PhotoHaus Magazine 002

photohaus VPW WINTER COURSE LISTINGS INSIDE

CHRIS BUCK

On The Presence of Celebrity

DOUGLAS KIRKLAND

On Falling In Love with Marilyn Monroe

MICHAEL LEVIN

Success in Fine Art Photography

WAYNE HÖECHERL

The Light

Issue 002 Winter 2012/2013

a letter from Marc Koegel I am proud to present to you issue #2 of PhotoHaus Magazine.

Since our launch we’ve continued to make improvements and we hope you like the refined design and extended new content. This is also the perfect opportunity to thank you all for your feedback and words of encouragement. This magazine is written for you, by photographers for photographers. Without your support we wouldn’t be here. As you flip through the pages of this issue please take a moment to let us know what you think - we look forward to hearing your feedback!

P HOTO HAUS G A L L E R Y presents our 3rd annual

WINTER SALON An Inspired Collection Of Affordable Photography Give the gift of photography this Christmas All work priced less than $200

contents 04

Opening Reception 7pm December 14 2012

th e p rofi l e Ross den Otter Urban Travel Tips

by Richard Hulbert

2013 Exhibitions

PHOTO H A U S GALLERY

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th e l i g h t with Wayne Höecherl

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01|25|13

A B S T R A C T - A Visual Language

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02|15|13

EROS

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03|01|13 03|15|13

VA N A R T S Gr ad Sh ow

i n te r v i ew with Chris Buck VPW course listings

i n te r v i ew with Douglas Kirkland

OPEN CALL FOR SUBMISSION Inspired by Freeman Patterson’s visit to VPW, our first show of the year has an abstract theme.

OPEN CALL FOR SUBMISSION Nude & Erotic Photography

DA R K O F T H E N I G H T OPEN CALL FOR SUBMISSION A Night photography exhibition

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Evolution of the Digital SLR

by Marc Koegel

04|12|13

EXHIBIT - D

Capturing Perfect Wedding Moments

by Tim & Karen Tallevi

04|26|13

THE BIRDS

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OPEN CALL FOR SUBMISSION The Nature of Birds

14 West 7th Avenue Vancouver, BC V5Y 1L6 Canada

info@photohausgallery.com www.photohausgallery.com

th e d ow nl oa d with Adam Blasberg

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The

DAVIE ART SHOP

i n te r v i ew Michael Levin Cover Photo Pavel Sfera isn’t Bono

by Chris Buck, from his series: ISN’T © Chris Buck

All images © Vancouver Photo Workshops and its contributors

If you would like to advertise with us please contact Kitt for rates info@vancouverphotoworkshops 778 898 5256 photohaus magazine fall 2012

A photographic exhibition featuring the work of our exhibition and critique students, curated by Katie Huisman at PhotoHaus Gallery

^ ^ ^

Custom Picture Framing Custom Picture Framing Established 1930 custom framing Established 1930 for Artists and Phillip Tran Photographers 20%-50% off

Owner/Manager

604-683-3415

ppt1709@yahoo.ca

1242 Davie Street Vancouver-BC V6E 1N3

vancouverphotoworkshops.com

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th e p ro fi l e

Ross den Otter Ross’ work follows a series of lines that often intersect. His photographic experience spans nearly three decades. His first work was published when he was a teenaged photojournalist with a camera, a bicycle and a newspaper editor feeding him assignments.

Commercially, Ross, with his wife Sarolta Dobi, have focused their studio practice on performers and musicians; on stage, film sets and in studio. His work has been published across North America and promoted touring performers around the globe.

Artistically, his work is a hybridization of traditional art technique and modern photographic practice.

His work blends paint, wax, and resins with modern and revival photographic processes to create work plumbed from our rich photographic history but created with accessible tools. His artwork is held in private collections across North America, England, Hungary and Asia. He has work in the UBC/Vancouver General Hospital Foundation collection and his work is available through the Art Sales and Rental program of the Vancouver Art Gallery Association.

Ross is a photographic technician, artist and teacher, bringing passion balanced with creativity and structure to the workshops he leads.

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Tips for Your Next Urban Travel Experience

by Richard Hulbert

Good preparation for travel photography will result in a more enjoyable, productive, and satisfying travel experience.You will “see” more and you will come home with better images that will be the envy of your family and friends.

1. Appropriate attire for yourself Appreciate that if you are traveling outside North America, you will likely be perceived by the locals as wealthy and less than ‘culturally’ aware. The message here is to dress appropriately. I have a good photojournalist friend who buys his clothes from a second-hand store at his destination to blend in with the locals.

2. Appropriate attire for your camera Camera gear is a desirable target for theft, especially a new or well cared for camera. Purchase a roll of black gaffers tape and use it to cover the labels on your gear. Make your camera look like it is falling apart and not worth stealing.

3. Plan your shooting locations before you leave home To maximize your production of imagery, you will want to pre-determine the kind of images you desire before you arrive at your destination. Using a free computer program such as The Photographer’s Ephemeris will allow you to know the exact direction of sunlight at any time on any given day.This is a huge benefit in travel photography.

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photohaus magazine fall 2012

The Urban Context offers the most target rich environment that exists. From streetscapes to skylines, from the natural environment to the designed and constructed. People and their artistic creations, historic artifacts and modern architecture. Travel photography is all about portraying and conveying the’Spirit of a Place’.

Vancouver Photo Workshops will be offering a 4-day Urban Travel Photography Workshop right in our own ‘backyard’, Vancouver, British Columbia.

Check www.vancouverphotoworkshops.com for Richard Hulbert’s workshop dates and details.

vancouverphotoworkshops.com

th e ligh t

BLINDED

BY THE LIGHT

By Wayne Hรถecherl

I

n this shot, as with most of my pictures, I started with the background then moved forward. Here, the slashes on the wall are created by an Arri 1k Fresnel spotlight through an antique window blind. I feathered the Arri to cast a slight amount of light on the door in order to create seperation and texture. However, it is very important in this kind of situation to not over-light the door.

Next, I introduced the hanging practical light bulb to camera left of the subject. The 100-WATT tungsten bulb is throwing just a bit of light on his hair.

The third light was the main light, boomed in over camera and centered above the subject.

This 1000-WS Dynalite strobe was modified with an XXS softbox with a 40-degree grid. The main light was warmed with a full CTO gel to match the colour temperatures of the light bulb and the Arri 1K background light.

The fourth light is a Dynalite with a 10-degree grid gelled with full CTO hitting the banjo.

It also provides a nice highlight to the front edge of the door, adding shape and depth.

At this point the lighting could be finished but I decided to enhance the legs and boots.The edge light on camera left was lit using a Dynalite with a 10-degree grid and full CTO gel on a floor stand.

The edge light on camera right, hidden behind the door, was a Norman 400B battery pack, again with a 10-degree grid and full CTO gel.

To give the image an overall warm feeling, the colour temperature in-camera was set to daylight.

A grid was used with almost every light, allowing me to control each aspect and prevent spill. It is very easy to over-light shots like this, which can kill the desired effect and diminish the overall feel of the image. Every light in this image has a specific purpose to create the final result.

the diagram

the b reakd own Canon T3i body Canon 35mm f/2.8 lens Shutter Speed 1/8 Aperture f/4

Wayne teaches fashion and creative lighting workshops at Vancouver Photo Workshops

photohaus magazine fall 2012

vancouverphotoworkshops.com

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interview

Chris Buck’s new book, Presence:The Invisible Portrait, may seem like an unlikely project for a photographer whose career has been devoted to celebrity portraiture.

As a Canadian kid fresh out of photo school [Ryerson in Toronto], Chris stepped into the editorial scene in New York City. Twentytwo years later, he’s still living in NYC, and photographing the most recognizable figures in modern-day pop culture.

