Photo Life May 2015 Sample

cPL_MAY15_OK.qxp_Photo Life Jan 2005 2015-02-26 10:03 AM Page 1

YOUR GUIDE TO EVERYTHING PHOTO

THE BEST PHOTO BAGS FOR TRAVEL

TOP TRAVEL TIPS

Packing and Planning Flying with Photo Gear Crossing International Borders

PARADISE FOUND The Azores THE RESULTS OF OUR BIGGEST ANNUAL PHOTO CONTEST! HOW TO AVOID THE PITFALLS OF SHARING YOUR IMAGES ONLINE

+ MASTER FOCAL-LENGTH EQUIVALENTS +

ARE THERE HIDDEN PHOTO TREASURES ON YOUR HARD DRIVE?

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CONTENTS April/May 2015, Volume 40, Number 3

4 6 8 66

Contributors Editorial Exposure Close-up

Cover photo by Patrice Halley

VISION 20 Destination The Azores: Paradise Found

by Patrice Halley Two-thirds of the way between Canada and Africa is a volcanic archipelago believed to be the former mythical kingdom of Atlantis. Never mind the tale, the reality is that the Azores should be your next photographic destination.

20

26 Without the Frame The Sweeper

by David duChemin I arrived at the Taj Mahal with countless images in my mind: stories of India, scenes from American Express commercials and spreads from National Geographic. What I saw, beyond the postcard view, was photographers pushing and jostling for the postcard view.

28 The World We Live In Pro and amateur photographers living in Canada and the U.S. were invited to share their best images. Here are the results of our biggest annual photo contest.

28

38 Showtime Horses

TECHNIQUE 40 Anything to Declare?

by Scott Linstead Do you cross international borders with your camera equipment? Whether you are an amateur or a full-time pro, you are at risk of having your photography trip spoiled by one of many governing bodies with the power to do so.

46 Photo 101 Scene Mode: Handheld Night

by Jean-Franรงois Landry Scene modes are simple, efficient and perfectly suited for enthusiast use. This series explains how they work and how to get by without them.

48 FAQ A Different Perspective

40 PHOTO LIFE

by Jean-Franรงois Landry Here is a chart that summarizes focal-length equivalents by sensor size, including angles of view, according to the generally accepted diagonal coverage and the tad more practical horizontal coverage.

APRIL/MAY 2015

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PHOTO LIFE APRIL/MAY 2015 Volume 40, Number 3 171 St. Paul Street, Suite 102, Quebec, QC Canada G1K 3W2 418-692-2110 1-800-905-7468 info@photolife.com facebook.com/photolifemag

GEAR 50 Flying With Your Camera Gear

by David Tanaka We travelling photographers face two gear-related challenges: how and what to pack en route to our destination, and how and what to pack once we’ve arrived.

This article presents a selection of cabin-friendly photo bags and tips on how to choose the best one to help you get there and get around.

54 Digital Workflow Safe Sharing

by David Tanaka For photographers, the Internet can be a global gallery and retail outlet that delivers fame and fortune. It’s a conduit to connect with far-flung family members and friends. And posting images online is at the heart of both. But can it be done while keeping some control over our copyright?

58 Gadget Guide

by Jean-François Landry

60 Imaging Products Review

by Peter K. Burian

@photolifemag

SUBSCRIPTIONS 1-800-461-7468 subscription@photolife.com EDITORIAL Editorial Department editor@photolife.com Editorial Director Valérie Racine . . . . . . . . . . . . . . . .vracine@photolife.com Administrative and Editorial Assistant Jenny Montgomery . . . . . . . . . . . . . . .info@photolife.com Contributing Editors David Tanaka Peter K. Burian 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 Julie Fortin . . . . . . . . . . . . . . .accounting@photolife.com

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 contents 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.

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CONTRIBUTORS AND EDITORIAL STAFF

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

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

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

Patrice Halley

has been shooting for magazines worldwide for more than 25 years. After moving to B.C. seven years ago, he started to pursue adventure photography. He now lives in Montreal. patricehalley.com

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.

