Photo Life July 2016 Sample

YOUR GUIDE TO EVERYTHING PHOTO

GO

BEYOND - THE SINGLE IMAGE - THE POSTCARD SHOT - THE BIG CITIES

CHANGE YOUR PERSPECTIVE MAKE THE MOST OF YOUR TRAVEL OPPORTUNITIES

FINDING INSPIRATION OUTSIDE THE BIG CITIES

MORE THAN ONE

WORDS OF WISDOM FROM THE FATHER OF CANADIAN PHOTOJOURNALISM

USE A SERIES TO TELL A BIGGER STORY

5 CAMERA FUNCTIONS FOR MORE PERSONAL IMAGES PHOTOLIFE.COM - JUNE/JULY 2016 - DISPLAY UNTIL JULY 31, 2016 - $5.95

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CONTENTS PHOTO LIFE JUNE/JULY 2016 VOLUME 41, NUMBER 4

COVER PHOTO Patrick La Roque

EXPOSURE 4 CONTRIBUTORS 6 EDITORIAL 8 THIS AND THAT 18 THE COMMUNITY 66 THE VAULT VISION

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© CHRIS MACARTHUR

BEHIND THE IMAGE 20 VIKTORIA HAACK

FAR FROM THE CENTRE

From the Magdalen Islands in the east to Spirit River further west, some ­photographers are finding work and inspiration away from the country’s major cities.

WISDOM, WIT AND OTHER TIDBITS 22 TED GRANT

Recently named a member of the Order of Canada, Ted Grant is considered the grandfather of Canadian photojournalism.

During his career, he’s photographed everyone from world political leaders to Olympic athletes to Albertan cowboys.

26 BEST OF PHOTO CLUBS 30 FAR FROM THE CENTRE

BY LAURENCE BUTET-ROCH

WITHOUT THE FRAME 38 MORE THAN ONE

BY DAVID DUCHEMIN

Our stories—our visual experiences—are often told more completely in a series of photographs or a small body of work, allowing several images to do what one image can’t.

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© PATRICK LA ROQUE

SHOWTIME 40 SUMMER DREAMS

THE FLEETING MASTERPIECE

TECHNIQUE

42 THE FLEETING MASTERPIECE

BY PATRICK LA ROQUE

48 NEUTRAL-DENSITY FILTERS DEMYSTIFIED

BY DANIEL DUPONT

Neutral-density filters are a great ­addition to your photographic “toolbox.” Here ­Daniel Dupont explains what they do and how to use them.

Travelling is an incredible jolt to the system for anyone, but for photographers, it’s like drinking an elixir of awakening. We owe it to ourselves to make the most of the opportunity and go beyond the postcard shot.

FAQ 52 A SHORT Q&A

JUNE/JULY 2016 PHOTOLIFE.COM

BY JEAN-FRANÇOIS LANDRY

There are certain photography-related questions that come up again and again.

Here are the answers to a few so that at least these won’t be the ones keeping you up at night.

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© Sandra Åberg

CONTENTS PHOTO LIFE JUNE/JULY 2016 VOLUME 41, NUMBER 4

GEAR 54 THE TIPA AWARDS

As a member of the Technical Imaging Press Association, Photo Life joined 26 other leading photo and imaging ­magazines from 15 countries on six ­continents in San Francisco to vote for the most outstanding photo and imaging products.

56 THE COMPUTER IN YOUR CAMERA

Your camera has computer-precise accuracy, but it can also offer aesthetic choices that can inspire your creativity and boost your image quality. Here are five ­data-processing functions to enhance your photographic experience.

© ISTOCK.COM/ALENGO

DIGITAL WORLD 56 THE COMPUTER IN YOUR CAMERA

BY DAVID TANAKA

60 GADGET GUIDE

BY JEAN-FRANÇOIS LANDRY

62 THE LOWDOWN ON WHAT’S NEW

BY PETER K. BURIAN

CONTRIBUTORS AND EDITORIAL STAFF Peter K. Burian is a ­technology writer and freelance stock ­photographer. He is the author of several Magic Lantern Guide books on DSLR systems. He is also a ­digital photography course ­instructor with betterphoto.com. peterkburian.com Laurence Butet-Roch fell in love with journalism through Scoop, a Quebec sitcom set inside a newsroom. Studying international relations at the University of British Columbia and photography at the School of Photographic Arts: Ottawa led her to become a photographer with the Boreal Collective, a photo editor and a writer. lbrphoto.ca David duChemin is a ­Vancouver-based photographer and adventurer. His bestselling books on the art of photography have been translated into a dozen languages. davidduchemin.com

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Daniel Dupont is the ­ ird-photography specialist of b ­Quebec. He leads workshops in ­Quebec and beyond. ­danieldupont.ca Gabrielle Germain ­recently joined the Photo Life team. ­Passionate about words and ­images, her ­background ­includes literature studies, a master’s ­degree in cinema, and ­professional experience as a journalist.

Jean-François Landry has been providing advice to ­photographic ­equipment buyers in ­Quebec City since 1989. He also shares his ­passion with amateur ­photographers through courses and magazine articles. cylidd.com Guy Langevin has worked as a graphic designer in the photo industry for many years. You don’t collaborate with and befriend some of the best photographers in the country without learning a few tricks of the trade, so he became a photographic designer.

Curious about who put this together?

Here’s this issue’s who’s who.

Patrick La Roque is a ­speaker, writer and ­professional ­photographer from Montreal. He is an official ­Fujifilm ­X-Photographer and founder of the KAGE ­COLLECTIVE, an ­international group specializing in visual ­storytelling and ­documentary work. laroquephoto. com, ­kagecollective.com Jenny Montgomery is a theatre director and writer who first learned her way around a darkroom in 1998.

Photography runs in her family, so it was probably inevitable that it would be a part of her life.

David Tanaka is a technology writer based in Lethbridge, Alta. His work as a photographer ­includes magazine assignments, fine-art printmaking and stock. He also teaches multimedia ­communication at Lethbridge College.

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EXPOSURE

EDITORIAL

PHOTO LIFE JUNE/JULY 2016 Volume 41, Number 4 171 St. Paul Street, Suite 102, Quebec, QC Canada G1K 3W2 418-692-2110 1-800-905-7468 info@photolife.com facebook.com/photolifemag

FREEDOM TO FAIL

@photolifemag

SUBSCRIPTIONS 1-800-461-7468 subscription@photolife.com

When we focus our energy on trying to follow all the rules for making the “perfect” photo, it’s easy to forget that failing is also part of the creative process. We need to remember that we’re allowed to make mistakes.

