and my experi-ence shows that if you use a blind, it will make your task easier. after a couple of weeks, how-ever, the hummingbirds will be your friends and they will come to visit you even when you are adjusting your flashes or when you are changing their nectar. It is always a thrill to see your friend sitting on a branch just a few feet away from you, patiently waiting for you to be done so they can approach the feeder. Make sure to give them enough time to feel at ease with your presence – let them eat for a while before taking
any pictures. If the flashes scare them, go easy, and they will progressively get used to the interruption. In spring, females are very active before they get ready to have their babies, it’s a great time to take photos, but make sure that there is plenty of nectar in the feeder.
You will not have the opportunity to experi-ment once the birds arrive on the set, so take some test shots of the feeding port where you expect the bird to hover, and correct the expos-ure as necessary. I use the feeder as a target to get my exposure right. Take a look at the shot
Here is the guide for positioning your slave flashes:
1. Main light - just over the camera2. Fill light3. From under a little, the throat light4. Back light or hair light5. Background light (1 or 2 flashes)
all of these flashes are placed about 24-30 inches from the portion of the set that they will illuminate.
Summer 2010 | 45
of the outdoor hummingbird set, and you will see that I cover the side of the feeder with a flower – it looks better in the photos. I also use Scotch tape (when I am getting ready to take photographs) to cover the three other open-ings on the feeder, forcing the hummingbirds to use only the front feeding port.
The diffusers for the flashes are home-made, very cheap and they produce the best results to my knowledge. I found the pattern for the flash diffusers on the internet. Flash dif-fusers are not mandatory for this type of work, and bare flash works very well also.
I use manual focus to make sure that the bird’s head is in focus. This is not so easy, but
your skills will improve with practice, and this is a great way to develop the manual focus tech-nique… auto focus will often be thrown off by the extremely fast wing movement.
after a bit of experimentation with the placement of the flashes, and test shots to check your exposure and focus technique, you are almost ready for action.
now you have to sit back, be very quiet and wait for the birds to arrive.
You have to wait for the defining moment to trip the shutter. I always let the bird drink first, then when they back off a bit and hover it’s time to tweak the focus and take the picture.
Some hummingbirds will react to the light, and some don’t seem to be bothered by it at all – I have had different reactions from hummingbirds with the flashes. Go slowly and progressively; let the bird get used to the flash. Even if they are startled by the flash or the sound of the shutter, they always come back for nectar, and the summer is long, so don’t be in a rush to take the pictures – it would be a shame to scare your new friend away, when a patient approach will result in a summer filled with photo opportunities.
I like to take the photos early in the mor-ning or at dusk, when the birds are active and I don’t want the sun to interfere in my setup. If you get too much ambient light, the sensor will catch some of the ambient and you will have a ghosting effect. Five lights to calibrate are enough of a challenge, so if I decide to take some pictures during the day I often use a patio umbrella to cover the set.
With a bit of luck, and a lot of careful plan-ning and practice, you will capture some extra-ordinary images. When you use so many light sources, you can expect that there will be a bit of work to be done to fine-tune the pictures – you may have to erase the reflections of two or three of the flashes if the hummingbird’s eye catches the light, but this can easily be done with a bit of Photoshop magic, and then...voilà – a masterpiece!
Be creative, use different backgrounds, and add flowers and colours to your set. If you are patient, the reward will be huge… hummingbird photography is addictive, so beware, I warned you!
If you treat your hummingbirds well, it is quite likely that you will see some babies com-ing to your feeder at the end of the summer… and that is the greatest thrill of all.
If you have any questions on hummingbird photography, just send me an email – It will be my pleasure to help.
MiCHEL ROY, from Quebec City, is a professional photographer and videographer specializing in a wide range of corporate and portrait assignments. take a look at his website – it is eye candy for the creative photographer! www.digitaldirectphotos.com and his portfolio www.flickr.com/michelroy
46 | PHOTONews
To shoot fashion outdoors Stan Musilek chose the newest broncolor power pack with very short flash dura-tions and extremely fast recycling time. Verso A works anywhere from 100 - 240 V or from battery, with high repetitive precision, automatic stabilization of colour temperature. No need for generators. Up to 2400 J.