Trained in aerospace engineering, Scott Linstead stepped into professional nature photography after leaving a high-school teaching position in 2007. He is the author of the book Decisive Moments: Creating Iconic Imagery (2010). scottyphotography.photoshelter.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.

Valérie Racine began working for Apex Publications in 2002. She currently serves as Editorial Director for both Photo Life and Photo Solution magazines. Her background includes studies in art, art history and communications, and she is passionate about photography.

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.

4

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

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PHOTO LIFE

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EDITORIAL April/May 2015, Volume 40, Number 3 ravel is, for me, the ultimate escape. I love going to new places, but I also enjoy rediscovering places I have visited before. Though I tend to be happy wherever I am, I certainly appreciate a change of scenery. For example, my spouse and I chose our last vacation destination based on three simple criteria: it had to be accessible by car, it had to be near the ocean, and it had to be a place neither of us had ever been to before. So we decided to go to Portland, Maine. It was quite the opposite of exotic, and we were there during the first week of December, so it was also cold. But there were no tourists to be seen, and we could enjoy simply being there...living slowly, sipping a coffee with a Holy Donut, visiting microbreweries, and taking a few pictures along the way.

The year before, we had had a similar experience on our trip to the Périgord region of France at end of November. The weather was cold but still enjoyable (and warmer than Quebec). Since it was off-season, we had all the attractions to ourselves—those that were open, at least. We made a three-hour drive through fog and drizzle to get to a zoo, and we were practically the only visitors in the entire park. We happened to be there during the animals’ meal time, and some of them rushed to see us thinking we were food providers. At the end of our visit, we were soaked, but we had seen this zoo in a completely unique way.

That trip to France opened my eyes to what I most enjoy about travel: living the extraordinary in the ordinary. Or, to put it differently, experiencing brief moments in time that I can collect, revisit and cherish. Travelling helps me to be more open and attentive to these moments, to be more present. When travelling, I take pictures with my camera but also with my mind, and the latter are the best and most vivid. One of my favourite mental photographs is one of a man carrying a small child in his arms, just outside a Bordeaux church. The ochre stones and the pavement were gleaming after an evening rain, and the child was stunningly beautiful in the golden light.

A good photographer would’ve been able to capture this moment and share it. This is partly what photography is about—sharing a moment in time. You’ll see plenty of shared moments in this issue, with David duChemin’s Without the Frame column, the winning images of The World We Live In photo contest and Patrice Halley’s article on the Azores. Enjoy the trip!

© TIM VAN HORN

T

COMING UP The Best of Photo Clubs portfolio The Canadian Mosaic Project Self-publishing photo books Low-pass filters Their usage and omission Printing tips for better results 2015 TIPA Awards products The lowdown on the latest gear And more...

LIKE PHOTO LIFE FACEBOOK.COM/ PHOTOLIFEMAG

Valérie Racine Editorial Director

Share your best photo travel anecdote on photolife.com/2015/03/travel, and you could win David duChemin’s latest eBook See the World: 20 Lessons for Stronger Travel Photographs!

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PHOTO LIFE

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EXPOSURE WHAT’S ON IN TODAY’S PHOTO CULTURE

[your view] Well, last time I checked when you post something on the Internet you release all rights because anyone can now copy it…. I never post my good work online. When I do, it is watermarked to the point it cannot be sold or shared.

—Mike Hill via Facebook If you had read the article, it states that isn’t the case.

Copyright still applies when uploading online. It shouldn’t be that we should be hesitant to upload, people just need to lose this sense of entitlement.

—Tyler Knight via Facebook Unfortunately this is not an isolated incident, it occurs far more than imaginable. Michel Cimpaye, Industry Canada mediarelations officer, suggests several of the remedies available, which would come forward as a civil matter. Translated, it basically means the photographer would be looking at legal fees of at least $10,000 to open the case in Supreme Court.

