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VOLUME 19, NO. 3 · Autumn 2010 · $ 6.98
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News
DR. WAYNE LYNCH
Traveller’s Camera Arctic Adventure
PETER BURIAN
How to Pick the Perfect Bag
NORMAN PILUKE
Autumn Leaves, Autumn Light
Photo by Michel Roy
The Magic of Michel Roy
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VOLUME 19, NUMBER 3 Autumn 2010
InFocus
YO U R S O U R C E F O R CANAD IAN P H OTO G R AP HY
FREE CO
VOLUME 19, NO. 3 · AUTUMN 2010 · $ 6.98
PY!
News
DR. WAYNE LYNCH
Traveller’s Camera Arctic Adventure
PETER BURIAN
How to Pick the Perfect Bag
NORMAN PILUKE
Autumn Leaves, Autumn Light
Photo by Michel Roy
THE MAGIC OF MICHEL ROY
Autumn Eyes PLUS: PM40040669 Return undeliverable Canadian addresses to 22 Telson Road, Markham, ON, L3R 1E5
COMPLIMENTARY ISSUE
The Three-Light Portrait Studio
Cover Photo by Michel Roy ©
Publisher Jacques Dumont jdumont@zakmedia.ca Editor Norm Rosen editor@zakmedia.ca Graphic Design Jean-Denis Boillat Contributing writers/photographers Dr. Wayne Lynch; Peter Burian; Norman Piluke; Michel Roy; Eli Amon ADVERTISING adsales@zakmedia.ca Published by
Zak Media 189 Rue Alfred-Desrochers Saint-Augustin, QC, Canada G3A 2T1 Tel: 418 871 4294 Fax: 418 871 4295 www.zakmedia.ca PHOTONews is published four times a year (Spring; Summer; Autumn; Winter) by Zak Media for Amplis Foto, and distributed to 50,000 photography and video enthusiasts throughout Canada. All rights reserved. Reproduction of any material appearingin this magazine in any form is forbidden without prior consent of the publisher. SUBSCRIPTIONS – Address change visit www.photonews.ca or contact Amplis Foto, 22 Telson Road, Markham, Ontario, Canada L3R 1E5 Tel: 905 477 4111 Fax: 905 477 2502 Subscription rates: One year (4 issues) $27.92 CDN, two years (8 issues) $55.84 CDN. Single copy price: $6.98. © 2010 PHOTONews Magazine, Zak Media Printed in Canada ISSN 1185-3875 Canada Post Publications Mail Agreement No. 40040669 Undeliverables to: Amplis Foto, 22 Telson Road, Markham, ON L3R 1E5
Autumn Adventures
As an avid photographer, I greet every day as an opportunity to discover new photographic perspectives and techniques. From dawn to dusk, and well into the evening hours, the potential for creating interesting images is endless. One of my favourite pastimes is to visit photo shops, camera shows, and photography clubs, and chat with photo enthusiasts. After discussing some of the latest equipment and techniques that we are working on for the magazine, I always ask my new friends “what will you photograph this weekend?” Autumn is a fascinating season for the avid photographer. Autumn foliage is an obvious “must” on your list of photographic assignments, but so many people just snap a few pictures and call it a day. For this issue of PHOTO News, I visited Norman Piluke, and asked him to share some secrets for outstanding Autumn images – it is amazing how much better your pictures can be when you rise before dawn to capture the emerging beauty of light and colour, and then take the time to wait for the ideal moment to create the picture. When the days become shorter, it is time to take your tripod and your camera for an adventure in night photography. Explore the subtle nuances of time by shooting long exposures – focus on a street scene, and watch the cars trace lines of light across the frame, or record a traffic light as it cycles through the red, yellow, and green mode. Try a really long exposure, and you can almost turn night into day… with stunning colours and an “other
worldly” appeal. Autumn is an excellent time to polish your indoor photography techniques. Take a look at our special feature by Eli Amon, and you will see how easy it is to produce wonderful portraits with basic lighting – you can even use wireless flash for a truly portable studio. When you have captured the “perfect image”, why not copy the file, and apply a bit of Michel Roy’s “Magic” in your digital darkroom – you may be surprised to discover how creative your images can be… all it takes is a spark of inspiration, a dash of daring, and a few minutes of effort to create a moment in time that will last forever. Take a look in the mirror, and ask yourself – what will you photograph today… then read on, and I am sure you will find a new world of photo opportunities! Norm Rosen, editor editor@zakmedia.ca Visit the website at www.photonews.ca Join the flickr® group at www.flickr.com/groups/photonewsgallery/ Questions or comments? Please send me an e-mail – editor@zakmedia.ca
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14 PORTFOLIO
Autumn Leaves, Autumn Light The art and experience of Norman Piluke.