CHRIS BUCK

All Fours

IS

(UN) COM MON

I caught up with Chris in Toronto, on the day he flew in to lead his weekend workshop UNCOMMON: New Portraiture with Chris Buck…a workshop once described by a past student as “Dead Poet’s Society meets Full Metal Jacket”. As I wait for Chris to arrive I grow anxious to meet the man who inspired such a compelling characterization, the man whose work once inspired an electrojazz musician out of writer’s block…the man who convinced Robert DeNiro to hide in a bathroom.

He arrives looking every bit the New Yorker.

He greets me warmly and settles into our table, insisting he’ll be much more controversial once we get started. I can’t help but think…this is going to be fun. >>

By Christa LeCraw

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photohaus magazine fall 2012

vancouverphotoworkshops.com

PhotoHaus:You moved to New York really early on…was that the start of your career?

Chris Buck: I visited New York for a few days after I finished college. I took my portfolio with me and went to go see a bunch of magazines.

They were open to looking at new work. I got good feedback in general and was really surprised. I came back to Toronto, called Toronto Life magazine, and they said ‘oh we don’t look at portfolios, just send over your tear sheets’. I just came back from Vanity Fair, Rolling Stone, Esquire, Spin, etc and people are giving me nice feedback and Toronto Life won’t even look at my book. I began seriously thinking about moving to NY and talked to Dave [Heath – his 4th year advisor at Ryerson] and I said, ‘here’s my plan, I build some momentum, get something going and then I take that to NY and build from there.” Nope, bad idea. Why? Because when you go to NY you’ll be starting on the bottom again. You could be the most successful photographer in Toronto, doesn’t matter, you’re going to start at the bottom in NY. And he was right, because after I moved, I saw some of the big name photographers here try to have parallel careers in NY and it didn’t take. So I decided to go when I was still starting out. It was basically two years living in my parents basement, saving my money. I built my portfolio and tried to build my skills so when I moved to NY I’d have some kind of foundation, so I wasn’t just making an ass of myself.

PH: New York is always described as its own living thing…do you think that’s influenced your career and your work?

CB: I think one of the reasons why moving to NY worked for me is my aesthetic was British and European influenced. In NY I’m someone who grew up on British culture, and I’m Canadian, so I’m bringing something more unique. I was very clear from the beginning; I’m bringing my Canadian aesthetic to NY, I’m not going to go be a NY photographer. So I never made pictures of people sitting up against red brick walls, or the NY skyline…unless it was magnificent I didn’t bother.

The one way that NY has influenced my work and my career visually is that being among the top dogs makes you work at that level. If you’re interested in playing at that level, you have to raise your quality, raise your attitude, be ambitious. I’m in my late forties now but I still take jobs where I make $600 and I’m getting abused the whole time, because if I don’t take it the next person will.

PH: I want to talk about your book; Presence.

Where did the idea come from to hide the celebraties in the frame?

CB: Its beginnings were quite modest. From the professional point of view, it really came from lack of work. I’m not getting work, and I need to make some promotional pieces that show what I do, and how creative I am. I was a big believer in aim for the smarter people and you’ll catch a few of the stupid ones along the way. So I wanted to do something that was really inventive, really outside the box, and really creative. Frankly, part of the

inspiration came from looking at photographers’ websites who I’d lost jobs to. One was a guy named Johnny Clang. He had a lot of different personal projects and they were really creative and really weird, but very elegant as well. I like that. That was the inspiration for me…you can do things that are not obviously connected to the jobs you might get but that show people that you are a creative, visual person. Boring Postcards [by Martin Parr],that was an inspiration too…I like the idea of it being overtly boring and the interest would be in the idea that there’s someone famous in this picture who you can’t see. The first one I did was [William] Shatner. He’s an awesome and strange person and he was game to do it. The second one I did, I shot in Vancouver with Andy Samberg and that was in this hotel room, this old YMCA-type place that hadn’t been renovated since 1982. It was a cool space. I shot it on transparency so looking through a loop I was like wow, this is really beautiful...if I can get a quorum of interesting images like this, this could be really amazing. I’ve always wanted to do a book, and I tried to do a book years before and it didn’t take.

One of the things they kept saying to me was, ‘this collection is all about Chris Buck’. It’s famous people but for them the thing to hold it together is Chris Buck and no one really knows who Chris Buck is. They said ‘you really need to have some kind of through-line that connects the work in an overt way’ Now it’s quite common, even photographers in school have bodies of work of one subject. It’s just something that people need to do now to catch someone’s eye.

PH: I found it really interesting, the experience of looking at the pictures, knowing that the celebrity is in there. Did you take the pictures with that in mind? Does that affect how we read the picture?

CB: Absolutely, it’s funny, some people say ‘oh the pictures are really interesting in and of themselves…’ I’m like, you missed the point.

Thank you, that’s nice, but the fact is, of the fifty pictures in the book maybe fifteen would have gone into a book of pictures of scenes I would consider worth photographing. The rest of them are valuable largely because of who’s in the picture.The concept is crucial. Imagine if I showed you a few prints, and you say “oh these are cool”, and I say, “this one was taken by Robert Frank and this one was taken by Cindy Sherman.” Suddenly you see them differently. I think that’s what this is too, it’s just doing it through the subject rather than through the photographer. Now you look through the prism of Robert Frankness to look at that picture. It’s almost the same to look at the picture and say “that’s Guillermo del Toro” and to say “this is the Snoop Dog picture”.

PH: You’ve said the process is not important to you. Are you shooting for the viewer’s experience or for the end result as it pertains to you and your vision?

CB: I think it’s almost a combination of those last two things. I do have an audience in mind, but it’s not like I’m thinking of Dave Heath or my >>

Famous - Billy Bob Thornton photohaus magazine fall 2012

vancouverphotoworkshops.com

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From top of this page clockwise: Just Married, Lili Taylor, Seth Rogan & Paul Rudd, Brent Mendenhall ISN’T President George W. Bush

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photohaus magazine fall 2012

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photohaus magazine fall 2012

vancouverphotoworkshops.com

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friend I grew up with. In general it’s more like some theoretical ideal audience who is smart, and is going to appreciate some interesting turn or whatever. In a weird way, I think I’m shooting for the future. At my best, when my work is really good, I’m shooting for an audience ten years from now, fifty years from now, that will look at it and say, ‘this is really cool’. In the same way that we look at historical work by August Sander, and say, ‘this still translates’.

That’s what I hope my pictures do...which sounds incredibly pretentious.

PH: It’s a legacy…

CB: Yes, legacy is very important to me. Actually, I don’t think legacy is that important to people. I see people selling short their legacy all the time.

PH: You’ve said in the past that humour is not really your goal, but there’s so much satirical humour in your work. Where does that come from? Are you consciously thinking, ‘I’ve got to pull back the funny’ or ‘this isn’t funny enough’?

CB: No, if anything, it’s the opposite. My goal was to make pictures that had some richness and depth and gravitas to them. I think the humour kind of crept in almost like a guy-humour thing, like, if I see a visual joke, I can’t help but put it in. Also, I wasn’t athletic growing up so being funny was my way to connect to people and have people like me. It didn’t necessarily get me girls, but it did get girls to enjoy

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photohaus magazine fall 2012

my company early on…and for guys to hang out with me. I made friends that way. I didn’t particularly admire art that was funny, I just couldn’t help but put it in the work. That became sort of distinctive for me. In terms of getting advertising work, it became kind of my calling card, and because I wasn’t trying to be funny, the funny ended up being subtle.There’s some life to it, and mystery as well as humour and sometimes a dark undertone as well, which I think works really well for advertising, especially because you want it to have a level of sophistication. It’s become a bit of a quandry for me, because now my editorial people see the ad stuff on the website and say ‘we want you to do that’, but I want to be shooting that celebrity shoot, not this illustration picture. In a way it’s good because it’ll help build my book with other kinds of interesting work.