Considering the maximum award for non-commercial use is $5,000, it seems unlikely any photographer will find solace in the Copyright Act protecting their rights and integrity in the works. Too bad!

—Dale Wilson via Facebook We can protect our images with information in the EXIF data as suggested either in camera or as we import images. However Facebook and most others strip this data from all uploaded images leaving images without copyright, Creative Commons or contact info. Artists may not want to paste massive watermarks on images to detract from their work. Simple fix would be to leave all EXIF data intact when uploading files.

—Terry Babij via Facebook

WORLDWIDE PINHOLE PHOTOGRAPHY DAY The 15th annual Worldwide Pinhole Photography Day (WPPD) is April 26! Photographers all over the world are invited to make a pinhole photograph on that day to celebrate lens-less photography. You may scan and upload the image to a gallery on the WPPD website. Last year there were over 200 events and 3517 participants from 70 countries who shared images in the gallery. This year, the WPPD celebration will be a part of the International Year of Light, sponsored by UNESCO and other scientific organizations. pinholeday.org, light2015.org

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IN RESPONSE TO THE STORY OF A MAN FINED

BY TRANSPORT CANADA FOR USING A DRONE If he did have the correct permits to fly in June, then a regulation change in November should not lead to fine. So he should not have a problem contesting it then.

Now for my real job I work in aviation dealing with Transport Canada (TC) and their regulations almost every day. I have seen operators fined for videos posted on YouTube by a customer or someone watching. Now these videos are of an operator/pilot doing something that is in contravention of the regulations. I have also worked with two helicopter pilots who if they did not take evasive action with the machines would have struck or been struck by a remote controlled aircraft. This would most likely have led to a crash with damage to the helicopter with possible injury or death.

These aircraft, which is what they are, are evolving so quickly and so much more capable than they were even a year ago. I think TC has been caught off guard and is now trying to come up with a game plan so that an accident does not happen.

—Austin Lyle Wegelin via Facebook Rules have been in place for years (they only changed for the better recently). If he had checked he would have known about what was needed to make the flight. Ignorance is no excuse.

—Kurtis Kristianson via Facebook When I got my quad copter a few months ago, it did not take me much effort to find out that I needed to get a licence with TC if I were using it for commercial purposes. So that means—selling your footage from a quad copter to another party as a “service.” It was easy to find this info...and I feel he should have known better.

—Chris Collacott via Facebook

SHA ON RE YOU FAC EBO R PINH O OK/ PHO LE IMA G TOL IFEM ES AG!

© NICK DVORACEK

ON VIRAL PHOTOS AND COPYRIGHT

EXPOSURE PHOTO LIFE

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EXPOSURE [what’s on] STEPHEN BULGER GALLERY CELEBRATES 20 YEARS The Stephen Bulger Gallery in Toronto is celebrating its 20th anniversary with an exhibition that includes one photograph from every artist who has had a solo exhibition at the gallery since its opening. 20th Anniversary: A Group Exhibition Celebrating 20 Years is being presented through April 25. From May 2 through June 20, André Kertész’s Surveillance is on view. The themes of surveillance and observation are prevalent throughout his career, and Kertész’s images illustrate the tension between wanting to belong and knowing you are an outsider. bulgergallery.com © THE ESTATE OF ANDRÉ KERTÉSZ, COURTESY STEPHEN BULGER GALLERY

WORLD PRESS PHOTO OF THE YEAR 2014 The jury of the 58th annual World Press Photo Contest has selected an image by Danish photographer Mads Nissen as the World Press Photo of the Year 2014. Nissen is a staff photographer for the Danish daily newspaper Politiken and is represented by Panos Pictures. The picture shows Jon and Alex, a gay couple, during an intimate moment in St Petersburg, Russia. Life for lesbian, gay, bisexual or transgender people is becoming increasingly difficult in Russia. Sexual minorities face legal and social discrimination, harassment and even violent hate-crime attacks from conservative religious and nationalistic groups. The winning picture is part of a larger project by Nissen called Homophobia in Russia, which was shot for Scanpix. The photo also won 1st Prize in the Contemporary Issues category. Jury member Pamela Chen commented the image, “We were looking for an image that would matter tomorrow, not just today. The winning image demonstrates what a professional photographer can do in a daily life situation, setting a professional standard for storytelling in life. This is a contemporary issue, it is daily life, it is news, it has spot news resonance, it has general news resonance, but it also brings up the issue in a very deep and challenging way. It is quite universal.”