Reader’s Gallery
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Highlights from the PHOTONews flickr® Group. Post your favourite shots! www. flickr.com/groups/photonewsgallery/
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20
Arctic Adventure
Wayne Lynch takes us on a voyage of discovery to the top of the world.
Pick the Perfect Bag
28
For quick trips or major excursions, there is a camera bag to fit your needs! By Peter Burian.
Sunrise in Algonquin Park, Ontario.
Photo © Norman Piluke
In The Studio
Eli Amon shows how to use basic lighting for outstanding portraits.
Yes, you can make great prints at home – here’s how! By Peter Burian.
32
The Printer Primer
38
Special Techniques
42
The Magic of Michel Roy – Autumn Eyes. A fascinating way to hone your Photoshop skills!
Autumn 2010 | 7
DSLRVideoNews…
Kobold Comes to Canada! With the popularity of DSLR video technology capturing the imagination of serious videographers, the need for professional continuous lighting systems has opened the door to a new category of products. Bron, a world leader in studio lighting for photographers, has been developing HMI continuous lighting systems for more than 15 years, incorporating the technology and design that has made Broncolor studio equipment the choice of serious professionals throughout the world. The recent announcement that the Kobold Daylight series of video lights and accessories will be available in Canada, with a range of products that are compatible with existing Broncolor studio equipment, brings a new perspective to the professional videography market. The challenge of creating very quiet lighting that performs effectively with DSLR cameras that record sound – in many cases multi-channel audio, has been a priority for the engineers at Bron Elektronik, in Allschwil, near Basel, where the Kobold lighting systems are developed and produced. The Kobold daylight lamps and electronic ballast units were engineered to meet the needs of the ENG (electronic news gathering) industry,
8 | PHOTONews
where interviews often have to be conducted outside of the TV studio, yet the interview subject has to be lit as effectively as possible. Event video poses an even greater challenge, with mixed ambient lighting making the documentation of the event even more difficult. The Kobold daylight HMI light is three times brighter than halogen light of the same power output, and does not need a daylight filter saving one full f/stop. The lights also generate less heat. The latest DSLR video cameras offer adjustable 1080p full HD video, with weather sealing that protects the camera from dust and humidity. The Kobold products in the DW series (Daylight Weatherproof) keep pace with the needs of the ENG industry by providing fixtures and ballast units that are weatherproof to IP 54 or IP 43 standards – they can even be used in pouring rain without additional protection. For location lighting, the Kobold light fixtures use a bayonet system to allow the videographer to attach PAR and Open Face
reflectors, or softboxes, to achieve the optimum results for either single frame or film mode. The 4-leaf barn door can be rotated 360°, and the optimized design of the reflector provides high light output. With an ergonomically designed rotary knob, the open face reflector enables focusing from 15° - 45°. Four different lenses (NSP, MFL, WFL, VWFL) and a Fresnel lens for different light characteristics are available for the PAR reflectors. Kobold fixtures offer electronically controlled, flicker-free light with constant output throughout the entire service life of the bulb, and they are equipped with special UV safety glasses which absorb the harmful UVB-rays. Compared to previous and other HMI products on the world market, Kobold products are characterised by a constant colour temperature. The fixtures and ballast units are compact and solidly built, and offer maximum reliability even under extreme weather conditions. For more information on the Kobold line, please visit www.bron-kobold.com.
News Canadian photo enthusiasts – for a free subscription to PHOTONews visit the website at www.photonews.ca and click on the “subscribe now” button!
Canada
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Autumn 2010 | 9
Photokina2010
The Photo Showcase of the World www.photokina-cologne.com
If you are planning to visit the largest photography trade fair in the world, held from September 21 - 26, 2010, at the Koelnmesse complex, in Cologne, Germany, it’s time to make those last-minute travel arrangements! Photokina has so much to see and do that you will need at least the full six days to take in all of the sights. Held in the fourth-largest exhibition facility in the world, the trade fair includes exhibits from more than 1,370 suppliers to the photo and video industry. Don’t miss the opportunity to view the displays of photographic art that will highlight this year’s Photokina. World class exhibitions such as the premiere of the National
Geographic exhibition “The Dolomites - The Stone Heart of the World,” the best images from the “Glanzlichter” (Highlights) competition and the UNICEF Photograph of the Year exhibition, have proven to be very popular among the visitors to Photokina over the past years, and there will also be numerous works showing different approaches to the medium of photography, from traditional photo documentation right through to very personal and emotionally moving photo series. Why not make Photokina the focal point for a trip through Europe – it’s the ideal opportunity to expand your horizons, and take photography to a new level.