Becoming okay with the possibility of doing something wrong frees us to take risks and to stop worrying about what others think. Besides, what’s embarrassing about failing? At least we will have tried. And maybe in the process we’ll discover our own personal style.

R

ecently I decided to take a trip to San Francisco with only one camera and one lens. And it wasn’t just any lens—I took one of my DIY creations ­concocted from old lenses, bike inner tubes, and whatever other ­materials I happen to have gotten my hands on. And after having taken the leap to go ­minimal, it turns out that I’m thrilled with the images I made on the trip. There were a lot of reasons I (finally!) decided to do it, but I can confirm that Patrick La Roque’s article in this issue was part of what inspired me.

La Roque’s article The Fleeting Masterpiece: A Traveller’s Guide to Street Photography is not only for those getting ready to take a trip but also for anyone who likes to ­wander the streets with a camera in hand. He clearly and effectively shares his thoughts on how to make our work more consistent overall—and more personal. © GUY LANGEVIN

So who cares what others think! Let’s move out of our comfort zones and give ourselves the freedom to explore and throw ourselves into the unknown. If we stay stuck trying to follow every last rule of photography like they’re absolutes, there’ll be no room left for innovation.

ABOUT SAN FRANCISCO Photo Life is a member of the Technical Imaging Press Association (TIPA), an ­organization of the best independent photo magazines from around the world. We meet once a year to exchange ideas, to vote on the most groundbreaking photo products, and to encourage high standards in the industry. This year’s meeting was in April in San Francisco. Turn to page 54 to see the 2016 winning products.

EDITORIAL Editor-in-Chief Guy Langevin.................. glangevin@photolife.com Deputy Editor Jenny Montgomery......... news@photolife.com Administrative and Editorial Assistant Gabrielle Germain Art Director Guy Langevin.................. glangevin@photolife.com ADMINISTRATION Publisher & Media Sales Director Guy J. Poirier.................. gpoirier@photolife.com 418-692-2110 or 1-800-905-7468 Ext. 101 Advertising Consultant Stephen Stelmach........... advertising@photolife.com 416-996-1822 Accounting Emmanuelle Champagne... accounting@photolife.com Consultant Valérie Racine PHOTO LIFE (ISSN 0700-3021) is published six times a year (December/January, February/March, April/May, June/July, August/September, October/November) by Apex Publications Inc., a Canadian-owned company. All rights reserved. The c­ ontents of this publication may not, under any circumstances, including Cancopy, be reproduced or used in whole or in part without the written permission of the publisher.

PHOTO LIFE is indexed in Canadian Magazine by Micromedia Limited. Back issues of Photo Life are available in microform from Micromedia Limited, 20 Victoria St., Toronto, Ontario M5C 2N8.

We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund of the Department of Canadian Heritage.

Occasionally, we make our subscriber list available to carefully screened companies whose products and services might be of ­interest to our subscribers. If you prefer to have your name removed from this list and not receive these mailings, let us know by ­telephone, fax, regular mail or email.

Member of CCAB, CITA and TIPA.

REGULAR PRICES $35.70 (1 year - 6 issues) $71.40 (2 years - 12 issues) $107.10 (3 years - 18 issues) Prices exclude applicable Canadian sales taxes. Make cheque payable to PHOTO LIFE. US residents pay in US funds and add US$10.00 per year for postage. Foreign residents pay in US funds and add US$90.00 per year for postage. Single copy: CAN/ US$5.95 SUBMISSIONS PHOTO LIFE welcomes portfolio and article submissions for possible publication. ­Article submissions must pertain to the subject of ­photography and include images supporting the submitted text. All submissions must respect the publisher’s s­ ubmission guidelines.

Complete submission guidelines are available at photolife.com, from the publisher at write@photolife.com, or by calling 1-800-905-7468.

COPYRIGHT © 2016 APEX PUBLICATIONS INC. No material from the magazine may be reproduced without the written consent of the publisher. Despite the care taken in reviewing editorial content, Apex Publications Inc. cannot ­guarantee that all written information is complete and ­accurate. Consequently, Apex Publications Inc. assumes no responsibility concerning any error and/or omission.

Publications Mail - Agreement No.: 40010196 171 St. Paul Street, Suite 102, Quebec, QC Canada G1K 3W2 PRINTED IN CANADA

Guy Langevin

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EXPOSURE

THIS AND THAT

3D IS NOTHING NEW

ON June 30, 1859, Charles Blondin successfully made a 335-metre-long tightrope walk across Niagara Falls, and photographer William England was there to catch it on glass plate! Stereography (3D photography) was all the rage then; it had become a popular form of entertainment in Europe and North America after the Great Exhibition of 1851 in London. William England’s stereo view of Blondin’s daring feat sold 100,000 copies ­worldwide—the best-selling stereograph of all time!

SOURCE: MATTHEW BUTSON, “STEREO SURROUND,” BLACK & WHITE MAGAZINE ISSUE 5 (DEC 2001/JAN 2002), P. 94.

THE CANADIAN ­PHOTOGRAPHY INSTITUTE’S

FIRST EXHIBITION

THROUGH June 26, the National Gallery of Canada’s Canadian Photography Institute is presenting its first exhibition at The Globe and Mail’s Old Press Hall in Toronto. Featuring 175 photographs and their captions, Cutline: The ­Photography Archives of the Globe and Mail will also be on view in Ottawa later this fall. gallery.ca/cpi

TORONTO URBAN PHOTOGRAPHY FESTIVAL FROM June 10 through 25, the Toronto Urban Photography Festival is exploring the theme of Urban Playground through exhibitions, talks, photo walks, workshops, and a photo gallery crawl. tupf.ca

SEND YOUR ­LETTERS WITH PHOTO FLAIR

UNIDENTIFIED PHOTOGRAPHER/THE GLOBE AND MAIL PRESS ROOM, 1952/GELATIN SILVER PRINT WITH INK AND RETOUCHING, 23.5 × 17.5 CM/GIFT OF THE GLOBE AND MAIL NEWSPAPER TO THE CANADIAN PHOTOGRAPHY INSTITUTE OF THE NATIONAL GALLERY OF CANADA.