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The Art Gallery of Algoma in Sault Ste. Marie, Ont., is presenting Roberta Bondar and Carole Sabiston: Dreams & Realities—Human Sensitivity of Place through May 24. This exhibition brings together the textiles of Carole Sabiston and the photography of Roberta Bondar. Toronto-based photographer Roberta Bondar is also a neuro-physician and astronaut—and she was the first Canadian woman in space. Though the artists work with different media, they both share a concern about the environment and a desire to explore Canada through their work. artgalleryofalgoma.com

© ROBERTA BONDAR

© MADS NISSEN, DENMARK, SCANPIX/PANOS PICTURES

PHOTOGRAPHS + TEXTILES

EXPOSURE PHOTO LIFE

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VISION

DESTINATION

THE AZORES PARADISE FOUND

BY PATRICE HALLEY

Two-thirds of the way between Canada and Africa is a volcanic archipelago believed to be the former mythical kingdom of Atlantis.

Never mind the tale, the reality is that the Azores should be your next photographic destination. Welcome to visual paradise.

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VISION PHOTO LIFE

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PHOTO LIFE & PHOTO SOLUTION PRESENT THEIR

20TH ANNUAL

PHOTO CONTEST THE WORLD WE LIVE IN A GRAND PRIZE CRUISE PLUS THOUSANDS OF DOLLARS IN FABULOUS PRIZES

THE WINNERS

THANK YOU TO OUR SPONSORS FOR THEIR SUPPORT!

PL_MAY15_OK.qxp_Photo Life Jan 2005 2015-02-26 10:09 AM Page 29

GRAND PRIZE Forest, Julie Larocque, Montreal, Que.

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PL_MAY15_OK.qxp_Photo Life Jan 2005 2015-02-26 10:10 AM Page 40

TECHNIQUE

ANYTHING TO DECLARE?

CROSSING INTERNATIONAL BORDERS AS A PHOTOGRAPHER

BY SCOTT LINSTEAD Do you cross international borders with your camera equipment?

Whether you are an amateur, a full-time pro or part of the growing grey area between the two, you are at risk of having your photography trip spoiled by one of many governing bodies with the power to do so. Let’s have a look at some personal experiences from a Canadian photographer’s perspective.

uring my early years as a wildlife photographer, I crossed the border into the United States a number of times without incident. I honestly reported my primary occupation at the time as high-school teacher to the U.S. Customs and Border Protection agent and was never asked about the equipment I was carrying. I continued to report honestly as I transitioned into part-time and then fulltime work as a wildlife photographer, and, for a few years, there were no problems.

Then, suddenly, I had a series of incidents with just about every governing body involved in air travel. I was missing flights and being threatened with fines, and I was almost not allowed into the United States on more than one occasion. What changed? It was not without several

D

of the photographer. These people have the power to decide where your bags go and can forcefully implement the dreaded “gate check” on a whim. This means that your intention of stashing your precious five figure’s worth of camera equipment under the seat in front of you or in the overhead bin can be overridden by the flight attendant who will banish your bag to the bowels of the aircraft.