broncolor Verso A - Mobility, Versatility and Efficiency
@
Summer 2010 | 47
Manfrotto Joystick Heads Win TIPA 2010 Best Accessory Award
TIPa - the Technical Image Press association (TIPa) has announced that Manfrotto’s new Joystick heads have won the Best accessory award for 2010. The award is judged by the editors of 28 of the top photo magazines from nine European countries plus Canada, South africa and the United States. according to TIPa, “T he latest Manfrotto joystick heads offer an ergonomic way of quickly unlocking, moving and blocking a camera, so the photographer can frame and reposition freely. The heads make full use of new technologies and materials to improve both design and technical speci-fications. They have been optimized to provide intuitive, fast operation, improved comfort and reduced weight.”Manfrotto joystick heads offer a uniquely ergonomic way of quickly unlocking, moving and blocking your camera, so you can frame and reposition freely and frequently to get the perfect photo: grip the head to move the camera and as soon as you release, it locks securely in place.Two distinct models are now available. The 324RC2 is made of adapto, an ultra-durable and light-weight technopolymer, optimized for compactness and transportability with a high load capacity and reduced weight. Load capacity is 3.5 kg.The 327RC2 features a magnesium body shell to provide superior performance and durability, making it the best choice for advanced users with high-end and full frame cameras. Load capacity is 5.5 kg.The single locking lever allows fast and secure operation – a friction control permits fine framing adjustment and improved camera safety. For complete specifications, and to watch a product video, visit www.manfrotto.ca.
Tamrac Evolution Series Backpacks
The new Evolution series from Tarmac includes two fast access backpacks and a unique messenger bag that converts from a camera bag to a briefcase. Evolution Backpacks provide an unprecedented levelof versatility, with a unique harness system, allowing the backpack to be carried three ways - as a backpack, as a sling pack over the right shoulder, or as a sling pack over the left shoulder. There are also three ways to access equipment using Tamrac’s Triple access System™.The new Tamrac Evolution bags provide the user the option to access camera equipment in three ways, as a conventional backpack with side pocket, or slingpack access from either the right or left. The Evolution series bags include a daypack compartment, weather cover, and the ability to carry a tripod.For additional information visit www.tamrac.ca.
Photoflex Umbrellas
Soften the light for your portraits with the latest Photoflexumbrellas – now manufactured with a new durable ribbing that makes them ev en more suited to location use. You can purchase the umbrellas individually, or as part of the First Studio Portrait Kit. The kit includes two FirstStar light heads, two FirstStar 250 watt lamps, two 43” silver umbrellas, and two 2205 LiteStands.For additional information on the Photoflex line of lighting products, visit www.photoflex.ca.
Editor’sChoice
327RC2
324RC2
Evolution 8 Evolution 6
Editor’sChoice
Kata Bag Wins Red Dot Design Award!
The Kata Bumblebee ULB222 has been declared a win-ner of the reddot award for 2010 in the “Entertainment Technology and Cameras” category, joining the iPod nano and the nikon D3 among the prestigious list of winners in this category. The reddot design award is an international design competition. This year more than 1,600 companies from 57 countries took part in the competition with a total of 4,252 entriesKata’s Ultra-Light collection is designed for those in search of the exceptional, who will not settle for less than outstanding performance! Combining technology, materials and design to provide state-of-the-art products is the essence of Kata’s philosophy of Lightweight Protection without compromise. The Bumblebee ULB222 uses the lightest weight materials and tech-nologies available such as the aluminum Skeleton, Gecko Harness, aeriform foam, Spine Guard and Spider Webbing straps. The Bumblebee ULB222 is so light you may forget you have one on! This backpack can easily transport a pro DSLR with a 70-200 F/2.8 lens attached, an additional body, 4 lenses, flash, accessories, a 17” laptop and personal gear. Reducing the number of unneeded elements in the pack can further reduce the working weight of the bag as much as 2.2lbs to its minimum weight of 3.3lbs!For more information on Kata’s unique features, visit the website at www.kata-bags.ca.
Quantum Qflash TRIO
The new Qflash TRIO QF8 could be the ultimate location flash for the busy photog-rapher. Combining a Qflash head with built-in FreeXwire TTL radio and QTTL adapter for your digital camera, the Qflash TRIO slips into your camera’s hot-shoe, you then con-nect a Quantum Turbo powerpack, and away you go! The Qflash is great for action shooting, you can shoot an unlimited num-ber of rapid-fire, full power flashes.The Qflash TRIO’s radio sends TTL com-mands to other remote Qflash TRIO’s.
You can configure distinct modes and settings of remote Qflash TRIO’s from the on-camera TRIO.For more information on Qflash, visit the website at www.quantum-flash.ca.
News
Canadian photo enthusiasts – for a free subscription to PHOTONews visit the website
at www.photonews.ca and click on the “subscribe now” button!
a lot goes into a bag.
tamrac.caTamrac Products Marketed and Distributed in Canada by Amplis Foto www.amplis.com
Ultra Pro SeriesNEW
Lens Bridge SystemCradles your DSLR and lens and
keeps your equipment easily accessible and securely set in the bag
Fold Flat Front PocketsZippers are specially sewn so that the
front pocket can fold out completely flat allowing access to Tamrac’s exclusive
Memory & Battery Management System
Weatherproof NylonsTamrac bags are weatherproof
because of a dual coating of polyurethane on the inside of the
nylon. You’ll never need a raincoat for your bag again!
