Photo Life September 2016 Sample

INTERVIEW WITH

LOUIE PALU “Don’t let ­anyone tell you there is only one way of ­taking photographs.”

YOUR GUIDE TO EVERYTHING PHOTO

STYLE & STORIES - - - -

DISCOVER YOUR VISION SLOW DOWN TO LISTEN BETTER EXPERIMENT AGAIN AND AGAIN FIND A SIGNATURE STYLE

GETTING PUBLISHED

STRAIGHT TALK AND PRACTICAL ADVICE

SHAYNE LAVERDIÈRE

MORE THAN A RISING STAR

5

TIPS TO IMPROVE YOUR WILDLIFE IMAGES

GOOD VS. EXCELLENT WHAT IT TAKES TO STAND OUT

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PHOTOLIFE.COM - AUGUST/SEPTEMBER 2016 - DISPLAY UNTIL SEPTEMBER 30, 2016 - $5.95

2016-07-05 8:32 AM

CONTENTS PHOTO LIFE AUGUST/SEPTEMBER 2016 VOLUME 41, NUMBER 5

COVER PHOTO Davina + Daniel davinaplusdaniel.com

EXPOSURE 4 CONTRIBUTORS 6 EDITORIAL 8 THIS AND THAT 20 THE COMMUNITY 66 THE VAULT VISION

42

© MICHAEL ERNEST SWEET

BEHIND THE IMAGE 24 DAVINA + DANIEL

GETTING PUBLISHED STRAIGHT TALK AND PRACTICAL ADVICE

WISDOM, WIT AND OTHER TIDBITS 26 LOUIE PALU

Canadian documentary photographer Louie Palu is known for his socio-­political focus. Over the past 25 years he has ­travelled around the world covering war and human-rights issues.

30 MORE THAN A RISING STAR

BY LAURENCE BUTET-ROCH

Hailed as a rising star, Shayne ­Laverdière has shot celebrities of international calibre including Adele, Tilda Swinton, ­Dakota Johnson, and fellow Quebec artists ­filmmaker Xavier Dolan and sculptor ­Armand Vaillancourt.

One of the questions I get asked most is “How did you get your ­photography published?” Unfortunately, there’s no secret to getting ­published, but there are a number of things you can do to increase your odds.

WITHOUT THE FRAME 38 ABOUT THOSE THOUSAND WORDS

BY DAVID DUCHEMIN

48

© PATRICK LA ROQUE

I’m not sure who came up with the idea that a picture is worth a thousand words, but they weren’t looking at the same ­photographs I look at. Sometimes images are worth many times that amount.

THE NARRATIVE TELL A MULTILAYERED STORY THROUGH IMAGES

The photo essay should be an important part of our toolbox: not only does it make us much better observers, but it also frees us from the pressure of needing to find that one amazing image at any cost.

SHOWTIME 40 CELEBRATION TOOLBOX

42 GETTING PUBLISHED

STRAIGHT TALK AND PRACTICAL ADVICE

BY MICHAEL ERNEST SWEET

48 THE NARRATIVE

TELL A MULTILAYERED STORY THROUGH IMAGES

BY PATRICK LA ROQUE

FAQ 54 CONVERTING A FILE TO BLACK AND WHITE

AUGUST/SEPTEMBER 2016 PHOTOLIFE.COM

BY JEAN-FRANÇOIS LANDRY

Black and white is making a ­comeback. We see it in every sphere of ­photography—and for good reason! But should you shoot in black-and-white mode or convert your images later?

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2016-07-05 8:32 AM

CONTENTS PHOTO LIFE AUGUST/SEPTEMBER 2016 VOLUME 41, NUMBER 5

TOOLBOX (CONTINUED) 56 5 TIPS TO IMPROVE YOUR WILDLIFE IMAGES

BY NICK TREHEARNE

62 PEAK DESIGN’S EVERYDAY MESSENGER

When your proposed photo bag raises close to five million dollars through c­ rowdfunding, it’s pretty clear you’re doing something a ton of people are excited about. We’ve heard a lot about this bag, so we decided to check it out for ourselves.

© GUY LANGEVIN

Making memorable and thought-­provoking wildlife images comes down to the small details. With just a bit of practice, ­remembering these five guidelines will transform your wildlife photography!