PH: It’s really interesting to hear somebody of your status say ‘it helps me build my book’. Are you always thinking of how to stay on top of your game?

CB: In terms of my long term work…when I was working with Graffiti magazine, I was like, here’s what I want to do with my career…a lot of those things aren’t achieved yet. Like, I couldn’t get a monograph of my portraits done…not getting enough celebrity work. I’d like to be getting more of those top celebrity shoots. I want to be shooting the top cultural icons like Madonna or Woody Allen. I did a shoot this week with Jimmy Page from >>

From top of this page clockwise: Uncommon Deborah Fellner - Mercury Story, David Cross, Paul Cooper ISN’T Bill Gates, Bill Bufford

vancouverphotoworkshops.com

aim for the smarter people and you’ll catch a few of the stupid ones along the way

Led Zeppelin, so that was a legend and was totally awesome.They come along, and I work hard and I’m ready. The fact is, I’m not satisfied with things I have, but also, my book needs to be fresh. It’s practical.

Some of it’s emotional, like showing you the Nick Offerman picture and loving it is like, I still got it, it’s awesome…and that’s really emotionally satisfying but it’s practical too. People magazine are going to see that and for 1) people will hire me again, and 2) other magazines will see that and say, “we’ve got to use Chris more.”

Someone wrote a comment on some blog calling me a photographer’s photographer, and I thought that was very nice. Photographers appreciate what I do and maybe they get it better than the public and that was very exciting for me to read but it’s a double-edged sword. The other side is that I’m not the public’s photographer…that’s Annie Leibovitz or Terry Richardson, and I want to be that person too.

I feel like if I can click over and shoot those top level people, like people in the front of the public culture at the time, then the public would actually see the

rest of what I do. For me to make my legacy long term, I need to have that.

PH: Do you think Leibovitz is a little more accessible to the public? Your work has a lot more nuance, do you think you’re going to have to compromise on that?

CB: I’d rather have my career shooting some of the top people, some second level, third level people, but be making much better pictures than the people who get top access, and have what I think are more literal and less interesting pictures. I want to shoot public figures for forty years…I want to have that kind of breadth, that longevity, that career that spans that kind of time. That to me would be amazing.

PH:You’ve got a few video pieces on your website, is that something that you embraced wholeheartedly, or is that move into video client-driven?

They’re asking for it and you needed to add it to your toolbox…

CB: Definitely ‘adding it to my toolbox’ is a good way to phrase it. My feeling was, I never wanted to lose a good print job because I’m not fit to direct a video.

But I’ve made a few documentary films, at least sort of dabbled with it. If I have to make films, that’s what I want to do, but I’m not sure my personality is cut out for it. I’m used to getting in there and directing and I think my personality is a little intense. I think it’s great for making portraits, because I can boss people around and make the pictures I want, but for documentary I’m not sure I’m very suited to being a fly on the wall and just keeping my mouth shut.

Ultimately I want to make short form pieces that feel like my work. Sometimes I get so focused on making sure the video is executed properly and with some amount of style, that the stills can suffer. It’s a big challenge to try and do both well. I guess I think of it as a very amusing chore. When I do this I throw myself into it whole-heartedly, I get quite obsessed, I want it to be great, and I think about Hitchcock and Scorsesse and directors I admire. I’m not going to fuck around and make it look shabby because you’re asking a still photographer to do it.

With that said, you cannot let change in media or technology become an obstacle to making the work and moving forward as an artist. I hear people who say ‘digital just isn’t the same and everyone can take pictures now…’. You’re just making excuses. When we were starting out there were people dropping out for other reasons that were comparable. If you want to be a photographer, be a photographer and find a way for the medium to speak to you and to speak to the public. Don’t be a luddite, and don’t be against digital because it’s just different. I still think film looks better than digital but that’s just a change and I have to be open to the fact that it will look better at some point and not just be nostalgic.

Chris Buck will be at Vancouver Photo Workshops February 22 - 24, 2013 photohaus magazine fall 2012

vancouverphotoworkshops.com

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VANCOUVER PHOTO

WORKSHOPS

Winter/Spring Course Listings 2012/13

Level 1 - beginner Introduction to DSLR Photography 10 Sessions

For everybody looking for a great introduction to the exciting craft of digital photography using SLR cameras.

Learn how to use your camera to its full functionality along with the fundamentals of exposure, depth of field, composition and shooting in low light. $300 daytime course $350 evening course 07/01/13

Mondays

1900 - 2200

14/01/13

Mon & Wed

1900 - 2200

Canon/ Nikon DSLR Workshop

Level 2 - intermediate

1 Day

Ever thought about how much you could improve your photography if only you really understood all the powerful functions of your DSLR camera? Canonites and Nikonians will each have their own brand-specific workshop. You’ll leave feeling encouraged and empowered to get creative with your camera. $150

09/01/13

Wednesdays

1000 - 1300

17/01/13

Thursdays

1900 - 2200

Nikon

18/02/13

Mondays

1900 - 2200

03/04/13

Wednesdays

1000 - 1300

19/01/13

Saturday

1000 - 1700

03/03/13

Sunday

1000 - 1700

Wednesdays

1000 - 1300

20/01/13

Sunday

1000 - 1700

23/01/13

Wednesdays

1900 - 2200

02/03/13

Saturday

1000 - 1700

07/02/13

Thursdays

1900 - 2200

25/02/13

Mondays

1400 - 1700

25/02/13

Mondays

1900 - 2200

05/03/13

Tuesdays

1900 - 2200

27/03/13

Wednesdays

1000 - 1300

08/04/13

Mondays

1900 - 2200

Nikon/Canon Speedlight Workshop 1 Day

Adding flash to your bag of tricks can take your photography to the next level…and learning how to use your speedlight can be tricky. We’ll ease you into flash photography in this brand-specific workshop and shine a light on this rewarding new skill. $150

3 Hours

Canon

This new 3 hour crash course is designed especially to focus on the benefits of that point and shoot camera you never learned how to use. Whether you have an all in one camera with a fixed lens or one of the new CSC Compact System Cameras, this workshop will help take your photography to the next level. $45

09/02/13

20/01/13

Sunday

1000 - 1300

Getting Started With Your DLSR Crash Course 3 Hours

Go from “snap shots” to “great shots” in only 3 hours with VPW Director Marc Koegel. Understand your camera and the basics of photography and leave taking better pictures with your DSLR. $45 09/01/13

Wednesday

1900 - 2200

24/01/13

Thursday

1900 - 2200

Basic Photography Intensive Weekend 2 Days

Our famous Intro to DSLR Photography course condensed into one intensive weekend workshop to get you feeling comfortable and in control of your camera. This is a great workshop for people looking to refresh their skills and is a stepping-stone to further photography training. $295 02/02/13

Sat & Sun

1000 - 1700

09/03/13

Sat & Sun

1000 - 1700

Saturday

1000 - 1700

Sunday

1000 - 1700

Nikon 10/02/13

The Beginner’s Roadmap to Adobe Lightroom 8 Sessions

This workshop is designed for photographers, new to Lightroom, who need a gradual learning experience to fully explore all that this software has to offer. You’ll be guided through a streamlined approach to digital workflow including capture, editing, image processing and output. $295 16/01/13

Wednesdays

1900 - 2200

Adobe Lightroom Intensive Weekend 2 Days

If you’re short on time but big on getting your digital image workflow streamlined, this intensive workshop is for you. We’ll cover the entire Lightroom workflow from capture through to output and all the steps in between. $250 26/01/13

photohaus magazine fall 2012

Intermediate DSLR Intensive Weekend 2 Days Our Intermediate DSLR Photography course condensed into one weekend for maximum immersion into photography, giving you maximum learning potential.