Admittedly, this is usually only an issue when using a roll-on bag for your equipment. Although they fit nicely in the overhead compartment on a large aircraft, the ubiquitous regional jet will not accept roll-on bags in the overhead storage or beneath the seat. Planning ahead of time by knowing the models of aircraft on

THE FOLLOWING ANECDOTES SHOULD PROVE USEFUL TO ANY PHOTOGRAPHER TRAVELLING WITH EQUIPMENT, FROM A PURE AMATEUR ON UP TO A PROFESSIONAL. incidents and lengthy inquiries that I was able to assemble a rough idea of what was legal. The following anecdotes should prove useful to any photographer travelling with equipment, from a pure amateur on up to a professional.

HANDLING YOUR BAG SYSTEM Although not government agents, airline employees certainly deserve the respect

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APRIL/MAY 2015

which you will be flying is not a sure way out of trouble with the roll-on since a full flight can run out of overhead space even on a large aircraft, and you will have to endure the stress of explaining to the flight crew why your bag is not a good candidate for gate check. There are no hard-and-fast rules here, other than the discretion and absolute power of the flight crew.

For a few years, my strategy was to use the Lowepro AW 600 Lens Trekker and its derivatives for when I travelled with either a 500-mm f/4 or 600-mm f/4 lens. This bag can fit in the overhead bin of tiny regional jets while containing a 500-mm f/4 lens with a camera body attached or a 600 mm f/4. Super telephoto lenses are the ultimate liability for the travelling photographer.

They are heavy, large, extremely expensive and delicate. I would do my best to fit the big lens in my carry-on and effectively “roll the dice” with my smaller lenses and flashes in the checked luggage by fitting them into my clean socks.

My most recent array of travelling photography equipment is all neatly housed in a Lowepro CompuDaypack. The longest lens I bring along is now a humble 300mm f/2.8 squashed into the modest, unprofessional-looking bag along with a laptop, camera body and a few small lenses. This is a major compromise, and I should be clear that there is no intention on my part to deceive border agents. All inquiries are answered as honestly as they ever were. However, experience has taught me that sometimes the appearance of wrongdoing is nearly equal in its potential to ruin your day as wrongdoing itself. The small Lowepro bag fits in any aircraft, and I travel relatively stress-free.

But let me tell you what happened that led me to rule out the big lenses for international travel.

Although cumbersome to travel with, the 12x magnification, razor-sharp subject detail and creamy rendering of out-of-focus areas are unique to super telephoto lenses. Nikon D3 and AF-S Nikkor 600-mm f/4G ED VR lens; 1/800 s, f/4, ISO 800.

TECHNIQUE PHOTO LIFE

© SCOTT LINSTEAD

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PHOTO LIFE VISION

APRIL/MAY 2015

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GEAR

FLYING WITH YOUR CAMERA GEAR

BAGS TO HELP YOU GET THERE AND GET AROUND

BY DAVID TANAKA Travel and photography make a comely couple. There’s nothing like a change of scenery to reboot our visual machinery. But we travelling photographers face two gear-related challenges: how and what to pack en route to our destination, and how and what to pack once we’ve arrived. The kind of trip you’re planning determines how much gear you’d like to have at hand, but it may be your mode of transportation that ultimately dictates your choices.

GETTING THERE Travelling by air is the most restrictive, so let’s look at that scenario. I don’t think I’m alone in wanting to keep my valuable gear with me. That means negotiating the tricky world of carry-on baggage. Most airlines allow one carry-on bag plus another bag defined as a personal item— a purse, briefcase, backpack, etc.

Between the two, you should have enough room for a decent amount of photography gear along with some clothing, snacks and electronics.

The maximum size for carry-on luggage ranges from 55 x 35 x 23 cm (22 x 14 x 9”)

Most camera-bag manufacturers include lines designed to meet airline size restrictions for carry-on luggage. These have the conveniences of standard luggage, such as wheels and roller handles, but have the padding and enclosures you expect from a camera bag. Keep in mind that wheeled

Backpacks are an alternative to luggagestyle camera cases. Many fit within the carry-on size restrictions and are easier to haul across the often-vast distances in airports. You can even find backpack-roller hybrids that meet carry-on size requirements.