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COURTESY OF CANADA POST

CANADA Post has released a new series of domestic stamps that will make you want to reach for some stationery instead of a keyboard. The series was designed

by Stéphane Huot and includes images

by Michel Campeau, Lutz Dille, Angela Grauerholz, Alexander Henderson, Yousuf Karsh, Byron Harmon and Humphrey Lloyd Hime. canadapost.ca

JUNE/JULY 2016 PHOTOLIFE.COM

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P

TO HO

LIFE & PHOTO S OLUT

ION

PRESENT THEIR

22ND ANNUAL PHOTO CONTEST

THE WORLD WE LIVE IN MORE THAN

$45,000 IN PRIZES

PHOTOLIFE.COM/TWWLI

ENTER NOW!

PHOTOLIFE.COM/TWWLI

© KATHRYN MUSSALLEM, WINNER, CANADA, NATIONAL AWARD, 2016 SONY WORLD PHOTOGRAPHY AWARDS.

S

© LUIS PORTELLES, 3RD PLACE, CANADA, NATIONAL AWARD, 2016 SONY WORLD PHOTOGRAPHY AWARDS.

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PHOTO LIFE & PHOTO SOLUTION PRESENT THEIR

22 ND ANNUAL PHOTO CONTEST THE WORLD WE LIVE IN A GRAND PRIZE WORTH MORE THAN $18,000!*

Grand Prize ..............................................................................................................................................$18,230* Heart of the Arctic expedition for two (July 18-30, 2017) with Adventure Canada ..................................................... $18,080* Gift certificate for Photobooks by Pikto ................................................................................................................... $75 One-year Awesome account with 500px ................................................................................................................. $75

Humanity

Environment

Interconnections

1st Prize.......................................................$3,043 Sony α7 II with FE 28-70 mm f/3.5-5.6 OSS zoom ... $2,100 BlackRapid Sport camera strap ............................... $139 Tenba Switch 8 camera bag ..................................... $130 Lowepro Photo Hatchback BP 150 AW II - Black ...... $120 Gary Fong Lightsphere Collapsible Speed Mount ...... $109 Joby GorillaPod SLR-Zoom and Ballhead .................. $100 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Rogue Large Softbox Kit for speedlights .................. $96 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75

1st Prize.......................................................$2,990 Sigma 50-mm f/1.4 DG HSM Art lens ........................ $1,300 B+W 77-mm circular polarizer filter .......................... $272 Datacolor Spyder5PRO ............................................ $269 PocketWizard PlusX 2-pack ..................................... $260 B+W 77-mm Clear MRC filter .................................... $198 LEDGo CN-B150 LED on-camera light ...................... $180 Lowepro Ridge Line BP 250 AW - Black ................... $125 Rogue Large Softbox Kit for speedlights .................. $96 illumi Halo Softbox .................................................... $90 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 107-cm 5-in-One Reflector Kit.......................... $50

1st Prize.......................................................$2,974 Sigma 50-mm f/1.4 DG HSM Art lens ........................ $1,300 Lowepro Pro Runner BP 350 AW II .......................... $300 B+W 77-mm circular polarizer filter .......................... $272 B+W 77-mm Clear MRC filter .................................... $198 LEDGo CN-B150 LED on-camera light ...................... $180 Slik Pro 340 DX Black tripod..................................... $150 BlackRapid Sport camera strap ............................... $139 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Rogue Large Softbox Kit for speedlights .................. $96 illumi Halo Softbox .................................................... $90 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75

2nd Prize .....................................................$2,277 Sigma 50-mm f/1.4 DG HSM Art lens ........................ $1,300 B+W 77-mm circular polarizer filter .......................... $272 B+W 77-mm Clear MRC filter .................................... $198 Rogue XL Pro Lighting Kit for speedlights ................. $148 BlackRapid Sport camera strap ............................... $139 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 45” Umbrella- White with Black........................ $70

2nd Prize .....................................................$2,286 Sony α6300 and 16-50 mm Power-zoom lens ........ $1,500 Rogue XL Pro Lighting Kit for speedlights ................. $148 BlackRapid Sport camera strap ............................... $139 Tenba Switch 8 camera bag ..................................... $130 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 45” Umbrella- White with Black........................ $70 Slik 500G-7 tripod .................................................... $50

2nd Prize .....................................................$2,292 Sony Cyber-shot RX100 IV ....................................... $1,150 Lowepro Pro Trekker 450 AW - Black ...................... $480 Rogue XL Pro Lighting Kit for speedlights ................. $148 BlackRapid Sport camera strap ............................... $139 Lowepro Nova Sport 17L AW - Grey ......................... $90 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 45” Umbrella- White with Black........................ $70 Slik 800G-7 tripod .................................................... $65

3rd Prize ......................................................$1,591 Adobe Creative Cloud 1-year subscription ............... $599 MeFoto RoadTrip Travel Tripod Kit - Blue ................. $250 Joby GorillaPod Focus & Ballhead X ......................... $190 Rogue XL Pro Lighting Kit for speedlights ................. $148 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Lowepro Tahoe BP 150 - Blue .................................. $85 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 45” Umbrella- White with Black........................ $70

3rd Prize ......................................................$1,586 Adobe Creative Cloud 1-year subscription ............... $599 MeFoto RoadTrip Travel Tripod Kit - Blue ................. $250 Joby GorillaPod Focus & Ballhead X ......................... $190 Rogue XL Pro Lighting Kit for speedlights ................. $148 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Lowepro Passport Messenger - Grey ...................... $80 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 45” Umbrella- White with Black........................ $70

3rd Prize ......................................................$1,586 Adobe Creative Cloud 1-year subscription ............... $599 MeFoto RoadTrip Travel Tripod Kit - Blue ................. $250 Joby GorillaPod Focus & Ballhead X ......................... $190 Rogue XL Pro Lighting Kit for speedlights ................. $148 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Lowepro Passport Messenger - Black ..................... $80 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 45” Umbrella- White with Black........................ $70

4th Prize ......................................................$1,052 Manfrotto Befree Aluminum Tripod with Ballhead Kit ..$299 BlackRapid Sport camera strap ............................... $139 Tenba - Switch 7 camera bag ................................... $110 Gary Fong Lightsphere Collapsible Speed Mount ...... $109 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Rogue Large Softbox Kit for speedlights .................. $96 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 107-cm 5-in-One Reflector Kit ......................... $50