$295 16/02/13

Sat & Sun

1000 - 1700

On & Off Camera Flash 8 Sessions Speedlights are portable and powerful tools that can add a new dimension to your photography. This hands-on course will teach you the techniques to creatively use one speedlight to add drama and impact to your images.

$295

Sat & Sun

1000 - 1700

Adobe Lightroom Workflow Semi - Private (max 6 students) 1 Day

This workshop, limited to six participants, offers an indepth, step-by-step system for organizing your image files and streamlining your workflow in a hands-on and personal learning environment. $225

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8 Sessions This is the next step in refining your skills and expanding your creative possibilities. This course takes you beyond the basics of exposure, white balance and composition, to take on studio lighting, post-production, lighting styles, direction, and in-depth demonstration and exploration of digital workflow using Lightroom, in a fun and relaxed environment.

$295

Canon

16/01/13

Better Pictures With Compact Cameras

Intermediate DSLR Photography

09/02/13

Saturday

1000 - 1700

16/03/13

Saturday

1000 - 1700

15/01/13

Tuesdays

1900 - 2200

09/04/13

Tuesdays

1900 - 2200

Adobe Photoshop for Photographers 10 Sessions Photoshop is a huge program with many applications. We’ve designed this course specifically for photographers, distilling Photoshop down to focus on the key tools that will help you enhance the quality of your images.

$350 15/01/13

Tuesdays

1900 - 2200

Adobe Lightroom Processing Semi - Private (max 6 students)

1 Day From portraits to landscapes to architecture, Lightroom has amazing tools to help you get the most out of your images.

This semi-private workshop, limited to 6 participants, will teach you how to use the Lightroom Develop module to its full creative potential with lots of hands-on and personal instruction.

$225 02/03/13

Saturday

1000 - 1700

13/04/13

Saturday

1000 - 1700

Adobe Photoshop for Photographers Intensive Weekend 2 Days You’ll be surprised at how much you can learn in just one intensive weekend. You’ll leave this workshop with a better understanding of basic Photoshop functions and how to apply them to your images for impressive final results.

$250 09/03/13

Sat & Sun

1000 - 1700

vancouverphotoworkshops.com

VANCOUVERPHOTOWORKSHOPS.COM specialty workshops Small Strobes Bootcamp with Christopher Morris 2 Days This workshop, lead by acclaimed local photojournalist Christopher Morris, is designed for all you Strobists out there, looking not only to practice your skills in a professional environment but also to pick up additional tips and tricks that take your images to the next level.

$350 06/04/13

Sat & Sun

1000 - 1700

Developing Your Portrait Style with Adam Blasberg 6 Sessions Portraiture is a form of communication not only about your subject, but also about you, the photographer. Through the use of traditional and modern lighting, creative composition, pre and post camera effects and interaction with our subject we’ll develop our ability to express ourselves with portraiture.

$445 22/01/13

Tuesdays

1900 - 2200

Hands-On HDR with Richard Hulbert 2 Days This workshop looks at how the process of HDR imaging can improve your photography for many different subjects. We will discuss how to know when HDR is the right technique for the final image you want to produce, and work through the process of creating effective, jaw-dropping HDR images.

$250 23/03/13

Sat 0900 - 2000 & Sun 0900 - 1500

Exhibition & Critique with Katie Huisman 12 Sessions Photography is an exciting way of seeing & sharing your vision with your audience. This course focuses on concept development & critique while working toward having a successful exhibition. You will be supported in recognizing and developing your visual integrity and will be rewarded with a group exhibition at the PhotoHaus Gallery.

$395 17/01/13

Thursdays

1900 - 2200

Architecture & the Urban Environment with Richard Hulbert 4 Days Spanning the genres of Travel, Street and Architectural Photography, this course will help propel your photography to the next level. Whether you are interested in recording and documenting buildings, or artistically interpreting urban environments through photography, this course will be fun, informative and will help you produce great work.

$495

04/04/13

$195

02/02/13

1 Day This one day intensive workshop is designed to provide you with a basic understanding of the practical aspects of working on location with professional lighting equipment. We will cover technical concepts such as the inverse sqaure law and key shifting and apply that knowledge right away by shooting models in the afternoon.

$95 06/04/13

$350

1000 - 1700

1900 - 2200

$350 Vancouver

02/02/13

Sat & Sun

1000 - 1700

AB City TBA

01/06/13

Sat & Sun

1000 - 1700

2.5 Days This hands-on workshop focuses on capturing peak action with perfect timing, clean composition and powerful lighting.

After an introductory evening lecture, you’ll spend the weekend shooting on location with skilled athletes using professional strobe lighting and walk away with jaw-dropping images.

$450 04/05/13

$295 [Calgary $350]

1 Day Fine art and fashion photographer Syx Langemann introduces participants to an exciting dimension of nude photography that fixates on angles and hidden details, exposing fetishes and desires. Participants will experience mixed lighting styles, creating edgy looks in each setting. Syx guides his students over the curves of the body, identifying strong, interesting lines, and encouraging daring, provocative shots.

$225

09/02/13

Vancouver

09/03/13

Sat & Sun

1000 - 1700

Vancouver

08/06/13

Sat & Sun

1000 - 1700

Calgary

25/05/13

Sat & Sun

1000 - 1700

Basic IntensiveArchitectural Exteriors with Richard Hulbert 2 Days There are “rules” for photographing buildings and other manmade structures. Knowing these rules will make you a better photographer. Mastering these rules will allow you to “break” them in a deliberate, meaningful way.

This workshop is designed to improve your photography regardless of whether you consider picture taking a hobby, are a serious enthusiast, or a professional photographer.

$295 Sat 1300-sunset & Sun sunrise-1500

Photographing Kids with Mary Jensen 3 Sessions Kids are impetuous, unpredictable and absolutely full of energy…so how do photographers get them to sit still for the camera? This workshop is a glimpse at some tricks of the trade, with a hands-on BYOK (Bring-Your-Own-Kid) shooting session to put your newfound skills to the test.

$250 Mondays 1900-2200 Thursday 0800 -1300

Saturday

1000 - 1700

Panorama Photography with Richard Hulbert 2 Days We will help you through all the steps necessary to create “jaw dropping” images that will be the envy of your friends and family and will blow the socks off your clients. You will be treated to a combination of lectures, hardware demonstrations, hands-on shooting, and software demonstrations using selected class images.

$250 16/02/13

Sat & Sun

1000 - 1700

Fine Art Long Exposure Lecture Tour with Marc Koegel 3 Hours Award-winning photographer Marc Koegel is taking his Fine Art Long Exposure lecture on the road in a cross-Canada tour.

This 3-hour talk may just be the catalyst you need to break through a creative block and start looking at the world around you from a long-exposure perspective.

$75 Edmonton

28/05/13

Tuesday

1900 - 2200

Saskatoon

29/05/13

Wednesday

1900 - 2200

Regina

30/05/13

Thursday

1900 - 2200

Ultimate Travel Photography with Richard Hulbert

9 Sessions Mxed media artist, Ross den Otter demonstrates his process for creating unique works. He guides the class though the process of blending traditional artist media with photographic images. Photographs provide the base for mixed media pieces that are layered and textured with artist acrylics and/or encaustic wax.

$195

4 Days Vancouver offers an incredibly diverse set of photographic opportunities. It is the perfect setting for a Photography workshop that will prepare you for your next travel holiday.