Personal bags also have size and weight limits, usually lower than for the carry-on piece. For example, Air Canada’s limits for personal bags are 43 x 33 x 16 cm (17 x 13 x 6.3”) and 10 kg (22 lb.). If you want to use a camera bag as your personal item, the biggest challenge you’ll encounter is finding one that’s not too wide. Satchel or messenger-style shoulder bags and slings tend to be slimmer than standard shoulder bags or backpacks and are thus good bets. Below is a selection of cabin-friendly photo bags.

GETTING AROUND

LOWEPRO PRO ROLLER X200 AW

Once on the ground, that personal-item

fine for wandering around too. Or, you

$400 (STREET) DAYMEN.CA 55.9 X 35.5 X 22.9 CM (22 X 13.9 X 9”) // 5.8 KG (12.76 LB.)

may want or need a different kind of

Lowepro has two lines of Pro Roller bags—

carrying system—perhaps a simple

standard and AW for All Weather—each offering

strap set-up or a holster. These items

three sizes: x100, x200 and x300. Small enough to

are small enough to pack away in your

squeak past most carry-on restrictions, the x200

checked bag but are available to you

will still hold a couple of pro-size SLR bodies,

once you reach your destination. Check

several lenses and accessories, and even a 17”

out our August/September 2014 issue

notebook computer. Like the two other models, it

for a good selection of these types of

features the MaxFit System interior dividers design,

accessories.

and the wheels include ABEC-5-rated bearings.

bag you used on the plane might be

50

to 60 x 40 x 25 cm (24 x 16 x 10”). The smaller sizes, often referred to as “international” standards, are becoming the norm and are followed by Air Canada. You can still pack a whole lot of gear into such a bag, but keep in mind that weight restrictions also apply—typically a maximum of 10-15 kg (20-35 lb.).

bags weigh around 5 kg, which eats up a third to half of your allowable weight before you even start packing.

APRIL/MAY 2015

GEAR PHOTO LIFE

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GEAR

DIGITAL WORKFLOW

SAFE SHARING

GETTING YOUR IMAGES OUT THERE WITHOUT GETTING RIPPED OFF

BY DAVID TANAKA For photographers, the Internet holds a lot of promise. It can be a global gallery and retail outlet that delivers fame and fortune. It’s a conduit to connect with far-flung family members and friends. And sharing— posting images online for others to see—is at the heart of both. But can it be done while keeping some control over our copyright?

TROUBLE IN VIRTUAL PARADISE With photo sharing comes some risks. It’s a problem that American lawyer and photographer Christopher Reed calls the “paradox of getting it out there.” In his recent book Copyright Workflow for Photographers (Peachpit Press, 2014), Reed observes, “The necessary implication of ‘getting it out there’ is making it available for others to infringe upon.” It’s not a new problem. However, in the analogue days high-quality originals weren’t as accessible, copying was relatively

labour-intensive, and the result was often of laughably poor fidelity compared to the original. Digital overcomes those barriers. Photo sharing presents billions of temptations. Copying has been simplified to a few mouse clicks, and a digital copy is a bit-for-bit exact clone of the original—no generational loss in quality, even in a copy of a copy of a copy of a…

Insect photographer Alex Wild has lived Reed’s paradox of getting it out there. Last fall, the Ars Technica blog published a

INSECT PHOTOGRAPHER ALEX WILD HAS LIVED REED’S PARADOX OF GETTING IT OUT THERE. LAST FALL, THE ARS TECHNICA BLOG PUBLISHED A SOBERING STORY WRITTEN BY WILD CALLED “BUGGING OUT: HOW RAMPANT ONLINE PIRACY SQUASHED ONE INSECT PHOTOGRAPHER.” WILD TAKES MACRO PHOTOS OF INSECTS—SMASHINGLY GOOD ONES. PEOPLE LOVE THEM. THEY WANT TO USE THEM, SO THEY DO. IN THE ARTICLE, WILD LISTS 31 VENUES (THAT HE KNOWS OF) WHERE HIS IMAGES HAVE BEEN USED WITHOUT HIM BEING PAID—OR EVEN CREDITED AS BEING THE PHOTOGRAPHER. 54