TEST REVIEW 62 PEAK DESIGN’S EVERYDAY MESSENGER

BY JENNY AND GUY

64 GADGET GUIDE

BY JEAN-FRANÇOIS LANDRY

CONTRIBUTORS AND EDITORIAL STAFF 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 Passionate about words and images, Gabrielle Germain’s background includes literature studies, a master’s degree in cinema, and professional experience as a journalist.

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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.

Patrick La Roque is a s­ peaker, 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

Curious about who put this together?

Here’s this issue’s who’s who.

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.

Michael Ernest Sweet is a ­Canadian writer and photographer.

His work has appeared in Popular Photography, Digital Camera World, Black & White magazine and Leica Camera, among others. His work also appears regularly online at The Huffington Post. Michael Sweet lives in New York City. Follow him on Instagram at ­MichaelSweetPhotos or through his website at ­michaelsweetphotography.com.

Nick Trehearne is a full-time ­ rofessional photographer and p ­writer from Prince George, British Columbia. With a passion for ­wildlife (mainly large mammals) and the outdoors, Nick can be found travelling throughout North America with a camera in hand. nicktrehearne.com

AUGUST/SEPTEMBER 2016 PHOTOLIFE.COM

2016-07-05 8:32 AM

EXPOSURE

EDITORIAL

PHOTO LIFE AUGUST/SEPTEMBER 2016 Volume 41, Number 5 171 St. Paul Street, Suite 102, Quebec, QC Canada G1K 3W2 418-692-2110 1-800-905-7468 info@photolife.com facebook.com/photolifemag

@photolifemag

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

TELL ME A

STORY

What’s the difference between good p ­ hotographers and excellent ones? Why is it that some seem to rise above the rest so easily? Rarely does this happen ­because of their technical ability alone. Usually they stand out because of their capacity to move us and tell a story.

U

p to a certain point, we can all master our SLRs and make them sing. But communicating a feeling or an idea is a completely different thing. We have to learn to be perceptive and train our brains to respond intuitively to scenes as they unfold before us. By doing this, we’ll strengthen our photographic language.

Those who are adept at this process have a powerful ability to communicate. They know how to transform the insignificant into something eloquent—even the most banal scene can become a window to how they see the world. These innovative photographers make an impact. They take their photographic destiny into their own hands, while also leading us to see places, people and objects in a new light.

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.

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Member of CCAB, CITA and TIPA.

This issue is filled with work by talented photographers. Their images let us travel and see the world from other perspectives. These artists have ­generously shared their knowledge and experience with us, so let’s make the most of it!

Let’s take what works for us and leave behind what doesn’t. Let’s try—or at least ­consider—different ways of doing things. I’m not suggesting that we attempt to become a clone of one of the photographers we admire. We don’t need a David ­duChemin 2.0 or a Patrick La Roque, Jr., but perhaps a touch of this one, a pinch of that one, and a hint of these others will help us as we spread our wings and develop our own style.

THE WORLD WE LIVE IN Our biggest annual contest, The World We Live In, is in full swing. I’m looking ­forward to seeing your images and, most of all, the stories that you choose to ­communicate through them.

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

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AUGUST/SEPTEMBER 2016 PHOTOLIFE.COM

2016-07-05 8:32 AM

EXPOSURE

THIS AND THAT

OLYMPUS STYLUS TOUGH TG-TRACKER

THIS new rugged action cam is dustproof, waterproof to depths of 30 m (100 ft.), shockproof to 2.1 m (7 ft.), freezeproof to 14 °F (-10 °C), and crushproof up to 100 kg (220 lb.). With Ultra HD 4K Video, an advanced Field Sensor System and a built-in headlamp, it’s perfect for shooting videos and stills of your outdoor adventures! $479.99 (list) getolympus.com

THE

EDGE

OF THE EARTH

FROM September 14 through December 4, The Edge of the Earth: Climate Change in Photography and Video is on view at the Ryerson Image Centre in Toronto. Guest curated by art historian Dr. Bénédicte Ramade, this group exhibition of recent and historical images examines humanity’s impact on the planet. ryerson.ca/ric

GROW YOUR

BUSINESS

IF you are looking for creative business ­training, check out the Canada Photo ­Convention in Toronto from October 4 through 6. ­canadaphotoconvention.com

THE NEW LOMO’INSTANT SAN SEBASTIÁN EDITION EDWARD BURTYNSKY, RAILCUTS #4, C.N. TRACK, THOMPSON RIVER, BRITISH COLUMBIA, 1985. CHROMOGENIC PRINT © EDWARD BURTYNSKY, COURTESY NICHOLAS METIVIER GALLERY, TORONTO.