Learn how to arrive home with photos that will be the envy of your friends and family.

$495 06/06/13

Sat & Sun

Fri 1900 - 2200 Sat & Sun 1000 - 1700

The New Nude with Syx Langemann

2 Days Take advantage of Vancouver’s natural and urban landscapes with this one-of-a-kind weekend workshop lead by VPW director Marc Koegel. You’ll learn how to make stunning black and white images using long exposures, and more importantly, how to visualize a monochromatic composition.

16/03/13

photohaus magazine fall 2012

Saturday

Fine Art Long Exposure with Marc Koegel

13/04/13

2 Days The goal of this workshop is not only to have you walk away with stunning images; our aim is to introduce you to a different way of seeing and to ignite your passion for the creative process through the fine art nude.

Peak Action & Sports Photography with Christopher Morris

Practical Location Lighting with Syx Langemann

Working with Mixed Media with Ross den Otter

10 Sessions Mini landscapes and colourful abstacts are limited only by your imagination. Macro photography opens up endless possibilities for the photo enthusiast.

Wednesdays

Sat & Sun 1000 - 1700

0900 - 1700

Hands-On Macro Photography with Kaj R. Svensson

27/02/13

2. Days We are proud to offer you what we believe is the most comprehensive, informative and currently viable workshop on business for photographers. We’ll cover all of the must-know aspects of running a successful commercial photography to give you your best shot at success in today’s image creation industry and a leg up on the competition.

15/04/13 Fri - Mon

Fine Art Black & White Nude & Figure Photography with Marc Koegel

The Business of Photography with Dan Kozma

Fri - Mon

0900 - 1700

1000 - 1530

vancouverphotoworkshops.com

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Winter/Spring Course Listings 2012/13 master classes Freeman Patterson

Douglas Kirkland

Chris Buck

The WHY of Photography

An Evening with Douglas Kirkland

An Evening with Chris Buck

1 Day Workshops

Public talk and slideshow

Public talk and slideshow

Vancouver Photo Workshops proudly presents four (4) 1 day Master workshops with Canadian Internationally Acclaimed Photographer Freeman Patterson.

$35 | $30 for 2 or more | Students: $20

$35 | $30 for 2 or more | Students $20

A Master Class with Douglas Kirkland

UNCOMMON: New Portraiture

These are some of the smallest workshops Freeman has ever taught! The small group size intensifies the experience and guarantees an unparalleled level of personal attention and opportunity for one-on-one interaction.

2 Days Vancouver Photo Workshops proudly presents this exclusive weekend workshop with iconic photographer Douglas Kirkland from Los Angeles.

2 Days

This will be Douglas’s first ever workshop conducted in Vancouver.

This workshop is for those of you who know you’re onto a good thing but are having a hard time closing the deal.

This workshop is for aspiring and professional photographers that are looking to advance their photographic skills to a level only an iconic photographer like Douglas Kirkland can elicit.

During this weekend workshop, Douglas Kirkland will give students exposure into the mind of one of the photo industry’s most influential artists.

He’ll go through the strategies and pitfalls of executing truly fascinating portraits with celebrities and regular folk alike, focusing on time crunches, shy subjects, and your own fears.

Chris won’t be shy in giving advice on how to build a career in photography, nor will he hold back in critiquing your work, inviting you to step up and be the shooter you know you have the potential to be.

$1100

$975

$450

Visual Design: The Craft of Visual Expression 1 Day Lecture Series A full day of illustrated lectures for photographers, painters, and other visual artists. Use this uniquie opportunity to meet, and learn from one of the great masters in contemporary photography.

$99 | $89 Group rate The WHY of Photography:

An Evening with Douglas Kirkland

An Evening with Chris Buck

January 22, 23, 24, 25

18/01/13

Visual Design: The Craft of Visual Expression

A Master Class with Douglas Kirkland

UNCOMMON: New Portraiture

26/01/13

18/01/13

22/02/13

Saturday

0900 - 1630

VANCOUVER PHOTO

WORKSHOPS

Friday

Vancouver Photo Workshops proudly presents this intensive two day workshop with internationally renowned photographer Chris Buck.

Fri, Sat & Sun

1900 - 2100

See Website for times

PHOTO TOURS

Northern Lights in ICELAND 7 Days | Feb 10-16 2013

Havana, CUBA 7 Days | Mar10-16, 2013

Yunnan, CHINA 14 Days | Mar17-31, 2013

Long Exposure ICELAND 7 Days | Jul 14-20, 2013

San Miguel MEXICO Dates TBA

Contact us for pricing and itinerary details

22/02/13

Friday

Fri, Sat & Sun

1900 - 2100

See Website for times

EARLY BIRD DISCOUNTS AVAILABLE

on select workshops and courses.

Register for our courses and workshops using our secure, fast online registration system.

We accept Visa and Mastercard for online registrations. Debit, cash and cheques are accepted in person at our Vancouver studio.

Hours of Operation: Monday to Friday 12:00 to 7:00 pm info@vancouverphotoworkshops.com 778.898.5256 Course details and dates are subject to change. Visit our website for the most up-to-date information.

www.vancouverphotoworkshops.com

VANCOUVER PHOTO

WORKSHOPS

OPEN HOUSE & SEMINAR EVENT January 12th & 13th 2013 EXCLUSIVE SEMINARS RUNNING10:00 - 6:00 Choose from over 30 different seminars presented by some of Vancouver’s top photo pros.

Check our website for seminar schedule and full event details. www.vancouverphotoworkshops.com

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TICKETS JUST $35 FOR UP TO 3 SEMINARS vancouverphotoworkshops.com

A Master Class with

D OUGLAS

KIRKLAND

Chris UNCOMMON: Buck New Portraiture

Weekend Master Class February 22 - 24

$1100

VANCOUVER PHOTO

WORKSHOPS

m aste r c l ass

$975

master class

Weekend Master Class January 19 - 20

VANCOUVER PHOTO

WORKSHOPS

vancouverphotoworkshops.com | 778 898 5256

vancouverphotoworkshops.com | 778 898 5256

FREEMAN PAT T E R S O N The Why Of Photography 1-Day Master Class - January 22, 23, 24 & 25

$450 Visual Design: the Craft of Visual Expression Full day of illustrated lectures for visual artists January - 26

$99

master c las s

VANCOUVER PHOTO

MICHAEL LEVIN mas t er c las s

WORKSHOPS

vancouverphotoworkshops.com | 778 898 5256 photohaus magazine fall 2012

VA N C O U V E R P H OTO WO R K S H O P S P R E S E NT S

VANCOUVER PHOTO

WORKSHOPS

Vancouver May 18 - 19 Toronto June 29 - 30 Maritimes Tour July 04 - 07 Contact us for details vancouverphotoworkshops.com

15

interview

DOUGLAS KIRKLAND From Marilyn Monroe to Angelina Jolie, Man Ray to Stephen Hawking, Orson Welles to Charlie Chaplin, Douglas Kirkland’s creative path has lead him, camera in-hand, to the most renowned contemporary icons. With a career spanning more than 50 years, his place in the cultural canon is interlaced with the legacies of the great performers, filmmakers, artists and thinkers of our time. Kirkland spoke to us from the Hollywood Hills home he shares with his wife and business partner Francoise, in a conversation that was at once awe-inspiring, honest, insightful and surprisingly unassuming.

PhotoHaus: You’ve had such a prolific career’ did you always want to be a photographer?