4th Prize ......................................................$1,093 Manfrotto Befree Aluminum Tripod with Ballhead Kit ..$299 LEDGo CN-B150 LED on-camera light ...................... $180 Tenba - Switch 7 camera bag ................................... $110 Gary Fong Lightsphere Collapsible Speed Mount ...... $109 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 Rogue Large Softbox Kit for speedlights .................. $96 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 107-cm 5-in-One Reflector Kit.......................... $50

4th Prize ......................................................$1,075 Manfrotto Befree Aluminum Tripod with Ballhead Kit ..$299 Hoya 77-mm Fusion Antistatic C-POL filter ............... $218 Tenba - Switch 7 camera bag ................................... $110 Gary Fong Lightsphere Collapsible Speed Mount ...... $109 Henry’s Learning Lab Productivity & Creativity 1-yr subscription .. $99 illumi Halo Softbox .................................................... $90 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75

5th Prize ......................................................$858 Manfrotto Befree Aluminum Tripod with Ballhead Kit ..$299 Hoya 77-mm PRO ND 100 filter ................................. $139 Lowepro Photo Hatchback BP 150 AW II - Black ...... $120 illumi Halo Softbox .................................................... $90 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 SanDisk Extreme Plus 16-GB SD Memory Card ........ $60

5th Prize ......................................................$844 Manfrotto Befree Aluminum Tripod with Ballhead Kit ..$299 Lowepro Toploader Pro 75 AW II - Black .................. $125 Lowepro Photo Hatchback BP 150 AW II - Blue ........ $120 illumi Halo Softbox .................................................... $90 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 SanDisk Extreme Plus 16-GB SD Memory Card ........ $60

5th Prize ......................................................$839 Manfrotto Befree Aluminum Tripod with Ballhead Kit ..$299 Lowepro Photo Classic BP 300 AW ......................... $170 Tenba Switch 8 camera bag ..................................... $130 illumi Halo Softbox .................................................... $90 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75

6th Prize ......................................................$608 Manfrotto Advanced Tri-Backpack .......................... $149 Adobe Photoshop & Premiere Elements ................... $149 Joby GorillaPod SLR-Zoom & Ballhead ..................... $100 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 SanDisk Extreme Plus 16-GB SD Memory Card ........ $60

6th Prize ......................................................$617 Manfrotto Advanced Tri-Backpack .......................... $149 Adobe Photoshop & Premiere Elements ................... $149 Gary Fong Lightsphere Collapsible Speed Mount ...... $109 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 SanDisk Extreme Plus 16-GB SD Memory Card ........ $60

6th Prize ......................................................$657 Manfrotto Advanced Tri-Backpack .......................... $149 Adobe Photoshop & Premiere Elements ................... $149 Gary Fong Lightsphere Collapsible Speed Mount ...... $109 Joby GorillaPod SLR-Zoom & Ballhead ..................... $100 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75

7th Prize ......................................................$445 Manfrotto Advanced Tri-Backpack .......................... $149 Rogue Large Softbox Kit for speedlights .................. $96 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 illumi 107-cm 5-in-One Reflector Kit ......................... $50

7th Prize ......................................................$459 Manfrotto Advanced Tri-Backpack .......................... $149 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 SanDisk Extreme Plus 16-GB SD Memory Card ........ $60 Joby GorillaPod Hybrid ............................................. $50 illumi 107-cm 5-in-One Reflector Kit ......................... $50

7th Prize ......................................................$459 Manfrotto Advanced Tri-Backpack .......................... $149 Gift certificate for photobooks by Pikto .................... $75 One-year Awesome account with 500px ................. $75 SanDisk Extreme Plus 16-GB SD Memory Card ........ $60 Joby GorillaPod Hybrid ............................................. $50 Illumi 107-cm 5-in-One Reflector Kit ......................... $50

* Expedition value in U.S. dollars.

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EXPOSURE

THE COMMUNITY

NEITHER STOIC NOR IDLE

NADYA KWANDIBENS SHOWS THE STRENGTH AND VITALITY OF ­CANADA’S FIRST NATIONS

BY LAURENCE BUTET-ROCH

For Indigenous photographer Nadya Kwandibens, making portraits of her peers means giving them the reigns, disrupting stereotypes and supporting a sense of unity.

“I

Before embarking on a journey that would take her across Turtle Island, the name she uses to refer to the American continent, the then-budding shooter defined her objective. Her vision statement reads: “My goal seeks to steer the positive course. If our history is a shadow, let this moment serve as light. We are musicians, lawyers, doctors, mothers and sons. We

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If our history is a shadow, let this ­moment serve as light. We are ­musicians, ­lawyers, ­doctors, ­mothers and sons. We are activists, ­scholars, dreamers, fathers and daughters.

are activists, scholars, dreamers, fathers and daughters. Let us claim ourselves now and see that we are and will always be great, thriving, balanced civilizations capable of carrying ourselves into that bright new day.” These words gave her a direction and a purpose. “As a photographer, it became my role to help others see just that. Whenever I feel ­discouraged by the scale of the task, as one sometimes does, I read the statement and it never fails to reinspire me,” she adds.

Some don designs inspired by a host of First Nations’ traditions, others dress in their regalia.

Many mix clothing of ­different influences in an effortless, yet

© NADYA KWANDIBENS

ndian,” the ­misguided and misleading name that was given to the first ­inhabitants of North ­America by the European settlers, ­continues to conjure up ­equally ­misguided and misleading ­images, ­whether it’s of the “noble savage,” ­perpetuated through the ­images of Edward S. Curtis, or of ­miserable communities ­awaiting salvation, as often shown in ­contemporary media.

This ­ongoing misrepresentation has led many Indigenous artists, such as Anishinaabe photographer Nadya Kwandibens, to reclaim the ways they and their peers are ­depicted. “From the outset, I wanted my work to embody the strength and vibrancy of my people that stem from our overall sense of unity,” she explains.

Drawing from her experience of living in Toronto and ­negotiating an identity that is both ­modern and rooted in her cultural heritage, she sent out a call for Indigenous people living in urban centres. “My father once told me that old folks called those of us who moved to the city ‘concrete Indians.’ That was the perfect name for the series,” recounts Kwandibens, who is from the Northwest Angle #37 First Nation, nearly 500 km past Thunder Bay in Ontario, but grew up in foster care in a mix of Caucasian and ­Indigenous homes. Because the series is concerned with ­asking how one’s self is affected by ­living or working in the city, she lets the willing participants determine the way they want to be represented. “Within fifteen minutes of sending out the email inviting people to imagine and submit their ideas for a portrait, I had received answers. Since, I must have gotten hundreds of emails, and not one is the same,” she notes.