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10 | PHOTONews
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SummerContest Congratulations to the winners of the quarterly PHOTONews Challenge!
Evening blue hour. Ivan Sorensen captured this evening blue hour image at Cootes Paradise in Hamilton, Ontario, using a Nikon D90, 18-200mm f/3.5-5.6 lens at 18mm, exposure was 3 seconds at f/22, ISO 200. “Cootes Paradise is always a wonderful place to shoot. The sun had dipped below the horizon about 20 minutes earlier and I was waiting for the typical blues and magentas that show up here with late twilight.”
Spring Reflection on Cameron Lake. Thane Vanderaegen captured “Spring Reflection on Cameron Lake” in Waterton Park, using a Canon 40D with a Canon 17-40mm f4.0 lens. Three bracketed shots were taken utilizing a circular polarizer. “I arrived at Cameron Lake quite early, and upon seeing the lake this calm, I knew that the scene was perfect. When the shots were combined in Photomatix, the colors took on the hues of Ammolite, a gemstone found in Southwestern Alberta.”
A wonderful variety of lilies… Sue Thompson of Chatham, Ontario found this gem in her neighbour’s back yard using a Canon Digital Rebel XSi with a EF-S 55-250mm f/4-5.6 IS lens at 146mm, shooting at 1/200 second, f/5.6 ISO 200, EV –1/3. “I am a backyard photographer. My neighbour has a wonderful variety of flowers and a never-ending supply of great sunlight.”
Playing at the Granville Island Water Park on a hot summer day. Harris Hui of Vancouver captured this summer memory. “I took the picture at Granville Island Water Park, using my Nikon D300 DSLR and 70-200mm f/2.8 lens, ISO 200, f/2.8 and 1/2000 second, set up on my Manfrotto 190MF3. The lens has fast focusing capablility and it allows me to photograph the fast moving kids in the park.”
Raindrops on a branch. – Renata Lenartowicz of Guelph, Ontario, captured this image of raindrops on a branch using a Raynox DCR-250 macro lens attached to a Panasonic Lumix DMC-FZ30, at 24.4mm focal length, shooting at 1/30 second, f/3.6, ISO 200. “I was about to leave the Arboretum when I saw this branch. Raindrops, with their secret, reflected images, always fascinate me.”
Don’t miss the Autumn PHOTONews Challenge – see page 50 for details, and post your best shot at the PHOTONews flickr® group – www.flickr.com/groups/photonewsgallery/
Autumn 2010 | 11
Reader’sGallery Boardwalk at Terra Nova Harris Hui took this picture on a bright sunny summer day at Terra Nova Rural Park in Richmond BC, using a Fuji S3 Pro DSLR and Nikon 28mm fixed lens and a Hoya R72 infrared filter. “The R72 filter only allows infrared light to enter the lens and the infrared light is invisible to the naked eye. Because of the filtering, the exposure usually takes very long. Under the bright sunny weather, I exposed the picture for 15 seconds. The detailed settings are ISO 400, F11.0 aperture and 15 seconds shutter in B&W mode in camera. The infrared pictures will give different tones in a regular scene because objects will have different reflectivity of infrared light. Usually foliage will become white for example. It is a great fun taking infrared pictures!” Cat’s Eye Anastasia Ganzulya of Concord, ON, has been shooting for about 6 years as a hobby. She has shot professionally for Future Stars Photography, and has taken photos of Dj/Musician Edward Maya, that were posted onto his official website. This photograph was taken with a Nikon D200 with a 28-85mm zoom lens, which has a macro feature, at 28mm, f/5.6, 1/125 second, ISO 500. “It was hard to get the cats attention but the cat has fascinating eye colour, I had to capture it!”
Droplet on a Lotus Leaf Eric Meunier, of Toronto, Ontario, took this picture with a Canon 7D and a rented 100-400mm L-series lens. Exposure settings were 1/40 at f/14, +1 exposure bias, ISO 200. “This photo was shot during a trip to a water garden. I was fascinated by the water droplets nested in the lotus leaves and their potential for nice reflections. A little bit of curve adjustment during post-processing gave the velvety look to the lotus leaf.”