Douglas Kirkland: Well, yes. I was born in Toronto and when I was 3 my parents moved to a tiny town called Fort Erie. By the time I was 13 or 14, it seemed like the most glamorous work in the world. I used to look at Look magazine, Life magazine and all the publications at the time…it just seemed like it was a dream because in our little town of 7,000 people not much ever seemed to happen, and here were photographers that went all over the world. I also loved photography. I took my first picture with our family 1-16 Brownie - I still have it there, on the shelf - and before long I had the usual cameras like a Kodak dualflex and eventually an Argus camera. I was able to get work with our local photo studio where, by the time I was 15, I was photographing weddings and babies and passport photos. That was my world. From day one, it was a dream. But honestly, I didn’t ever expect it to go quite as far as it has. I’m 78 now, we work all the time, we have a full schedule, and it seems to get better all the time.

PH: What else informs your work? What book are you reading now?

DK: I try to keep up on so many things…just going through the periodicals, The New York Times on Sunday and several photographic magazines…just keeping up with those is enormous. The Great Gatsby, I read that, because I worked on the movie just recently with Baz Luhrmann…

PH: You seem to be Baz Luhrmann’s go-to guy for special photography now…

DK: Yeah, we have a very good relationship. When Francoise and I arrived there he put his arm around me and said “You came just at the right time, I needed a boost”, which is very nice. It’s a nice relationship to have. I’ve worked on approximately 160 movies, and when I look at the list, I can’t believe it.

PH: Would you consider yourself a film buff? Does film inspire your work?

DK: The parallels between movies and stills are very tight. I’m actually a member of the American Society of Cinematographers and I have made films myself.

We moved to California from New York because I thought I really wanted to make movies more than stills. After spending about 6 or 8 months here, I realized how wonderful still photography was. We love to see motion and editing and words and everything all put together, that’s very exciting, but the beauty of still photography is, you can pick up the camera any hour, any day, and go and make wonderful images with your own inspiration alone.

PH: Whose pictures really inspired you to go into photography? >> All images © Douglas Kirkland

DK: Well, growing up in Canada, there was a man in Ottawa named Yousuf Karsh. He was an influence in the early days, undeniably. I became a close friend of Gordon Parks. He was a brilliant photographer and became one of the top Life magazine photographers. He did fashion, he did reportage…he could turn his hand and do anything. He also made a number of films, and he wrote music…he was a great pianist. He did something like 20 books. He was very motivating. I worked as an assistant for Irving Penn in NY and ultimately, Penn was a greater influence than anyone. But the people that frequently impressed me were the people in my hometown of Fort Erie. There was a lady there named Magdalene Morningstar, she was very much a hands-on teacher for me.There’s no simple answer. We’re a composite of many things. I’ve learned from people like Francoise, and her parents. She had a wonderful mother who was quite a genius…spoke 4 languages, but was colourful and brilliant and had a great sense of art.

PH: You have photographed, it seems, every celebrity there is. Who was the first and how did you feel going into that shoot?

DK: I was hired by Look magazine in 1960 to do 2 things: photograph fashion and shoot colour, because a lot of the photographers at that time were uncomfortable with colour since they had been shooting only black and white. I was sent out here to California from NY, and I was shooting bathing suits. I got a call from my boss in New York saying, ‘Doug, we’d like you to go to Las Vegas. Elizabeth Taylor hasn’t been photographed in many months because she’s had pneumonia’. In fact, word was that she might not make it through. This was back in June 1961, and he said ‘she and her people have said they’d give us an interview for Look but no pictures. You go there and see if you can persuade her to allow us to have pictures’. So I went there, and sat at the back as the writer conducted his interview, and at the end I walked over to her and I extended my hand and said ‘Elizabeth, I’m new with this magazine. Could you imagine what it would mean to me if you give me an opportunity to photograph you?’…holding her hand and shaking it, and I think she thought she’d never be released! [laughs] She looked right at me and she said ‘Okay, come tomorrow night at 8:30’. So I did.

Honestly, I had nothing else I could offer. She didn’t know who I was. I went there and I took pictures that went around the world because she hadn’t been photographed for quite an extended period and that was my first cover for a magazine. That put me on the map and by September I was traveling with Judy Garland, because she had a very successful show at Carnegie Hall and suddenly the world rediscovered her and she went on tour. We came out here to photohaus magazine fall 2012

California where she made a big television show with Frank Sinatra and Dean Martin. It ended up she [Garland] was going to Berlin and in Berlin there were people like Spencer Tracy, Marlene Dietrich and Katharine Hepburn…they were all there and I was in the centre of it. I did photograph Dietrich 1 or 2 months later. In November that same year, that’s when I did the Marilyn Monroe shoot, which was for the 25th Anniversary of Look magazine.

So one thing just escalated into another and it was quite wonderful. It wasn’t something I anticipated, I just got very lucky. I was at the right place at the right time and I didn’t waste any opportunities.

PH: Were you nervous going into that shoot with Elizabeth Taylor?

DK: Oh absolutely, with Elizabeth, and then later with Marilyn Monroe.To the people at the magazine I showed great confidence and comfort, I was

smiling and not nervous-looking, but secretly I said, ‘have I over-sold myself, can I really pull this off?”

PH: The exhibition of your pictures of that night with Marilyn is opening soon…[it opened at the Westwood Gallery in NYC on October 26, 2012].

Would you say that was your most memorable shoot?

DK: Well, to the public I think it was…I did the best I could and made the most out of it, but I’ll give Marilyn a lot of the credit for that…we were just connecting and playing with each other, seducing each other and I kept taking pictures and that was the result. But I’ve done a lot more than that. Angelina Jolie, I photographed her in Vancouver, and she said “I’ll do whatever you want, but I want to do my version of Marilyn”. It was her idea. She was fantastic because she didn’t just emulate…she created a new inspiration. I had a wonderful time with Audrey >> vancouverphotoworkshops.com

17

Hepburn. I photographed her on more than one occasion and she was great. I’ve had an amazing ride.

PH: You’ve said that you met with Marilyn 3 times but felt you were never with the same person…

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DK: I feel I saw the real Marilyn the first night that we went there to talk with her.

That surprised me because I thought I was going to meet a movie star but I met somebody who was easy to talk with and to be straight-forward with. I thought I had to measure my words when I went in there, but there was none of that at all. She lived in a very small place, like a large deluxe hotel room, so we were taken to this small place…I had two colleagues with me and they were older than I was so they automatically sat down in the two chairs that were in the room and there was no place for Marilyn and me to sit. She just slapped the bed and said laughing, “just sit here…I think of it like a couch”.

That was the girl who had grown up here in southern California. Perhaps that was the real, most honest girl, but not the girl that the public was interested in.The next time I saw her, she was a goddess, truthfully.

I don’t want to be sounding overly dramatic, but she seemed to float, not walk, into the room…there was a great luminescence about her. Now she was Marilyn Monroe. It’s almost like she put Marilyn Monroe on like a costume, mentally and in every other way. Her voice was different as well. It wasn’t crisp and easy like the girl next door, it was the musical Marilyn’s sound coming out, with softness and sensuality. That was the girl I photographed and that’s the woman who is in those pictures. The last time I was with her was just the day after the session. It was about 17 or 18 hours later…here I was with her at 5:00 the following afternoon, having the film with me to show her because she wanted to see it. When I went to her place, it seemed like something was wrong. She had dark glasses on, and a scarf over her head.

The door was opened a crack…this was the same room I had been in the first night but now it was dark. She wasn’t in a good mood when we started talking. She looked quickly Continued on page 20 vancouverphotoworkshops.com

photohaus magazine fall 2012

“

She seemed to float, not walk, into the room

there was a great luminescence about her

now she was Marilyn Monroe

�

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through the pictures and she was less than happy with them. She disappeared and came back without the dark glasses and took another look through the pictures and started to find some she liked and eventually fell in love with certain images, such as the one with her holding a pillow. She said, “this girl is the kind of girl that a truck driver would like to be in that bed with”. That meant a real man, a kind of genuine man that she had probably grown up with.