NICOLAS BAIER, REMINISCENCE 02, 2013. INKJET PRINT. ­COURTESY OF GALERIE DIVISION, MONTREAL & TORONTO.

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FEELING blah about your recent photos? This fun instant camera could be just the thing to ­reignite your creativity. ­lomography.com

GENE DANIELS, UNTITLED [AIR POLLUTION, CALIFORNIA, USA], C. 1970. ­GELATIN SILVER PRINT. THE BLACK STAR COLLECTION, RYERSON IMAGE CENTRE.

AUGUST/SEPTEMBER 2016 PHOTOLIFE.COM

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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.

TWWLI_CONTEST_INSERT_2016_EN.indd Photo_life_16-09.indd 14 2

2016-04-28 8:32 2016-07-05 9:06 AM

T a a

EXPOSURE

THE COMMUNITY

SLOWING DOWN TO

LISTEN BETTER TIM SMITH’S NUANCED LOOK AT THE DEERBOINE HUTTERITE COLONY

BY LAURENCE BUTET-ROCH

Though just miles away from his home in Manitoba, Tim Smith found himself exploring a community unlike his own. In doing so, he has strived to strike a fine balance, one that will help shed light on the Hutterites’ ways without reducing them to the ­“simple life.”

T

A branch of Anabaptist ­Christians, like the Amish and

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the ­Mennonites, the ­Hutterites embrace communal living, where all goods and tasks are shared among the members of the group. Mostly self-­sustaining, they thrive on working the fields, ­ranching, and, in certain ­colonies, ­manufacturing. They arrived in North America in the 1800s after being persecuted in Russia, settling first in North and South

Chantel Hofer wears bright pink DC-brand sneakers with her homemade dress outside her family’s home at Deerboine Colony. Although ­conformity is the ideal on Hutterite colonies, ­individuals, especially young women, look for aways to express their individuality.

“It’s easy to show a simplified view of Hutterite life because they’re people who look ­different and live differently than us. If that’s the hook, then it’s lazy at best and ­discriminatory at worst. Humans ­inherently look to ­simplify the world around them, to put things into ­different boxes, each one separate from one another. This leads to all sorts of problems in ­understanding each other and ­connecting with one another. Nuance is ­incredibly ­important in addressing that. The more time I’ve spent ­learning about the Hutterites, the more I know I don’t know. So, what I want to show are the ­complexities of this society,” adds Smith.

Take the ­teenagers for instance.

Yes, they may dress differently than most youth and might be less focused on ­extravagance, but they still act their age. They try to stand out and express their

© TIM SMITH

im Smith was cruising along the grid roads of Manitoba when he stumbled upon the Deerboine Hutterite colony.

A group of women were ­tending the garden, and he felt this would make a beautiful feature ­photograph for The Brandon Sun, the local newspaper he worked for. As he was snapping away, one of the girls took pictures of him with her phone. “Like many ­people, I had preconceptions since I rarely had any ­interactions with them growing up in ­Winnipeg, other than seeing them ­occasionally when they would descend on my family’s garage sales. I suppose I had an idea that Hutterites were technology-averse, so when a young woman pulled a cellphone out of her dress that was a very immediate clue that I really knew nothing about them. It also triggered my curiosity to learn as much as I could,” recalls the Canadian photographer.

Dakota before migrating to the Canadian Prairies as American citizens were being drafted in the First World War. Hutterites are ­unwavering pacifists. Their ­colonies now extend ­throughout western Canada and the ­northwestern United States.