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PHOTONews Magazine is delighted to recognize the work of the following Canadian photographers, whose vision and creativity brightens our Reader’s Gallery this issue. Our new website now includes a special gallery section, where all readers can view the work submitted and post comments… we encourage you to post your favourite image, no larger than 600 pixels tall – a selection of the best of the images will be published in each issue of PHOTONews! Readers participating in the published gallery will receive a special gift. Photographers will retain all copyright to the images shown in the gallery, both on-line and in print. Take a few minutes to review your favourite images, and visit http://www. flickr.com/groups/photonewsgallery/ for complete instructions for submitting photo files to the PHOTONews Reader’s Gallery!
Sunset on McRay Lake Yevgeniy Davletshin of Toronto, ON, is an amateur photographer, who shoots for fun during his free time. Yevgeniy captured this image of a sunset on McRay Lake, ON using a Sigma SD14 with 10-20mm F4-5.6 EX DC HSM, at 10mm, f/9, 1/30 second, ISO 100. “It was a peaceful and warm evening on McRay Lake, where I was camping. Combination of windless weather and clouds above the lake allowed me to capture an amazing reflection of a sunset.”
Butterfly on a Tiger Lilly Emmanuel Huybrechts of Montreal, CA started photography seriously four years ago. Emmanuel captured this image of a butterfly with a Pentax K-7 and a Pentax DA 21mm prime lens at f/3.2 1/125second, ISO 640. “I wanted to try a different perspective than the 50mm or 100mm macro I usually employ. The DA 21mm focused close enough for this purpose. I didn’t touch the contrast or saturation sliders, it came as is right from the default Lightroom processing. The DA 21mm is really a special lens when it comes to punchy colors.”
Golden Canola Lisa Couldwell of Calgary Alberta, has been involved in amateur photography as a hobby since February 2009. Lisa captured this photo of Central Alberta canola fields in full bloom at early evening sun in July 2010 using her trusty Pentax K7 and 18-55 kit lens at 55mm, ISO 400 and f/18. “My friend Terry and I were heading home after an afternoon of shooting near Drumheller when we spotted this gorgeous field of golden canola off Highway 9. I couldn’t resist the temptation to take a shot as it was such an incredible sight. I knew it would be my favorite photo of the day when I started shooting and it was.”
Autumn 2010 | 13
Dawn at Algonquin Park The early morning light dances across the landscape in this shot, taken with a Linhof 4x5 view camera. Shooting into the sun, using a lens hood plus a hat as a makeshift gobo to keep stray light from the surface of the lens. There is a story behind this image - Norman scrambled down a steep bank to find the ideal point of view, and set up his tripod on top of a beaver house – the image comes alive when printed on canvas, with the black enhanced to bring out detail.
by Norman Piluke
Autumn Leaves, Au F
or more than 30 years, the photographic art of Norman Piluke has brought the beauty of the Canadian wilderness to audiences around the world. With a long list of published works, and gallery images hanging in the corporate collections of more than a dozen of the nation’s leading institutions and corporations, it is very likely that PHOTO News readers have enjoyed many of his works over the years… but Norman and Joanie Piluke are very lowkey when it comes to their many accomplishments – despite pages of “best in show” and gold medal awards for wildlife, landscape, and commercial photography.
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I had the pleasure of spending an afternoon at DSM Photographic, tucked into Norman’s studio at Dufferin and Dundas streets in Toronto. This former metal working shop has been transformed into a gallery, where dozens of magnificent paper and canvas prints line the walls, and hundreds of prints wait in display racks for the chance to catch your eye - each and every one printed to match the colour balance of the light in which the photograph will be displayed, and carefully crafted to bring out the very best in colour and detail. Norman Piluke is a meticulous shooter and a highly skilled fine art printer. His
utumn Light workshop includes a range of large format digital printers, mounting tables, and a computer suite that would make any photographer turn green with envy. With decades of scanned images from the days when Norman shot in 4x5, 5x7 and 8x10 format, to a vast collection of digital images, it was a memorable experience sifting through the portfolio to provide the series of Autumn images that are featured in this issue of PHOTO News. Readers can share this adventure – just call Norman and Joanie to arrange a visit to the gallery – it is open every day, except when the couple are on the trail of new photographic adventures.