JUNE/JULY 2016 PHOTOLIFE.COM

2016-04-28 9:40 AM

VISION

WISDOM, WIT AND OTHER TIDBITS

EXCERPTS FROM OUR INTERVIEW WITH

TED GRANT

Recently named a member of the Order of Canada, Ted Grant is considered the father of Canadian photojournalism.

He’s photographed everyone from world political leaders to ­Olympic athletes to Albertan cowboys, and more than 300,000 of his ­photographs are in the Ted Grant Collection at Library and Archives Canada and the National Gallery. Here at Photo Life, we always love talking with Dr. Ted, so we were thrilled when he took the time to answer our questions!

FIRST CAMERA?

credit line, ­“Photo—Ted Grant,” was the magical moment that started the most incredible life one could possibly have.

I received my first camera on my 20th birthday. This was my first birthday—May 27, 1950—after I was married to my now ­departed wife, Irene, of 64 years. She gave me an Argus A2 35-mm film camera. I still have it, and there’s a roll of film in it that I have tried for years to muster the strength of heart to remove and develop.

Some day?

MOST ADMIRED PHOTOGRAPHER? The late Alfred Eisenstaedt of Life magazine. He shot quiet moments without any fanfare. He just went about his clicking, successfully covering the assignment. His ­reaction time to the moment was admirable.

WHAT DID YOU WANT TO BE WHEN YOU GREW UP? A medical doctor, a WWII fighter pilot or, as my dad was, an 18-wheel transport truck driver.

WHY A CAREER IN ­PHOTOGRAPHY? The fascination of capturing magical moments of life while on assignments about the world—it was a natural evolution!

MOST PIVOTAL CAREER EXPERIENCE? My first published front-page p ­ hoto in the Ottawa Citizen ­newspaper on September 17, 1951. It was a stock car in a race. ­Reading the

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Reading the credit line, ­“Photo—Ted Grant,” was the magical moment that started the most ­incredible life one could possibly have.

THE “PHOTO THAT GOT AWAY”?

Photographing Her Majesty Queen Elizabeth II with an ­empty camera!

FAVOURITE CAMERA-ANDLENS COMBINATION? That’s a tough call because what I’m shooting determines the “favourite of the day.” If I’m shooting sports I usually use a 280 mm f/2.8. However, the sport determines which is the ­favourite or “best of the moment.” And that can be anything from a 15 mm to an 800 mm. If I’m quietly

­documenting on a walkabout or looking for a moment, it would be a Leica M Digital and the incredible Leica Noctilux 50 mm f/1.0.

I rarely use auxiliary lights or flash, as both are forbidden in my world and manner of shooting.

If you can see the subject, you can shoot it! Years of ­recognizing and using available light, in a similar fashion to the lighting seen in paintings by Rembrandt, define my pictures. His light was candles, lanterns and available window light. He ­predominantly “painted from the shadow side.” Similarly I shoot from the ­shadow side.

BEST ADVICE? K.I.S.S. (“Keep it simple ­stupid!”) Don’t get all tied up in ­photographic jargon. Learn solid basics and work with them. The rest will come as you shoot and shoot, and shoot a hundred times more.

Give yourself assignments. For example, do a shoot at ­sunrise.

Get out at least an hour ­before the sun comes up in your ­neighbourhood. Go to a ­local park, industrial area, or the waterfront—wherever! Watch the light-level effects and the colour, and shoot things that become interesting as the light levels change. As the levels change, the look of subjects changes.

The neat thing about today is digital. You can shoot and take images to study later, and it doesn’t cost a thing, as compared to the days of film and 36-frame rolls. The more you shoot, the better you become, and the cost effectiveness of digital makes this more tangible.

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WISDOM, WIT AND OTHER TIDBITS

VISION

© TED GRANT

MOST RANDOM THING IN YOUR PHOTO BAG?

EARLY RISER OR NIGHT OWL?

Thompson black raisins. I get hungry, and squirrels love them.

Early riser and watch the world in front of you come alive!

WHAT’S YOUR SISYPHEAN STRUGGLE? Developing 500 rolls of film and making contact sheets! Thank goodness we don’t have that chore any longer!

FAVOURITE CITY TO PHOTOGRAPH? Paris!

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Don’t get all tied up in ­photographic jargon. Learn solid basics and work with them.

CURRENT FAVOURITE PHOTO (OF YOUR OWN PHOTOS)?

A photo taken (a sort of selfie before they became the photo of today) on my 76th birthday, flying upside down at 3000 ft. in a P-51 Mustang WWII American fighter plane over ­Olympia, Washington. I felt like a young lad of 18 years in aerial ­combat and not 76

in reality! ­Incredible! Just have to love the moments!

WEIRDEST PHOTO EXPERIENCE? First assignment in the o ­ perating room during an open-heart ­operation on a 13-year-old boy.

The first time looking into the chest cavity with the beating heart!

WHAT SUPERPOWER WOULD YOU CHOOSE? The ability to cure human beings from dying when they need not!

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VISION

THE

BEST OF PHOTO CLUBS 2016

To find a photo club near you: photolife.com/ photo-clubs

We invited photo club members across Canada to share their finest work with us, and you responded! Here are the top 足images submitted to the 2016 Best of 足Photo Clubs competition.

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1 2 3 4 5 6

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NIKON D800, 24 MM, F/13, 1/400 S, ISO 400. © YOANIS MENGE

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VISION

FAR FROM THE CENTRE

BY LAURENCE BUTET-ROCH

THE LIVES AND TRIALS OF PHOTOGRAPHERS LIVING IN SMALL COMMUNITIES

From the Magdalen Islands in the east to Spirit River further west, some photographers are finding work and inspiration away from the country’s major cities.

W

hen Vera ­Saltzman moved to Fort ­Qu’Appelle, ­Saskatchewan, with her ­husband, she was ­apprehensive.

While ­living in the nation’s capital, she had honed her ­photography skills at the School of ­Photographic Arts: Ottawa (SPAO) and ­simultaneously developed a ­tight-knit group of like-­minded friends on whom she relied for inspiration, work and ­encouragement. Leaving this nurturing network behind felt like losing a limb. “It was as if one of my arms had been ripped off,” she remembers. Thankfully, ­modern communication JUNE/JULY 2016 PHOTOLIFE.COM

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“In ­remote ­places, you have to be ­quite ­polyvalent to make ends meet, ­whereas in a major urban ­centre, you need to ­become ­highly ­specialized to stand out.”

t­echnologies allowed her to keep in touch on a weekly basis. But that didn’t preclude her from ­feeling onrushes of loneliness.