AUGUST/SEPTEMBER 2016 PHOTOLIFE.COM

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2016-07-05 8:32 AM

VISION

WISDOM, WIT AND OTHER TIDBITS

EXCERPTS FROM OUR INTERVIEW WITH

LOUIE PALU

Canadian documentary photographer Louie Palu is known for his socio-political focus. Over the past 25 years he has travelled around the world covering war and human-rights issues. Last year he released a documentary film, Kandahar Journals, which follows his experience as a photojournalist covering the war in Kandahar from 2006 to 2010. Palu kindly took some time to ­answer our burning questions.

WHAT DID YOU WANT TO BE WHEN YOU GREW UP?

FAVOURITE CAMERA-ANDLENS COMBINATION?

I wanted to be a marine biologist and study sharks. Then I was interested in nuclear reactors for a while. Photography came around by the age of 13 or 14.

Well, right now I am ­experimenting with making ­lensless photographs in the form of photograms. With lenses, things remain pretty simple, though: a 35 mm or 50 mm for my 35-mm cameras, and a 50 mm for my medium-format 6 x 6 camera.

MOST PIVOTAL CAREER EXPERIENCE? Working construction with my father and learning what the ­meaning of hard work was and being taught how to never give up on anything you try.

MOST ADMIRED PHOTOGRAPHER? There are so many great ­photographers out there, that’s a hard question. But I would say David Douglas Duncan who just turned 100 years old and covered multiple wars. He has integrity, which is the most important thing to have as a photojournalist.

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BEST ADVICE? There are a thousand ways to do things; don’t let anyone tell you there is only one way of taking photographs. Enjoy what you do, and make sure you do what makes you happy.

MOST RANDOM THING IN YOUR PHOTO BAG? Nothing in my camera bag is random. But I do carry a few non-photo items like an ­umbrella, a Ziplock bag for rain, a ­European conversion plug ­

a­ dapter, and a special cleaning pad for cleaning pepper spray off my face during riots.

EARLY RISER OR NIGHT OWL? I am both a night owl and early riser and work through everything in the schedule I need for taking pictures.

CURRENT FAVOURITE PHOTO (OF YOUR OWN PHOTOS)?

That really is like asking someone to tell you which of their children they like better. However, what I can say is my favourite photo is a personal photo of me and my mom.

WEIRDEST PHOTO EXPERIENCE? Being in a tent with former Libyan dictator Muammar Gaddafi and Canadian Prime Minister Paul ­Martin after stepping in camel shit.

There are a thousand ways to do things; don’t let anyone tell you there is only one way of taking ­photographs.

WHAT’S A NORMAL DAY FOR YOU? Enjoyable chaos and always working in a state of creative development for projects, trying to get access to difficult places for work, and trying to get one of my many 5-mile runs in. I love running a lot…

July 14, 2008.

An Afghan National Police (ANP) officer who was injured by gunfire sings to birds at an outpost on the front lines in Pashmul in Zhari District, Kandahar Province, Afghanistan.

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NIKON D2X, 50 MM, F/3.2, 1/125 S, ISO 400. © LOUIE PALU

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CANON EOS-1D X, 85 MM, F/1.6, 1/1250 S, ISO 100. © SHAYNE LAVERDIÈRE

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CANON EOS-1D X, 85 MM, F/1.6, 1/1250 S, ISO 100. © SHAYNE LAVERDIÈRE

VISION

MORE THAN A RISING

BY LAURENCE BUTET-ROCH

ST R SHAYNE LAVERDIÈRE TAKES IT TO THE NEXT LEVEL

In the past year, Shayne Laverdière has shot celebrities of international calibre including Adele, Tilda Swinton, Dakota Johnson, and fellow Quebec artists filmmaker Xavier Dolan and sculptor Armand Vaillancourt. The photographer, born and raised in Quebec City, has been hailed as a rising star.

But the often-used term can be both trite and misleading. It ­suggests ­hype—a point in time where artists suddenly become so ­popular that everyone wants to work with them—but it says little about the journey that got them there or the endless effort ­required to continue producing remarkable pieces. Aware of this, Shayne Laverdière is far from resting on his laurels. In fact, he’s working harder than ever.

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You do photo shoots in New York, you attend the Cannes Film Festival, and your work has appeared in Vanity Fair and L’Uomo Vogue. How does it feel?