With so much experience to share, I asked Norman to focus on the subtle nuances of the Canadian autumn. Each of the images portrayed here embodies a dedicated approach to the art of photography – some were captured in an instant, when the autumn light brought a special magic to the landscape – others were the result of many visits to a specific location, in a quest for that special combination of seasonal colour and light that distinguishes the Canadian wilderness from all other places on earth… hence the theme for this presentation – Autumn Leaves, Autumn Light. The photos speak for themselves; the captions describe the
Photo © Norman Piluke
The photography of Norman & Joanie Piluke techniques and circumstances that make each photograph a special moment in time. Like many professionals, Norman and Joanie shoot RAW, with no filters, and no gimmicks – just the basic lens hoods, very sturdy tripods with cable releases, and LOTS of patience. Norman and Joanie Piluke have been taking photo workshops into Algonquin Park for 20 years – today, we join them in a photo excursion in print. Read on, and imagine how you can enhance your personal vision of the Canadian wilderness as the autumn leaves and autumn light transform the forests into a palette of magnificent hues.
Autumn 2010 | 15
Beaver Pond, photographed in Muskoka (back from Algonquin Park). Norm and Joanie returned to this spot every autumn for six years. For several years, the beaver dam had been partially removed, in an effort to encourage the beavers to relocate so that highway construction could proceed without major environmental impact. The year that they took this shot, they passed the location every day for a week, watching for the right combination of weather, lighting, and the degree of change in the colours of the leaves. Photographed on film, 5x7 format. The next year, the rock had been blasted away, and the spot is now part of Highway 400, near Go Home Bay. © Norman Piluke
Rapids in the Mist. Sometimes, you have to make a personal sacrifice to capture the perfect image. For this shot, Norman ventured out at dawn to record the mist forming above the rapids. To say that it was cold would be an understatement – this was not the dry cold of the Canadian winter – it was the bone chilling cold of an early autumn morning. Norman shot from a perch atop a rock, with the tripod legs submerged in the water. Photographed with a 5x7 view camera, using a 3 second exposure to soften the effect of the water. Norman and Joanie return to this spot every year, but the mist is an elusive element – you have to take the shot when the opportunity presents itself. Many people find that this shot creates a very calming effect. © Norman Piluke
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Shooting straight down produces a very sharp image from corner to corner, choosing relatively still water helps frame the image. EOS 1 DS MK 3 with a 24-105mm lens at 95mm, f/11 at 1/25 second. Manfrotto 055 carbon fibre tripod. © Norman Piluke
Joanie tiptoed from rock to rock, steadying herself with the tripod legs, before placing the tripod feet in the water and composing the image in the viewfinder of her Canon EOS 20D. The tree was at the peak of it’s autumn colour – they had watched it for a week, waiting until the colour was just right. Diagonal composition elements, the reflection in the water, and the still air made the shot – printing on canvas with slightly enhanced saturation for brilliant colour makes this a very successful gallery image. 28-135mm zoom at 28mm, f/11 at 1/120 second, ISO 200. © Joanie Piluke
Autumn 2010 | 17
Late one afternoon, after the rain subsided, Norman and Joanie were looking for a moose that had been frequenting this spot, on Opeongo Road, off Route 60, at the east side of Algonquin Park. The quality of the light and the rainbow made the shot – the combination of the rocks, the marsh, and the forest sky caught their eye. Sometimes, the subtleties of light contribute more to the success of the shot than the subject matter. EOS 1 MK 3, 1/20 second at f/16, ISO 160. © Norman Piluke
A classic autumn view, showing backlight technique. In the days when Norman shot large format film and transparency, two shots had to be enough to capture the image – one at the metered exposure, one at +1 EV to compensate for the backlight. This image wows the crowds at every exhibition, with the greens, yellows, and reds of autumn – but it is the small cluster of red maple leaves in the foreground that draws the eye, and sells the print. © Norman Piluke
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Maple Trail – in many cases, the best time to take Autumn foliage photos is after the leaves peak – with leaf litter on the forest floor, and more light penetrating the forest canopy, the balance between light and shadow is more gentle, revealing the subtle beauty of the autumn colours. © Norman Piluke
On the Net
You can view a large selection of photos from the collection of Norman and Joanie Piluke by visiting the DSM Photographic website at www.dsmphotographic.com and you can order gallery images on-line, printed on paper or Breathing Colour Canvas, laminated or coated with Breathing Colour Glamour II or Matte finish… or you can take Norman’s advice, and head into the wilderness with your camera: “Check the lighting and wait for the Autumn colours to peak – when the leaves are ready, and the light is right, make sure that you are at the ideal location, with your camera, lens, and tripod ready to capture the beauty of autumn leaves, and autumn light!”