“The isolation I feel is reflected in the work that I’ve been doing since I got here. Mostly, I have been exploring what it means to be a transplant, to be ­searching for my primal landscape as well as where I fit within it,” she explains.

Fort Qu’Appelle is home to nearly 2 000 ­people—a far cry from the 883 000 that make up Ottawa, but not all that different from Cape Breton, Nova Scotia, where she grew up. Driving around, she saw

sights that brought back memories of her upbringing. For instance, the once-ubiquitous grain ­elevators are to the Prairies what ­lighthouses are to the Maritimes: iconic markers that have become obsolete.

After three years in the prairie hamlet, Saltzman is starting to take hold in the community. “I ­really had to push myself to go out to meet people. For a while, I was relying on social media to fulfill my socializing needs. You can hide behind the ­computer screen and not ­encounter the people around you,” she ­recalls. Though there are few ­photographers in the vicinity, she has found solace in other artists, painters and musicians who face most of the issues she does, whether it’s insecurity about one’s approach, creator’s block or ­finding ways to disseminate work and be properly remunerated for it. At the same time, getting to know practitioners in a variety of fields has expanded her ­horizons, forcing her to consider her ­practice in a new light.

Similarly, not having access to a local photo lab impelled her to learn new skills. Luckily for her, the nearby town of Indian Head is home to Film Rescue ­International, a small business specialized in processing ­expired film. The owners taught ­Saltzman how to develop her own colour film, giving her ­unparalleled ­control over the look and feel of her pictures. She also ­began ­experimenting with other ­methods, such as lumen printing.

Hailing from a fishing ­community, she was distressed when ­hundreds of fish were found

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2016-04-28 9:40 AM

TECHNIQUE

THE FLEETING MASTERPIECE

BY PATRICK LA ROQUE

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G E

TECHNIQUE

We recognize nothing. Our hearts are ­pumping, our senses buzzing, and our eyes— our eyes are overwhelmed. We clutch our ­camera and click that shutter every chance we get. Rome, Shanghai, Paris—we’re here for five or fifteen days...whatever. In the end, we’re all too aware that our state is temporary and that we’ll have to leave. We want to see everything.

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TOUR BUS, PARIS. FUJIFILM X100, 23 MM (35-MM EQUIVALENT), F/8, 1/2700 S, ISO 800. © PATRICK LA ROQUE

A TRAVELLER’S GUIDE TO STREET ­PHOTOGRAPHY JUNE/JULY 2016 PHOTOLIFE.COM

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ravelling is an ­incredible jolt to the system for anyone, but, for ­photographers, it’s like ­drinking an elixir of awakening. It’s the ­antidote to any dulling of the senses we may struggle to fight off in our everyday lives: colours are brighter, people are prettier, and everything is clearer and more defined. Basically, it’s a photographer’s dream. But all this energy must be channelled— we need to be aware that we still need to reflect, push, claw and dig because, ideally, our ­images should look beneath the ­veneer and beyond monuments, ­tourist traps and common views of ­well-worn paths. We owe it to ourselves to make the most of these opportunities and go ­beyond the postcard shot.

am a street shooter. I know for many there’s a stigma attached to street photography; some see it as intrusive, hard core or perhaps intimidating. Workshops will often speak of overcoming shyness and developing the courage needed to do street work. But I don’t see it that way at all: for me there’s no confrontation involved and no fear to overcome because shooting street is simply about exploring the living, breathing heart of a ­society. It’s never about ­entrapment or catching ­someone in the act. In many ways, I ­consider it to be more of a state of mind or a method of awareness that can be applied to any number of subjects or locations.

(And the question of where “the street” ­actually ends could be an ­interesting topic in and of itself!)

EXPLORE THE SIDE STREETS

Though there are other more interactive or directed methods of street photography, I’m personally most comfortable living within the scene and blending in. I’m never under the impression of assaulting anyone and rarely feel the need to

I have yet to find a better way of experiencing any city than to walk around and lose myself in its crowds and structures for days on end, so when I travel, I

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TECHNIQUE

NEUTRAL-DENSITY FILTERS

DEMYSTIFIED

BY DANIEL DUPONT

In my last article, I explained that a polarizing filter can reduce the amount of light entering your camera by up to two stops and that you can use that to give moving water a “silky” look. If you have tried this, you’ve also discovered that this approach has its limits when shooting in bright sunlight.

S

o now is the perfect time to introduce neutral-density (ND) filters! You can get them in different levels of strength: the 0.3 will reduce the light by one stop, the 0.6 will reduce it by two stops, and so on. You can also use them together to multiply their power. Certain filters even ­reduce the light by six to ten stops, ­allowing you to create motion blur in bright daylight.

CIRCULAR OR SQUARE? ND filters come in circular or square formats. Circular ND filters are practical; they just screw right onto your lens. They also come in a variable-density version.

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Like a polarizer, it has two rings, and you adjust the intensity by ­rotating the front one. The more you turn, the more the filter ­darkens and the more you can reduce your shutter speed.

Though it is possible to handhold a square ND filter, there’s a chance you could scratch it on the rim of your lens. It’s also easy to accidentally let in light between the filter and lens, which will create a reflection.

The square filters, however, are used with a filter holder that ­attaches to the lens with an ­adaptor ring. Though more ­tedious, this system has its

a­ dvantages. Most importantly, you only need to buy one filter system. If you choose one for 100-mm filters, it will be large enough to cover the majority of your lenses, no matter what their circumference. You can then acquire different filters over time, according to your budget and ­creative interests. In addition, unlike with the circular version, combining more than one square

QUALITY It’s important to invest in a good filter, because all filters are not created equal. Some introduce a colour cast, and, though this can be corrected in post-production, I prefer to spend more time shooting and less time sitting at a computer correcting colours.

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fi ­c

S

I ­a ­l ­g a f t s

TECHNIQUE

FAQ

A SHORT

“IS IT TRUE THAT THE CENTRE AUTOFOCUS POINT WORKS BETTER THAN THE OTHERS?”

“ C D

A t c c m

BY JEAN-FRANÇOIS LANDRY

It couldn’t be truer. The autofocus sensor is less sensitive to light as you move away from the centre. That’s why the autofocus points in the middle are much better, even ­technologically speaking: autofocus crosstype points (detection of horizontal and vertical lines) and double cross-type points (detection of horizontal, vertical and diagonal lines). More light equals more possibilities!