I know that I’m in a privileged position, and I’m thankful for it. I’m so grateful for the ­opportunities I’ve been given and the risks I’ve taken. In 2011, the then-budding actor Niels ­Schneider—who appeared in I Killed My Mother, the film that introduced Xavier Dolan to the world—asked me to join him at the Cannes Festival. He couldn’t buy my ticket, but he promised me that he’d give me access.

That year, he went on to win the Male Revelation award, and I got to photograph Ron Wood of the Rolling Stones. I was in a waiting room when I heard a magazine [Gala] editor say that they didn’t have anyone to do the shoot.

I immediately volunteered and showed him my book. He liked what he saw and offered me the job.

Given the international ­attention you’re now being given, how do you ­reconcile living in Montreal and ­working abroad?

I still make a good portion of my income from contracts at home.

At the same time, I’ve always ­travelled quite a fair bit for work.

For me, it’s never been about moving to one city and ­building a reputation strictly there. I believe it’s better to diversify.

And Montreal is a dangerous city, in the sense of the comfort it affords. There’s a good lifestyle here. I have a motorcycle, a nice big apartment, health insurance,

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VISION

SHOWTIME - CELEBRATION

WINNER Carolina Huang, Montreal, Que.

Beverly Jay, Regina, Sask.

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Jeff Murray, Vaudreuil-Dorion, Que.

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GETTING PUBLISHED AS A PHOTOGRAPHER

STRAIGHT TALK AND PRACTICAL ADVICE

BY MICHAEL ERNEST SWEET

One of the questions I get asked most is “How did you get your photography ­published?”

There is no simple answer to this question, and ­unfortunately, there’s no secret to ­getting ­published as a photographer. There are, ­however, a number of things you can do—and a few things you shouldn’t do—that will increase your odds.

© MICHAEL ERNEST SWEET

F

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irst, and perhaps most importantly, do you even have a photographic project ready for publication?

This may sound like an ­obvious ­question, but you cannot ­believe the ­number of projects I’ve been shown that are ­supposedly “press ready” that are, in fact, still in their ­infancy as bodies of work.

Early on in my ­career, I also suffered from this ­eagerness to run to press. As a ­consequence, I both wasted time and ­energy showing around premature work and, perhaps worse, had some stuff published that I now wish I could take back.

You should recognize from the outset that you are not the

This photo won a contest and was published in Popular Photography magazine. Later, Popular Photography used it again in its The Complete Portrait Manual, a full-length photography guide.

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THE NARRATIVE

HOW TO TELL A MULTILAYERED STORY THROUGH IMAGES

BY PATRICK LA ROQUE

A single picture can be a powerful thing. It can summarize a complex issue or become the symbol of a historical event. And yet it doesn’t reflect how we actually see. We don’t stand around with our eyes fixed on a single point in space, taking in a one image at a time.

Instead we experience and comprehend life through short, darting glances: left, right, up, down...further away and then closer to us. Our eyes move constantly without us even ­realizing it because our brains work very hard to stitch everything back together and create the illusion of a single, easy-to-understand image: the street ahead, the beach, the people or the mountain range. But in reality, what we see is always a composite.

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© PATRICK LA ROQUE

SEARCHING FOR MORE When Life magazine relaunched in 1936 under the leadership of Henry Luce, its inaugural issue featured the work of Margaret Bourke-White. She had been assigned to shoot Fort Peck Dam on a mandate that was purely ­architectural—and she did. But she also shot something else ­entirely.

As Luce explained, “What the editors expected were construction pictures as only Bourke-White can take them. What the editors got was a human document of ­American frontier life which, to them at least, was a revelation.”

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Margaret Bourke-White had, in fact, stitched together a story that would become the ­blueprint for Life’s amazing trajectory.

This was no longer just a pretty picture to grace the cover: she had ­returned with a full-blown narrative. Bourke-White’s ­photo essay ­broadened the scope of the ­assignment to include the lives of those who lived in ­depression-era frontier towns. And Life’s editors immediately saw and felt the ­potential: this was a new form of expression based entirely on a ­visual immediacy that only photography could provide. From

The essay border crossing tells stories from the road.