Autumn 2010 | 19
PhotoDestinations
Svalbard
A
by Wayne Lynch
Oasis For nearly an hour our rubber zodiac headed into the icy teeth of a polar wind, steadily bucking across the angry surface of the Arctic Ocean. Time and time again, our rounded bow plowed into curling waves, pelting us with sheets of numbing salty spray. I clearly remember my excitement, and the discomfort of the journey only heightened the adventure and my expectations.
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We were skirting the southern shore of the island of Phippsøya at 80° 41’ N, 1550 kilometres north of the Arctic Circle. As we rounded a rocky point and motored into calmer water I saw a polar bear striding along the shoreline. Soon, I counted 11 more bears scattered about the beach. The backbone of a minke whale was stretched along the waterline and several bears were feeding together, chewing on the bony remnants. As we moved closer to the shore, a large adult male, heavily scarred on his muzzle and neck, swam towards us for a short ways and then dove. The bear was underwater for nearly 30 seconds before it surfaced with a ragged chunk of soggy, decaying whale meat, which it carried to the beach and consumed. For several hours we floated quietly offshore, photographing this timeless arctic drama – from death springs life. Phippsøya is part of the Svalbard Archipelago, a cluster of arctic islands roughly 600 kilometres north of Norway. The islands offer the best polar bear photography in the world. Add to that tusk-wielding walruses, blubbery bearded seals, riotous cliffs teeming with seabirds, and jagged snowy mountain peaks and you have one of the most outstanding polar destinations on the planet. I went to the Svalbard Archipelago for the first time in 1997. I had photographed polar
Hornsund, Svalbard Archipelago.
bears in Canada for several decades before that and had made 17 autumn and winter trips to Churchill, Manitoba, the self-proclaimed “polar bear capital of the world”. In Churchill, although the bears sometimes wrestle and play together, they spend most of their time curled up asleep, conserving energy, waiting for Hudson Bay to freeze. Svalbard offers a different kind of polar bear experience, one in which you can photograph
© Wayne Lynch
bears hunting on the pack ice and moving about in dramatic arctic landscapes. Since then, I have made more than 10 trips to the islands and I would rank them among the top locations in the world to photograph wildlife. Svalbard, located well north of the Arctic Circle, experiences four months of darkness in the middle of winter and a corresponding period of continuous daylight in the middle of summer. The best months to visit are June
Northwest islands panorama.
© Wayne Lynch
Autumn 2010 | 21
and July. As summer advances the pack ice gradually moves farther north beyond the archipelago. The pack ice is where you need to be if polar bears, walruses and bearded seals are your target species. The early months of summer are also best for wildflowers, nesting seabirds and waterfowl. More than three million pairs of seabirds nest in the islands, including large colonies of dovekies, thick-billed murres, black-legged kittiwakes and northern fulmars. The waterfowl species include: barnacle, pink-footed and brant geese, as well as common and king eiders. The king eider is arguably the most colourful bird in the arctic. Every trip to Svalbard begins in the town of Longyearbyen, the main population center in the islands. In summer, Longyearbyen is serviced by daily jet flights from Oslo. The town has a population of 1300 residents and was originally a coal mining community, but ecotourism is now the main industry. There is
an assortment of hotels and hostels as well as a municipal campground. Independent travel is possible in Svalbard, but I would not recommend it. To begin with, anyone who plans to hike beyond the town limits must register with the local wildlife office and carry a rifle for protection against polar bears. There have been scattered incidents in the past 20 years where foolish hikers from Europe, with minimal backcountry skills, were seriously or fatally injured by hungry bears. Reaching Svalbard is now so easy it can lull the visitor into thinking that it is a tame destination where minimal precautions are needed. In fact, once you hike beyond the outskirts of Longyearbyen, you are in true arctic wilderness with all of the hazards such travel entails: unpredictable challenging weather, flooded glacial streams, and dangerous predators. The best option to avoid all of the safety and logistical concerns is to travel on a tour, and the best tours for photography are on
King Eider. © Wayne Lynch
Atlantic Puffin. © Wayne Lynch
ships with hulls especially strengthened to travel in the pack ice. If you Google “Svalbard Ship Trips” you can search a number of operators. The ships are commonly refurbished Russian scientific ships that hold 50 to75 passengers and offer itineraries of 8 to 10 days for around $6000-7000. Some of the trips are designated specifically for photography and those are the ones to focus on. On a general natural history trip, you will find yourself doing lots of hiking and visiting historical whaling sites where there are few photo opportunities. On a dedicated photo trip the focus is usually on wildlife, and in particular on polar bears, walruses, seals and seabirds, so you’ll get more bang for your buck.