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WITH PHOTO SHARING COMES SOME RISKS. IT’S A PROBLEM THAT AMERICAN LAWYER AND PHOTOGRAPHER CHRISTOPHER REED CALLS THE “PARADOX OF GETTING IT OUT THERE.” sobering story written by Wild called “Bugging Out: How Rampant Online Piracy Squashed One Insect Photographer.” Wild takes macro photos of insects—smashingly good ones. People love them. They want to use them, so they do. In the article, Wild lists 31 venues (that he knows of) where his images have been used without him being paid— or even credited as being the photographer.

WHAT TO DO, WHAT TO DO Lesley Ellen Harris, a Canadian lawyer and authority on Canadian copyright law, has a post on LinkedIn called “Are You Legally Using Images?” Harris is the author of the book Canadian Copyright Law, now in its fourth edition, and also maintains the website Copyrightlaws.com, which she describes as a “portal for copyright and licensing information for creators, owners, distributors and consumers of content.” Maybe we photographers need to make sure information like this is more widely known.

A lot of unauthorized use of images is through ignorance. Insect photographer Alex Wild points out that many people simply don’t know that what they’re doing is wrong. But a far greater problem is that once an image gets copied more than a couple of times, the original source and original creator become lost and very difficult to track down through the maze of copies across multiple websites. Your image may have gone viral, but it has also become feral.

Part of the frustration Wild expresses in his article is that doing all the right and recommended things to protect artistic GEAR PHOTO LIFE

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GADGET GUIDE WHAT YOU NEVER KNEW YOU NEEDED

BY JEAN-FRANÇOIS LANDRY Ephemeroptera is an order of insects (subclass Pterygota, division Paleoptera) whose life is rather remarkable. They spend close to three years in a larval state and then hatch, which marks the beginning of their adult stage. From there, they live for a few hours, just enough time to find their soulmate, reproduce and die. I cannot help but be surprised by the number of similarities between the life cycle of insects and that of gadgets: gestation, market launch, buzz, lifespan and…detachment.

THE NANOPOLE KIT

BY MANFROTTO

WHEN A LITTLE HELP WOULD COME IN HANDY These types of lighting stands are popular— even Manfrotto has tons of them. So what motivated the company to develop an 857th one? Simply put: the search for the missing link. If you’d allow me to sum up the Nanopole in three words, I’d write: light, stable and versatile. See for yourself: one of the Nanopole’s feet is retractable (a rare feature on this type of stand), which gives it a certain degree of flexibility on uneven surfaces. Hills and stairs can now be considered good places to set up shots. The central column is detachable, so it can be used as a handheld boom. A hook enables the addition of a sandbag to increase stability. The Nanopole knows how to hold its own! The Nanopole Stand, the Snap Tilthead (a tilt head with hot-shoe attachment) and a carrying bag can be bought together for $169 (and it’ll allow you to save a bit of the cost of hiring an assistant). gentec-intl.com

THE THUMB REST

BY FUJIFILM

PRESS DOWN MORE COMFORTABLY Over time cameras have become smaller and smaller, but unfortunately, they’ve also become less and less ergonomic. There’s nowhere to put your thumb! Fujifilm has solved the problem with its Thumb Rest, specially designed for its X-Pro1, XE2, X100 and X30, in silver or black. Just attach it to your camera’s hot shoe. Some 11,500 Yen or $112 later, you’ll be all set. Now if we could just figure out where to place our fingers… fujifilm.jp