The quest for that ­single perfect shot can be ­paralyzing.

that point on, the photo essay was a genre in its own right, with ­photographers like W. Eugene Smith and countless others ­pushing its boundaries at every turn. These stories became the eyes and ­conscience of the 20th century.

But can we apply this to our own, smaller realities? And should we?

Absolutely.

A WIDER HORIZON The quest for that single perfect shot can be paralyzing. Sure, it can push us forward, but it can also easily prevent us from seeing

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FAQ

THE MASTERPIECE

CONVERTING A FILE TO BLACK AND WHITE

BY JEAN-FRANÇOIS LANDRY

60 MM (35-MM EQUIVALENT: 90 MM), F/2.4, 1/950 S, ISO 400, © JEAN-FRANÇOIS LANDRY

Black and white is making a comeback. ­We see it in every sphere of photography—architecture, landscape, portrait, macrophotography, etc.—and for good reason! You can ­create powerful images if you know how to harness the strength of black and white. Shadows, highlights, grayscale, texture, shape...it’s all about contrast and subtle tones. Just about every day someone asks me, “Should I shoot in black-and-white mode or is it better to shoot in colour and then convert it later?”

So let’s talk about our options...

RAW

JPEG

When you work in Raw f­ormat, this question is pointless. ­Black-and-white settings don’t apply to the file—and neither do other settings like white ­balance or image modes. Instead, we convert it in post-processing using ­Lightroom 6 or CC ­(Adobe), ­Photoshop CC (Adobe, via the ACR module), Silver Efex Pro (Google), Perfect B&W (ON1), ­Exposure X (Alien Skin) or ­another similar software.

If, however, you opt for JPEGs, the process is different. JPEGs may be compressed, but they have the advantage of being ­usable as soon as they’re uploaded. You have several possible ways to convert the file, but I’ll focus on ­Photoshop Elements here.

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You can ­create powerful images if you know how to harness the strength of black and white.

[DESATURATION] If you want to create the blandest, emptiest, saddest black-and-white images of all time, all you have

to do is desaturate the image. ­Navigate to [Enhance] > [Adjust Color] > [Adjust Hue/Saturation...].

But don’t be surprised if your circle of friends shrinks.

[CONVERT TO BLACK AND WHITE...]

PSE has a specialized grayscale transformation module made just for this: [Enhance] > [Convert to Black and White...]. The basic concept is simple: choose a style corresponding to the result you’re looking for: “Scenic Landscape,” “Vivid Landscapes,” “Urban/­ Snapshots”—the ­descriptions couldn’t be more poetic. But then it gets a little complicated: you have to adjust the intensity, but not with sliders for “­Brightness,” “­Contrast,” “Shadow and ­Highlights,” or “Black and White”--this would have been logical. Instead you modify each by layers of colour: red, blue and green, where each one interacts with the others. Good luck!

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IT’S THE

LITTLE THINGS THAT COUNT5

TIPS TO IMPROVE YOUR WILDLIFE IMAGES

BY NICK TREHEARNE

With wildlife, making memorable and thought-provoking images comes down to the small details. Mastering these ­details takes time, and it’s all too easy to forget when you get caught up in the excitement of photographing wildlife, especially when in tight quarters with an animal. Don’t worry, though—with just a bit of practice, remembering these five guidelines will transform your wildlife photography!

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200 MM, F/4.5, 1/8000 S, ISO 1250 © NICK TREHEARNE

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REVIEW

TEST REVIEW

PEAK DESIGN’S

EVERYDAY MESSENGER

BY JENNY & GUY

When your proposed photo bag raises close to five million dollars through crowdfunding, it’s pretty clear you’re doing something a ton of people are excited about. We’ve heard a lot about this bag, so we decided to check it out for ourselves. We tested both the larger model (15 in.) and the smaller one (13 in.).

OUR THOUGHTS We both agreed that these bags are classy and well made. They have an urban look, and we love that they don’t particularly look like photo bags. The seams feel solid, the material appears to be durable, and it’s weatherproof.

These bags are built to last.

Guy absolutely loved the ­customizable FlexFold dividers in the main compartment: ­“Being able to totally configure the ­dividers is great. It’s an interesting way to ­organize your bag.” There’s not a lot of Velcro, so readjusting is easy. The main compartment also has a ­convenient quick-­access

zipper on the top. The small front ­compartment is okay, but only very thin things can go in here, unless you really want to ­widen your bag.