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Photography on the ship trips occurs in three situations: from the deck of the ship, from rubber zodiacs, and on shore. A common strategy on these tours is for the expedition staff to search from the bridge with binoculars and when they see a polar bear, walrus or seal on the pack ice, they approach it slowly. When a 75-meter-long metal diesel ship plows through the pack ice its approach is never stealthy or silent. Even so, it’s surprising how often the wildlife allows the ship to get close. Neither bears nor walruses have been hunted in Svalbard for over 50 years, so Long-tailed Jaeger. © Wayne Lynch
Thick-billed Murre. © Wayne Lynch
they are generally unwary and great photographs are possible. Polar bears will frequently approach the ship, even leaning against the hull while stretching their necks upwards towards the line of gawking tourists leaning over the edge gazing down at them. In some instances you can shoot full frame shots of the bears with a wide angle lens. More often, however, you must use telephoto lenses ranging from 300mm to 500mm to capture images of the bears approaching the ship across the jumbled surface of the pack ice, feeding on a seal kill, or striding along the ice edge searching for unsuspecting prey. The ship’s engines are never turned off, and because of this, all of the decks vibrate
slightly, so whenever I use a tripod I insulate the feet by covering them with homemade foam booties that dampen the movement. This precaution is especially advisable when you are using shutter speeds less than 1/125 second. Photographing from a zodiac is especially exciting although the lens options are more limited because you are bobbing around on the waves. Svalbard walruses seem charmingly curious and I have frequently had them approach my zodiac closely enough to capture portraits of the whiskered beasts with an 80-200mm zoom. In a rubber zodiac filled with excited photographers it’s a good idea to use an image-stabilized lens to get the sharpest results. Zodiacs are also a good platform from which to photograph bearded seals sunning on the ice, and the myriad shapes of icebergs. On trips to shore, which are made on every tour, there are great opportunities to photograph crimson woolly louseworts, the bobbing heads of yellow arctic poppies, and the delicate cream-coloured blossoms of saxifrages. Also, there are nesting shorebirds and arctic terns to focus on, as well as ptarmigan and the occasional inquisitive arctic fox. On every trip ashore the group is accompanied by one or more leaders, carrying highpowered rifles for protection against a polar bear attack. Such dangerous encounters are exceptionally rare and I’ve never had an incident on any of my trips.
Red Phalarope. © Wayne Lynch
Autumn 2010 | 23
“Polar bears will frequently approach the ship, even leaning against the hull while stretching their necks upwards towards the line of gawking tourists leaning over the edge gazing down at them. In some instances you can shoot full frame shots of the bears with a wide angle lens, more often, however, you must use telephoto lenses ranging from 300mm to 500mm to capture images of the bears approaching the ship across the jumbled surface of the pack ice.”
24 | PHOTONews
Photographing the Atlantic Walrus.
One of the great delights of traveling to the Arctic in the summer months is the quality of the light. During those months, the sun rides near the horizon for much of the day and throughout the night, often infusing the light with a warm amber glow that photographers affectionately refer to as “sweet light”. Even when there is no wildlife around, you can wander the decks of the ship capturing the various textures in the pack ice, the distant profiles of snow-capped mountains, and the glorious patterns in the cloud-cluttered skies.
© Wayne Lynch
As climate change impacts the planet, the Arctic and its wildlife are frequently in the headlines. The rise in global temperature is currently greatest in the polar regions and these areas are predicted to be greatly altered in the foreseeable future. Now is the time to see the Arctic and if you can only visit one location, Svalbard is the place to go.
Editor’s Note: Watch for Wayne’s new Arctic book, which will be out in September, entitled ”Planet Arctic – Life at the Top of the World“.