Total Coverage TopTo add another level of
weatherproofing, the total coverage top covers top-facing zippers
Hard Plastic BottomSewn into the base of Ultra Pro bags is a piece of hard plastic to provide maximum protection
On the surface many camera bags look the same. Look deeper. Tamrac camera bags are some of the most innovative and best made products available to amateur and professional photographers.
When buying a camera bag, there are features that don’t always make it to the front of the spec sheets but in fact provide fantastic advantages.
Tamrac has been around since 1977 and they know a thing or two about building top notch camera bags. Quality and innovation for
photographers has always been at the forefront of their design and it shows in the fi nal product. Small details that others overlook, Tamrac perfects.
Tamrac bags are weatherproof
polyurethane on the inside of the nylon. You’ll never need a raincoat for
Tamrac = Quality. The only reason you’d buy another camera bag is because you outgrew the one you have.
ultra-pro-ad-PN.indd 2 5/27/10 4:47:13 PM
50 | PHOTONews
FinalFrame
With the ban on residential lawn and garden chemicals, the dandelions have conquered the landscape in the City of Toronto. Undaunted by the onslaught of these prolific blooms, Editor Norm set up a two-flash, hand-held portable macro studio, and captured this close-up of an ant enjoying the summer sunshine. For the complete description of the equipment and technique used to capture this image, visit the PHOTONews flickr group at www.flickr.com/groups/photonewsgallery/ and look for the thread “Norm’s Favourite Two-flash Macro Rig”
Our PHOTONews Challenge for summer 2010 is “A Canadian Summer” – a theme that lends itself to a wide variety of interpretations. Look for subjects that represent a celebration of the season – wildlife, landscapes, friends and family enjoying summer vacation activities – any image that portrays summer in Canada.
To participate in the PHOTO news Challenge, please visit our flickr® group at www.flickr.com/groups/photonewsgallery/ and click on the discussion thread titled “PHOTO news Summer Challenge”. Post a 600 pixel wide version of your entry in this thread – please include your name, your location, a description of how you took the photograph, and why you feel it is a special image. Full instructions on how to join the flickr® group, and how to post photos, can be found at the flickr® site.
The photo pool at our flickr® group will also be used to select images for our Reader’s Gallery – so take a look, sign in, post a few of your favourite photos, and enjoy our interactive photographic adventures!
COMING IN THE NEXT ISSUE:
Autumn 2010Our next issue will celebrate the changing seasons, with special features on the tools and techniques for creative photography. Watch for our tutorial on basic studio lighting; travel adventures to exotic destinations; photo techniques, and more magic from Michel Roy’s digital darkroom – PLUS tips for better home printing, and your best shots in our PHOTONews Challenge and Reader’s Gallery – it’s going to be another spectacular issue!
For in-depth information on the equipment and techniques used in this issue, please visit the website – www.photonews.ca.
To participate in our flickr® group, please visit www.flickr.com/groups/photonewsgallery/ where you can sign up to exchange ideas and display your favourite photographs – it’s free, it’s fun, and it’s a friendly environment for photographers of all ages and skill levels.
DEDICATED COMPATIBILITYMetz fl ashes offer you seamless compatibility with your DSLR and in most cases, more capability than a comparable fl ash from your camera’s manufacturer. Metz fl ashes also function fl awlessly in wireless TTL modes with your existing manufacturer fl ashes or with other Metz fl ashes.
The one question that I get
asked a lot is, “Are Metz fl ashes
compatible with my DSLR?” The
answer is a resounding - YES!
In many cases not only are Metz fl ashes perfectly compatible with your DSLR, but they provide you with more power and additional features. For example, did you know the 48AF-1 and 58AF-1 are class leading in mid range and top end fl ashes for power?
When it comes to wireless TTL this compatibility also holds true. The Metz 58AF-1 can be used as either a master or remote. The 48AF-1 will work as a remote fl ash in your wireless system. Wireless TTL is a great tool to have because it allows you to get your fl ash off the camera and start shaping your light in the pursuit of better photographs.
Wireless TTL is taken to another level with the 15MS-1 ring fl ash. Each 15MS-1 fl ash is programmed to work with the wireless TTL systems of Canon, Nikon, Sony, Olympus & Pentax. That’s incredible!
One fl ash that is compatible with many different camera systems. All that is required is a camera with a wireless controller fl ash.
In addition, if you wanted to, the 15MS-1 can also be used in slave mode which you can program to fi re in sync with your main fl ash and you can adjust the power of the fl ash itself for the desired effect.
It’s important to remember all three of these fl ashes can be used with other Metz fl ashes or with your existing manufacturer fl ashes. Compatibility is not problem!
48 AF-1
58 AF-1
15 MS-1
For more information visit metzfl ash.caMetz Products Marketed and Distributed by Amplis Foto www.amplis.com
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Kata Products are Marketed and Distributed in Canada by Amplis Foto www.amplis.com
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