THE LUME CUBE BY LCT LIGHT IN A BOX

It can be said loud and clear—it’s no secret—that iPhones, iPads, GoPros and other similar cameras don’t perform well in the dark. Matthew Cummins and his team have set about to solve this problem. Each of these little 3.8-cm-sided (1.5’’) cubes can emit up to 1500 Lumens. You can adjust the flash speed or the continuous light levels with an application (iOS/Android), which enables you to synchronize and control (via Bluetooth) up to five Lume Cubes. The Lume Cube is also equipped with an optical sensor that enables it to be remotely triggered by an external flash. It attaches to almost any surface, thanks to its magnets, its suction cup and its practical 1/4”-20 mount. The colour temperature is advertised as 5600 Kelvin. A single recharge (via USB) allows for two hours of work (at 50% of maximum power). A number of accessories have also been announced, including a mini-case that would make it submersible up to 30 metres (100 feet), stands specifically designed for GoPros, a Joby foot to provide better guiding, and ball heads. One Lume Cube goes for US$60, but packs of two or six allow you to reduce the cost of a single unit. lumecube.com 58

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IMAGING PRODUCTS REVIEW THE LOWDOWN ON WHAT’S NEW

BY PETER K. BURIAN Since our previous issue, two major trade shows have taken place: CES in Las Vegas and CP+ in Yokahama, Japan. Some of the products unveiled at these were inexpensive point-andshoot cameras that we don’t cover, but more advanced equipment was also introduced, including compact-system cameras, DSLRs, lenses and high-grade cameras with built-in lens.

It’s also worth noting that Sony showed early samples of four full-frame FE series lenses for the Alpha 7 cameras, and Pentax displayed a mockup of their full-frame DSLR. While these products won’t be available for some time, they will certainly make both brands even more attractive to serious photo enthusiasts.

CANON EOS 5DS AND EOS 5DS R Boasting 50.6-MP sensors, these full-frame DSLRs with 3.2” (1.04-million-dot) LCDs are identical, but the 5DS R cancels the effect of the low-pass filter for maximum per-pixel resolution. In spite of the massive file sizes, the dual DIGIC 6 processor provides a fairly fast drive speed of 5 fps. Other amenities include a 252-zone (150,000-pixel) RGB + IR metering sensor, 61-Point AF with up to 41 cross-type points, user-selectable shutter-release time lag, and slots for both CF and SD memory cards.

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Magnesium-alloy body Viewfinder II with 100% coverage Ultra high-resolution sensor Fine Detail mode High Density Reticular AF system Intelligent Tracking and Recognition AF Accepts both EF and EF-S lenses 1.3x and 1.6x crop modes Full HD/30p video

$4100 and $4300, body only, respectively (list) canon.ca

CANON EOS REBEL T6S AND T6I These two enthusiast-level 24.2-MP DSLRs with some technology and features from the EOS 70D are similar. The T6s is the first Rebel camera with a data panel on top, a control dial on the rear and an HDR Movie mode, while both bodies employ the DIGIC 6 processor for fine image quality and 5-fps drive. The 3” (1.04-million-dot) LCD is articulated and allows for touch-screen operation.

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19-point (all cross-type) AF New interface features (T6s) Hybrid AF III in Live View Tracking AF-C in Live View (T6s) Electronic level gauge (T6s) Creative filter effects Full HD/30p video HDR Movie mode (T6s) Built-in Wi-Fi with NFC

$999 and $930, body only, respectively (list) canon.ca

NIKON D810A The first full-frame DSLR for astrophotography, the D810A is similar to the D810 in most respects, but employs a modified IR-cut filter—4x more sensitive to long wavelength red light—to allow for capturing light emitted by nebulae. (Note: this is likely to produce a reddish tinge in conventional photography.) Additional features allow for using very long shutter speeds without switching to Bulb mode and a special dark-frame subtraction NR option.

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36-MP full-frame sensor Shutter speed to 15 min. (M mode) Virtual Exposure Preview mode Astro NR in Raw capture mode Red virtual horizon display Electronic shutter/mirror up mode Can capture H-alpha spectral line Very fast and versatile

$4450, body only (list) nikon.ca

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