In ­low-light ­situations when your autofocus seems ­incapable of doing its job (the lens goes back and forth while making a gzzz-gzzzz-gzzz noise), go in your menu and select the centre focus point. Then just put your subject in the centre and press the shutter down halfway: your camera will work again!

Q&A There are certain photography-­ related questions ­that come up again and again. Whether they arise from a rumour, a worry, a difference of opinion, an unexplained experience or a long period of reflection, having the answers can put your mind at ease and let you move on to other things. Here are the answers to a few common questions so that at least these won’t be the ones keeping you up at night.

“

E s t w fi p v ( t y

“WHAT DOES THIS SYMBOL ON MY CAMERA MEAN?”

L c a A ­E t c c ­O i

The icon on the right, engraved on most, if not all, interchangeable-lens cameras, marks the location of the focal plane—the exact plane where your sensor is. The distance to the subject is calculated from this point (and not from the lens’ front glass, which is a common mistake). The minimal focusing distance, often noted on the lens, indicates how close your lens can get to your subject; this information allows you to be precise when calculating distance and is especially important in macrophotography.

C

I ­m p m

100 MM, F/2.8, 1.3 S, ISO 100, © JEAN-FRANÇOIS LANDRY

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BEST PROFESSIONAL DSLR LENS BEST ­MIRRORLESS CSC EXPERT

Sigma 20 mm f/1.4 DG HSM | Art

Fujifilm X-Pro2

BEST DSLR ENTRY LEVEL

BEST MIRRORLESS CSC PROFESSIONAL

Sony

Sony

α68

α7R II

XXVI TIPA AWARDS THE BEST PRODUCTS OF THE YEAR

AWARDS 2016

As a member of the Technical Image Press Association, Photo Life joined the other 26 leading photo and imaging ­magazines from 15 countries on six continents in San Francisco to vote for the most outstanding photo and imaging products announced during the last twelve months. Here are some of the award-winning products; visit our blog for the complete 2016 TIPA Awards list!

BEST CSC PRIME LENS Sony FE 85 mm f/1.4 GM

BEST APS-C DSLR EXPERT Nikon D500

BEST DSLR WIDE-ANGLE ZOOM LENS Sigma 24-35 mm f/2 DG HSM | Art

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BEST FULL-FRAME DSLR EXPERT Pentax K-1

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BEST FULL-FRAME COMPACT CAMERA

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Sony Cyber-shot RX1R II

BEST DSLR PROFESSIONAL/ HIGH RES

BEST CSC WIDE-ANGLE ZOOM LENS

Canon EOS 5DS/ EOS 5DS R

Olympus M.ZUIKO DIGITAL ED 7-14 mm 1:2.8 PRO

BEST MIRRORLESS CSC ENTRY LEVEL

BEST DSLR PROFESSIONAL/ACTION

Fujifilm X-T10

Nikon D5

BEST DSLR TELEPHOTO ZOOM LENS Sigma 50-100 mm f/1.8 DC HSM | Art

BEST MIRRORLESS CSC ADVANCED Olympus OM-D E-M10 Mark II

BEST CSC TELEPHOTO ZOOM LENS Fujinon XF 100-400 mm f/4.5-5.6 R LM OIS WR

BEST TRIPOD BEST MEDIUM-FORMAT CAMERA

THE WHOLE BUNCH

BEST PHOTO/VIDEO PROFESSIONAL CAMERA Canon EOS-1D X Mark II

Manfrotto 190 Go! Carbon Fibre

Phase One XF 100MP

1. EST DSLR ENTRY LEVEL Sony α68 2. BEST APS-C DSLR EXPERT Nikon D500 3. BEST FULL-FRAME DSLR EXPERT Pentax K-1 4. BEST DSLR PROFESSIONAL/ACTION Nikon D5 5. BEST DSLR PROFESSIONAL/HIGH RES Canon EOS 5DS/EOS 5DS R 6. BEST ­PHOTO/­VIDEO ­PROFESSIONAL CAMERA Canon EOS-1D X Mark II 7. BEST ENTRY-LEVEL DSLR LENS Tamron 18-200 mm f/3.5-6.3 Di II VC 8. BEST DSLR T ­ ELEPHOTO ZOOM LENS SIGMA 50-100 mm f/1.8 DC HSM | Art 9. BEST DSLR WIDE-ANGLE ZOOM LENS SIGMA 24-35 mm f/2 DG HSM | Art 10. BEST DSLR PRIME LENS Tamron SP 35 mm f/1.8 Di VC USD 11. BEST PROFESSIONAL DSLR LENS Sigma 20 mm f/1.4 DG HSM | Art 12. BEST M ­ EDIUM-­FORMAT CAMERA Phase One XF 100 MP 13. BEST MIRRORLESS CSC ENTRY LEVEL Fujifilm X-T10 14. BEST MIRRORLESS CSC ­ADVANCED ­Olympus OM-D E-M10 Mark II 15. BEST MIRRORLESS CSC EXPERT Fujifilm X-Pro2 16. BEST MIRRORLESS CSC PROFESSIONAL Sony α7R II 17. BEST CSC ENTRY-LEVEL LENS Panasonic Lumix G 25 mm f/1.7 ASPH 18. BEST CSC TELEPHOTO ZOOM LENS Fujinon XF 100-400 mm f­/4.5-5.6 R LM OIS WR 19. BEST CSC WIDE-ANGLE ZOOM LENS Olympus M.Zuiko Digital ED 7-14 mm 1:2.8 PRO 20. BEST CSC PRIME LENS Sony FE 85 mm f/1.4 GM 21. BEST EASY COMPACT CAMERA Canon PowerShot ELPH 360 HS 22. BEST EXPERT COMPACT CAMERA Canon PowerShot G5 X 23. BEST F ­ ULL-FRAME COMPACT CAMERA Sony Cyber-shot RX1R II 24. BEST SUPERZOOM CAMERA Panasonic Lumix DMC-FZ300 25. BEST RUGGED C ­ AMERA ­Olympus ­Stylus Tough TG-870 26. BEST PREMIUM CAMERA Leica SL 27. BEST CAMCORDER Panasonic HC-WXF991 28. BEST ­PHOTO PRINTER Canon ­imagePROGRAF PRO-1000 29. BEST INKJET PHOTO PAPER Ilford Galerie Prestige Gold Fibre Gloss 310gsm 30. BEST ­IMAGING ­SOFTWARE Serif ­Affinity ­Photo 31. BEST TRIPOD Manfrotto 190 Go! Carbon Fibre 32. BEST STORAGE MEDIA Toshiba TransferJet SDHC Card 33. BEST PROFESSIONAL FLASH ­SYSTEM Phottix Indra 360 TTL Flash System 34. BEST PORTABLE FLASH Nissin i60A 35. BEST PHOTO MONITOR BenQ SW2700PT 36. BEST M ­ OBILE IMAGING DEVICE DxO One 37. BEST CAMERA DRONE Yuneec Typhoon Q500 4K 38. BEST ACTIONCAM Sony ­HDR-AS50 39. BEST IMAGING ­INNOVATION Nikon SnapBridge 40. BEST DESIGN Ricoh Theta S