There’s a separate ­pocket made for a laptop. These bags can hold a lot, which brings us to our next point.

Origami-­inspired dividers maximize the space. The 15” bag has three dividers; the 13” has two.

And now we need to address the strap. It’s made of seatbelt material and is really sturdy. But there’s an annoying problem: it slips. When you’re carrying the bag in the ­Messenger Long ­position, the strap loosens over time, and you have to tug it back up. Jenny ­compared it to a bad pair of ­pantyhose that creeps down as you’re simply trying to go about your day. You have to keep ­stopping to ­readjust.

However, when the bag’s in the ­Messenger Short position, this doesn’t ­happen. This is Guy’s preferred way to carry the bag.

It would have also been Jenny’s favourite, but the stabilizer strap ­awkwardly cuts right across the bust line, effectively ­ruling out this carrying position for her. The stabilizer strap also requires a little effort to get it back into its pocket when you’re not using it.

In general, adjusting the bag’s straps takes a little longer than it should, and it’s definitely a

The 15-inch bag is big. And when it’s full, it’s really heavy. Of course, you don’t need to fill a bag, but if you do, you’ll probably be sore ­after carrying it all day. Guy ­preferred the 13-inch model, but Jenny felt like even this smaller one was a little big/heavy for her height. (She’s petite, so this is ­nothing unusual.)

t s ­i c o

T d t p a t g y ­w k

Their compatibility with other Peak Design accessories is big plus. You can attach the Capture Clip (not included) to the bag to keep your camera accessible. The Anchor Link connector tether is an excellent ­feature because you can quickly attach small items (keys, ID holders, etc.). Unfortunately, there’s only one. For the cost of the bag, there should be two (one on each side of the bag so it’s also practical for lefties).

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THE OCF BEAUTY DISH BY PROFOTO Transportable brightness Beauty dishes are popular because of their encompassing, semi-contrasty light that softens while also highlighting angles and features. Usually made of a large piece of 55-cm (22-inch) aluminum, beauty dishes have also given ­photographers a new definition of the word “cumbersome.” This is where ­Profoto came in. Designed a bit like a softbox, the OCF Beauty Dish ­collapses to take up as little space as possible in your bag. It weighs only 0.48 kg (1.1 lb.) with the central reflector ­(included) and the speed ring (sold ­separately). It’s available in two versions: white and silver. (Surprisingly, the “metallic” version weighs 50 grams more.) This nifty accessory can just be mounted on Profoto’s line of B1 and B2 flashes, the only ones with LED ­modeling lights. Whether silver or white, it’ll cost you $250 plus the unavoidable taxes. profoto.com

GADGET GUIDE WHAT YOU NEVER KNEW YOU NEEDED

BY JEAN-FRANÇOIS LANDRY

“Gadgetophobes” distrust gadgets, “gadgetineers” make them, and “gadgetophiles,” like me, are completely obsessed with them. If we aren’t tinkering with the little marvels, we’re dreaming of them….morning, noon and night.

THE STAR WARS CHEWBACCA CAMERA STRAP BY THINKGEEK The latest trend on Kashyyyk Searching for the Wookiee look this fall? Well, this strap could very well be your ­solution. Worn as a 3.8-cm (1 1/2”) bandolier, the length of the strap is adjustable between 83 cm and 127 cm (or between 32.5” and 50”). Since it’s made out of braided nylon (the same material as seatbelts), it’s especially strong—perfect for carrying your photographic weapon of choice, ready to draw at the first sign of movement. US$15, fur not included. thinkgeek.com

CARDBOARD BY GOOGLE Extremely affordable virtual reality Do you have a smartphone (Android 4.1 or above, or iOS 8.0 or above) with a screen size of no more than 6 inches? If so, the virtual world awaits.

Simply install the Google Cardboard application on your phone and insert it into Google’s Cardboard viewer, and you’ll be ready to leave this ­sometimes-too-concrete world. While using it, you won’t care if ­people call you names or give you the side eye—those people don’t exist in this immersive virtual world! Your entry fee? US$15 for one, US$25 for two. google.com/get/cardboard/

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