I think there were genuinely multiple personalities of this individual. Many actors have this to some degree, but I’ve never seen it as extreme as I did with Marilyn. When I was with that laughing girl the first night, she was very seductive in the girl-nextdoor way.The seductress…she was sexy, and sexual and every normal functioning man would want that woman. Who knows what grey clouds had come over her after that shoot by the next afternoon… her life had lots of complexity about it.

PH: She died not long after that shoot didn’t she?

DK: A few months. I photographed her November 17th, and she died on the 5th of the following August.

PH: Do you find, having worked on so many films and having relationships with directors and cinematographers...does that influence how you direct your subjects?

DK: A simple lesson in directing is…don’t direct.

Watch what people do, and understand what their background is, and who they are, and try to incorporate that into the image as much as possible.

Somebody walks in, sits down…you have a little conversation with them and try to get a sense of how comfortable they are. If anything, I under-direct.

One of the worst things you could say to anybody is “act natural”. Do not ever say that to a subject… why? Because they don’t know what natural is. You might say, in a very delicate way, “gee that was really nice what you just did there, could you do it just once more but just a little slower, I’d like to see it…”

Some people would follow your directions like that, and others wouldn’t be able to. If it works, use it…if it doesn’t, don’t get thrown by that. You have to be comfortable with the person on the other end. One of the other most important rules for me is; you as a photographer may have the most cool camera and you may have faked that you are the best, but believe me, it’s not you. You do your part on the camera end, but it’s the subject, because you will only get as good of a picture as they feel comfortable with.

Watch it, and when you have to give directions, do it delicately. Unless you’re shooting a rock star and it’s a lot noisier…you’d take on a different personality and scream and jump and play the game, and dance with the music as well. It’s how you direct the image, but it’s also not allowing anyone to feel they’re too directed. It’s delicate nuance. It’s feeling and sharing.

That’s where, if there’s something called good directing, I feel that’s where it comes from.

PH: If you could give one piece of advice to photographers just starting out in portraiture, is that your one big tip?

DK: I’d say try to be sensitive to the person who arrives. I generally have a very positive feeling about photohaus magazine fall 2012

people. Try to be interpretive of their personality if they’re quick and jumpy, well that’s okay, maybe that’s the type of picture you want. Allow them to move around. Allow people to make their own picture, but be able to accommodate it. Don’t be so locked down as a photographer that you can’t be interpretive as you shoot a portrait.

PH: Do you think you could pin down the secret to your own success?

DK: Not easily. It’s a great curiosity to me. I have 2 or 3 principles. Don’t ever burn bridges. For example, we’ve photographed all the nominees for Oscars this year…Best Actor, and Best Supporting Actors, there were 20 in all. Meryl Streep came in, and I’d worked with her on Out of Africa, Sophie’s Choice, and a couple of other times too. She came in and put her arms around me and said “Oh it’s so nice to see you again”…

make the most of it…and one of the things I try to advise people is; whatever you do, do it as well as you can. If you’re taking pictures, if you’re mowing the lawn…whatever you’re doing, just do it as well as you can because at the end of the day, it feels best. The funny thing in photography, I find, is if you really reach and do your best and say “well I can get to here”…you get to there and then you push just a little harder and you find something a little better and you do things you didn’t know you could do.

Douglas Kirkland will be at Vancouver Photo Workshops January 18 - 20, 2013

I can’t understand it myself, except that I do try to always do the best I can. I have a positive perspective.

I love, truly, passionately, love photography. I try to vancouverphotoworkshops.com

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EVOLUTION OF THE DIGITAL SLR

By Marc Koegel

M

any agree that today is one of the most exciting times to be a photographer. If you’re just getting into photography, or are looking to get serious, the good news is that never before has camera equipment been more capable and affordable. In the year 2000, the 3.3 megapixel Canon D30 (not to be confused with the 30D introduced much later) was considered a bargain at just under $3000.

Today, you can pick up a 36 megapixel Nikon D800 for about the same price. If you’re looking to buy your first ‘serious’ camera you can now get into a digital SLR for less than $500, and that camera will offer significantly higher quality and versatility than the D30, which was considered state-of-the-art in 2000.

Resolution and price are not the only areas of vast improvements in digital technology. This image is a 33 minute long exposure taken with a 36 megapixel full-frame Nikon D800. I was lucky to receive one of the first D800’s available from my good friends at Beau Photo, and this image, originally posted to my blog, was part of my initial tests with this ‘game-changing’ camera. This kind of time exposure would not have been possible with any DSLR only a few years ago, but these days you can achieve great results with a much smaller investment.

The 3 major camera manufacturers, Canon, Nikon and Sony, have all recently announced their most affordable full-frame cameras to date. Whichever brand you decide on, never before could you pick up a camera with this much quality and capability at such a low price. The advantages of a full-frame DSLR hold true for all manufacturers: very low noise, increased sharpness, high resolution and fine details and keeping your lenses ‘true’ by eliminating ‘crop factor’.

Only you can determine if a full-frame DSLR would make a difference to your photography, so I suggest giving it a try to see for yourself. Many retailers offer rentals of recent camera models. This gives you a great opportunity to try these cameras before making a buying decision. While certainly not for everyone, a fullframe camera can make a significant difference. For my commercial and fine art work, I welcome this newly improved technology!

For more from Marc Koegel, visit his blog: www.bulbexposures.com 22

photohaus magazine fall 2012

Sponsored by vancouverphotoworkshops.com

Beau Photo Supplies is Vancouver’s one-stop source for photographers. From cameras, lighting and grip to film and accessories, and a well equipped rental department. Professionals and avid amateurs alike will find all the tools they need to create spectacular images.

Beau carries the latest cameras and lenses from Canon, Nikon, Hasselblad, Phase One, Panasonic and Fuji, Grip equipment from Manfrotto, Matthews, Gitzo, Slik, Arca Swiss and Wimberley, and lighting from Profoto, Dynalite, Hensel, Lightrein and more. Find the most reliable products from the brands you trust. Beau has experienced staff who are ready and willing to answer your questions, help you find the right equipment for your needs and troubleshoot whatever problems may arise.

Beau has a very well equipped rental department with the latest digital cameras and lenses, lighting and grip. Rent for a special project, or try out the camera or lens you are thinking of buying. If you love it, get up to two days of rental as credit toward your purchase. If you don’t love it, get up to two days rental credit toward the purchase of an equivalent item you like better.* Take advantage of our one-day weekend rate. Rent from Friday afternoon until Monday morning and pay only one day. On a long-weekend, get an extra bonus day.

Beau Photo is a local, independent shop, where clients are not just customers, but a part of our larger photographic community.

You can find us on Twitter: @beauphotostore Facebook: Beau Photo Follow the blog at beauphoto.blogspot.ca * Conditions may apply. See in store for details

photohaus magazine fall 2012

(604) 734-7771 www.beauphoto.com 1520 W 6th Vancouver, BC V6J 1R2 vancouverphotoworkshops.com

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C a p t u r i n g Pe r fe c t We d d i n g M o m e n t s

by Tim and Karen Tallevi

T

he first question we always get asked by budding wedding photographers is: What camera do we use? Lucky for us, that’s an easy question to answer, and while it’s super important to have good gear (and to know how to use it), it’s only a small part of the equation.

We also get asked: What’s the most important skill to master to start or expand a wedding photography business? That’s a tougher question to answer.

The obvious starting point is mastering exposure and composition, but there are plenty of other skills that are of equal or even greater importance.

LIGHTING

We start by looking for great light. Don’t get distracted by anything else but the light. Think about how you can use it to enhance or highlight your subjects.