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GEAR

DIGITAL WORLD

THE COMPUTER IN YOUR CAMERA HOW MUCH DO YOU KNOW ABOUT YOUR CAMERA’S ­CAPABILITIES?

BY DAVID TANAKA

© ISTOCK.COM/ALENGO

Your camera has computer-precise accuracy, but it can it also offer aesthetic choices that can inspire your creativity and boost your image quality. Here are five data-processing functions to enhance your photographic experience.

1. FILM-SIMULATION MODES Pleasing vs. accurate colour isn’t a new discussion, and people who’ve shot film know that each type has a slightly different character. One of the big names in photographic film, Fujifilm, has capitalized on this by allowing users to create the look of various Fujifilm stocks when using some of its cameras, including the X-series. Conceptually Fujifilm uses a 2D grid with saturation on the horizontal axis (from low to high) and tonality on the vertical axis (from soft to hard). Various film looks can be mapped on this 2D grid. Simulated Provia, for example, is in the midpoint area for both tonality and saturation. Astia has slightly softer tonality, while Velvia sits at the extreme with the highest saturation and hardest tonality.

Introduced with Fujifilm’s X-Pro 2 is the Acros black-and-white film-simulation mode. Fujifilm says Acros is the first to use an actual black-and-white film stock, namely its Neopan Acros, as a reference.

(The existing black-and-white film-simulation mode is based on Provia, a colour film stock.)

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© DAVID TANAKA

With the introduction of the PEN-F earlier this year, Olympus has also made it very easy to experiment with film ­simulations.

You can quickly access three colour and three monochrome modes that you can further customize. While Olympus doesn’t state that specific film stocks are being replicated, each ­produces a distinct look. I had a chance to use the PEN-F for a couple of days when it was launched and found the simulated grain in one of the monochrome modes to be quite attractive and reminiscent of Tri-X. JUNE/JULY 2016 PHOTOLIFE.COM

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THE POWERXND 2000 BY AURORA Like a solar eclipse Neutral-density filters have been popular for a while, and Aurora seems to want a piece of the pie! The PowerXND 2000 is a variable neutral-density filter that eliminates between 16 and 2000 times the ambient light (or between four and 11 stops)! In daytime’s brightest ­sunlight, you can now use a setting like f/22, 30 s, and 100 ISO. Available in mounts between 39 mm and 95 mm, all that’s left is to shed light on the price. aurora-aperture.com

GADGET GUIDE WHAT YOU NEVER KNEW YOU NEEDED

BY JEAN-FRANÇOIS LANDRY

Yes, I know; I rant (and rave) about gadgets a lot, but that’s just because I love them so much! I think about them during the day and dream about them at night; they take up all my free time. They clutter my countertop, shelves, bookcase and backpack—and they monopolize a considerable part of my budget... I’d say I’ve got a good reason to rant!

THE LEICA M TO SONY E AUTOFOCUS ADAPTER BY TECHART PRO A Sony–Leica marriage without compromise Many adapters will let you mount lenses of one brand onto cameras of another brand: Fotodiox, Letus, Metabones, Novoflex, Phottix... But Techart Pro knew how to stand out! They created a Sony E-series adapter that lets you mount Leica M-series ­lenses while keeping the autofocus. And, as you might know, the M-series lenses have been ­manual focus since 1954! Techart Pro installed a system inside the ring (that was ­previously used on the Contax AX in 1996), and now the focusing happens by moving the lens forward or backward. You’ll just need to adjust the aperture opening ­manually.

So it’s now possible to mount a Leica APO-Summicron-M 50-mm f/2.0 ASPH—one of the best 50-mm lenses that have ever existed on the planet—onto a Sony A7R II and keep its autofocus! Whoa! Tons of fun for US$350. techartpro.com

THE X-U BY LEICA A Leica that is not meant for the mantelpiece An extreme adventurer, the Leica X-U is fearless: it is impervious to impacts (a 1.22-m fall will not damage it), dust (IP68) and weather (it can be immersed in 15 m of water for 60 minutes!). Equipped with a 16.2-MP APS-C sensor (with a 3:2 ratio) and a fixed focal Summilux 23 mm f/1.7 ASPH (similar to a 35 mm on a full-frame) with four aspherical surfaces, the Leica X-U has nothing to prove to anyone. Minimum 20-cm focusing, DNG-format Raw files, full HD video (MP4), a 3” screen and integrated flash (NG 5m)—Leica has done its homework.

US$3000. leica-camera.com

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“SHARPNESS ­involves more ­common sense that secret ­knowledge.

Don’t buy the ­cheapest lens you can find. You’ll get what you pay for.”

THE VAULT

“BUT when Brian Mulroney was elected to the office last year, the man chosen to photograph him didn’t apply for the job. He was asked to do it. That man is Peter Bregg.”

BY GUY LANGEVIN

Every now and then, I go down to the vault where our archives are stored and randomly pick an issue. Why? To take a little trip back in time. Here are some remnants from the past—funny, serious or just plain dated—for your enjoyment. This installation comes from Photo Life July 1985.

Y t

B 2

“SOONER or later, the lure of new ­creative vistas will beacon, and you will seek a lens that lets you zero in on a subject that might appear too small in the image framed by your normal lens.”

A h i I N

“LIFE isn’t just a bowl of cherries at a speed of 1/30 and slower.”

B t t n

“OVER the years, I’ve amassed hundreds of useful and interesting gizmos and photographic oddities, so I suppose you could call me the Photo Life resident expert on paraphernalia.”

P

T

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