LOCATION

This comes second, not first like most people think. It can be as simple as making sure you have a background that doesn’t compete with the moment you’re about to capture. Think about framing your subjects or using leading lines.

POSING

Guide your subjects in the general direction you want them to face to take advantage of the great light and location. Now let them be themselves. With a newly married couple, we encourage them to cuddle, giggle, whisper and kiss…or almost kiss (that’s a trick we use!)

Now you just need to watch and wait for that perfect moment

Managing brides, their mothers, and rowdy wedding parties takes a special skillset. Marketing and improving your brand awareness is hugely important.

Setting expectations, and ultimately exceeding them will get you referrals.

Knowing how to set your prices so you actually make money is essential to staying in business. Mastering these skills is what will set you apart from the competition and give you the confidence to take charge and do your best work.

So what’s our favourite part of the whole process? It’s capturing that perfect moment. It happens in a fraction of a second…are you ready?

Sometimes these moments happen on their own and other times we help create them. When we’re part of the process, we call them “posed candids” and they’re what we’re best known for. So how do we do it?.

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th e dow n l o a d

A DA M B L A S B E R G Where were you born?

False Creek, Vancouver What book are you reading?

I’m reading a book called “People of the Book” When you were a kid, what did you want to be when you grew up?

I knew from a very early age that I wanted to be a photographer...before that...I wanted to be a triceratops.

Did you take any formal training in photography?

I did. I graduated from the Langara Professional Photo-Imaging Program.

When did you start working in photography and what was the first memorable picture you made?

photohaus magazine fall 2012

I started working in photography in 2001. The first memorable photo I ever made was of a little girl feeding pigeons on Granville Island. It’s still one of my favorites to this day.

What is your absolute, can’t-live-without, favourite piece of equipment?

My waist level viewfinder.

What is your most used software program?

Capture One 6, soon to be 7.

Canon or Nikon?

Phase One?! It’s truly part of my creative process. My brain doesn’t think in terms of DSLR. Medium format slows me down, reminds me to consider the details, and forces me to pay attention to my technique.

What are your thoughts on photo-manipulation?

There’s a time and a place. It all depends on the artistic process of the image creator. As long as ethics are abided by, I see no difference between using Lightroom and the Darkroom.

How do you feel about the automated retro look a la Instagram?

It’s sort of like McDonalds. Everyone finds it quite tasty, but I always feel a little guilty when I try it.

Do you have any other go-to gear that you can’t live without?

My computer...oh!!! And sync cords!!!

Do you think there is still a place for darkroom and other conventional processes?

Absolutely 100% for sure!!! My camera is a unique combination of conventional process and modern technology (Hasselblad with a Phase One digital back), and so is my printing (Lightjet).

What other types of media inform your work?

Renaissance painting, and sculpture. And modern interior design.

What is your favourite visually inspiring film?

The Man Who Wasn’t There. It’s a modern take on Film Noir. I love film noir.

Who are the photographers you admire most?

Dan Winters. He is by far my favorite photographer ever! But I’ll always have a soft spot for Henri Cartier-Bresson.

What’s your favourite blog or website?

Netflix. There are more photos on that site than you’ll see on any site anywhere. They’ve got thousands of films, and each film has almost a quarter million frames!!! That’s a lot of photos!!!

Does the Mac or PC debate really matter?

As much as I don’t think it matters if you’re a Mac or a PC user, my clients would be a bit surprised and possibly judgmental if a PC made it on set.

I avoid that by using a Mac. Plus, my Mac makes for a better prop when shooting stock.

If you weren’t a photographer, what would you be?

A carpenter.

Any thoughts on the future of the photography industry.

I’ve always tried my hardest not to predict the future state of the industry.

I can tell you that my own photography business has grown exponentially since 2008. Those that want work will continue to find it.

Adam’s new workshop, Developing Your Portrait Style, starts January 22nd at Vancouver Photo Workshops.

vancouverphotoworkshops.com

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interview

MICHAEL LEVIN Vancouver-based photographer Michael Levin is considered to be one of Canada’s top fine art photographers. Represented by 18 galleries worldwide, his photographs sell for up to $20,000 each.

With more than 10,000 worldwide sales of his first monograph, Zebrato, his career has amounted to the Holy Grail for fine art photographers. It’s not surprising that he’s won more than thirty photography awards, including Fine Art Photographer of the Year from the prestigious PX3 Prix De La Photographie Paris. To top it off, several of his images have been reproduced by IKEA and have sold more than 500,000 posters worldwide.

Rob Piazza © 2011

A

s Vancouver Photo Workshops develops new opportunities for photographers to travel with their creative kin, and in light of the overwhelming success of Michael’s workshop presented by VPW this past summer, it seems only natural to partner with him again to create a premium experience that would blend inspiration, instruction and adventure.

We sat down with Michael to talk about the unique perspectives he brings to his photography and his workshops that keep him in such high demand.

PH: You’ve achieved a level of international acclaim that is rare for fine art photographers.

What is it about your approach to the work that has lead to your success?

PH: What is it about teaching that appeals to you?

ML: Initially I hadn’t considered teaching, as I was too involved in the day-to-day process of being a fine art photographer. It was really through the numerous emails I received asking if I would do any workshops that I became aware of the possibilities. I realized there were aspects of my career that fellow photographers would find useful to hopefully further their own creativity.This is when I realized that other people could benefit from my experiences and I began conducting workshops.

ML: I’ve been fortunate that I have been able to

PH: You seem to approach your business with the same clarity and efficiency as you approach your creative work. Are these skills that can be taught?

PH: What’s your take on the world of fine art photography today, and in the years to come?

ML: Yes, absolutely. One of the most common

photography and that strong work will stand the test of time. With digital cameras being so accessible it’s allowed people to be creative in ways we hadn’t seen in the past. It’s really quite exciting to see where all this digital camera and Photoshop technology will take us in the future.

I put 100% effort into capturing my images and spend hours editing my work so that only the best images are shown. I also spend considerable time on creating new ways to showcase my work to a larger global audience, such as the case with my film Ki, directed by Brad Kremer.

questions I get asked is ‘how did this all happen for you?’ My response is simply that I put a lot of effort into the marketing and promotion of my work. There are no shortcuts and you really need to come up with a plan for what you want to achieve with your work. Once these questions have been answered then that plan can be put into action. In my workshops I candidly talk about what did and did not work for me in building my photography business.

[His innovative approach paid off, with Ki winning the gold medal at this year’s International Photography Awards and racking up over two million views to date]

PH: Your international travel has obviously been fruitful in the photographic work you produce.

What is it like being on the road and on-location with Michael Levin?

ML: I’m fortunate that the style of photography I shoot seems to resonate with a large audience.

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photohaus magazine fall 2012

travel the world and have had these incredible experiences. In the workshop, participants will really get an idea of how I approach a scene and what elements I’m considering during the creative process. We will also talk about some of the technical challenges of long exposure photography and the tips and tricks I’ve learned over the past decade. This is really an on-location forum when we get to share ideas and talk about improving one’s own work.

ML: I think there will always be a place for good

“My workshops are meant to provide all photographers the opportunity to figure out what they want to say with their camera rather than just how to use their camera. I find that difference can be very important to establishing an identity for the work and the photographer.”

Michael is currently planning his next workshop.

Join the VPW mailing list to get full details. vancouverphotoworkshops.com

Fashpoint is Vancouver’s leading photographic equipment rental company. Our staff have the combined strength of 40 years in the photographic industry and can help you coordinate your job from start to finish with expert advice, a comprehensive range of reliable quality gear, pick up & delivery service and the knowledge you are working with people who care about your shoot.

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photohaus magazine fall 2012

vancouverphotoworkshops.com