26 | PHOTONews
manfrotto.ca Manfrotto Products Marketed and Distributed in Canada by Amplis Foto www.amplis.com
Pick the Perfect
How to
Camera Bag Selection Tips No single type of bag, case or vest is perfect in all respects, but some can meet your needs for size, quality and convenience. Consider the following aspects when comparing several bags of a certain type. * Size: For air travel, look for a bag no larger than the standard for carry-on luggage. Regulations vary depending on the airline, but 22x14x9-in is common and 21x14x7-in should meet most size limits. * Fabric: Tough nylon or other synthetics (often with a smooth back panel) are used extensively and are among the strongest of fabrics. Canvas is becoming popular again, especially the smooth-textured, water resistant type. * Construction: Look for high quality
28 | PHOTONews
By Peter K. Burian for PHOTONews
buckles and snaps; check them closely to make sure they’re not thin or flimsy. * Removable parts: Some bags have panels or pouches that can be removed; that’s useful for customizing or whenever you want more space. * Padding: If you hike in rugged conditions, a hard plastic bottom can be important for protecting gear. The interior of the photo compartment or computer slot should be well padded and the dividers should be adjustable. * Harness: A backpack designed for carrying a lot of gear needs a superior and adjustable harness system, ideally with wellpadded straps for the shoulders, the waist and the sternum. Try on several while shopping (with some heavy objects inside) to find one that fits your frame most comfortably. * Other features: Also look for plenty of outside pockets for quick access to necessities, several internal compartments for organising
gadgets, rugged weatherproof / “self healing” zippers, welded metal hardware or tough plastic quick release snaps and a top flap to shed rain. * Accessories: Some bags and cases are modular: they accept accessories such as pouches for extra lenses. This feature is useful since it allows you to buy a smaller bag and expand its capacity on outings where you need to carry more items than usual. Hint: Take your photo equipment to a store that displays many bags and ask to try out some of them to determine if your gear will fit. Carry the bag around the store to determine the comfort level and convenience of access. Decide if you like zippers, Velcro™, quick release snaps and closures with straps. Adjust the straps and test all the parts for ease of function.
Although just about everyone already owns a camera bag of some type, most photo enthusiasts find they need at least two different kinds. That usually includes a small bag for short outings or family vacation trips and a larger pack for serious shooting when carrying more gear. If you haven’t shopped for a camera bag in a few years, you’ll be pleasantly surprised with the latest designs that have increased convenience tremendously. Styling, durability, and craftsmanship have also improved. Let’s consider each distinct type, as well as a few hints for selecting the one that will best meet your needs.
Tamrac Evolution 4
Tamrac Ultra Pro 11 Kata Hybrid 531
Shoulder Bags The most common type at one time, a top-loading bag is available in numerous sizes. Some of the newer models are billed as “messenger” style, indicating a slimmer profile that may be able to expand if you stuff it with extra gear. Look for a strong strap with a padded shoulder pad. Avoid buying the largest possible size or overloading a bag with everything you own. Otherwise, it will be far too heavy to carry for any distance, creating shoulder strain. Here are some examples of versatile shoulder bags. Tamrac Ultra Pro 11 &13: These are my own favourites for carrying a lot of gear on a long trip because of their great capacity and a foampadded front pocket for a 15.4” (or smaller) laptop computer. Like all Tamrac pro bags they include the Double Lens-Bridge Divider System that cradles DSLRs with battery grips and lenses attached, ready for action. Although they’re water resistant, both ship with a removable rain cover. They’re also compatible with the Modular Accessory System (M.A.S.) pouches like a water bottle or lens case. Niceties include a solid plastic bottom, a Speed Pocket for fast access to personal items, two ZipDrop front pockets for smaller accessories plus a Piggy-Back Pocket. The latter zips open to allow the bag to be slipped over the handle of rolling luggage. An EasyGrip carrying handle with a torsion bar strut helps distribute the weight of your equipment. Either bag can also be carried with the heavily padded BioCurve shoulder strap that features attachment slots for the Strap Accessory System (S.A.S.) of small pouches.
Tamrac Evolution 4: This new messenger bag is quite slim but accepts a surprising amount of equipment: a 15.6” or smaller laptop and a DSLR with battery grip and a mounted 70-200mm f/2.8 lens, for example. If you want to convert the photo bag to a briefcase, simply slide out the foam padded insert system (called a “shuttle”). You can then stuff the interior with files or other contents; the foam padded computer compartment can still be used if desired. Soft foam padding in the back provides cushioning while the shoulder strap allows the bag to be easily swung from back to front. Tamrac’s Piggy-Back Pocket allows the bag to be easily slipped over the handle of rolling luggage. Other features include a zippered pocket on the front flap for small items, a zippered back pocket and mesh pockets on the side for a water bottle. You can also attach any of the optional Tamrac Modular System (M.A.S.) pouches for holding extra lenses. The zippered top opens away from the body for quick access to the camera; gear
can also be accessed by unbuckling and lifting the top flap. Kata Hybrid 537: This D-Light series bag consists of two connected pouches. Use one for your camera with an extra lens and flash unit plus small accessories and the other for a camcorder, a digicam or a third lens. A rigid rib in one of the components provides structural protection while light yet durable RipStop fabrics and foams provide protection. When the two sections are connected, they work as if parts of a single bag with a handle, shoulder strap and tripod holder. On outings where you’ll be traveling light, simply separate the two sections and carry only one. The larger pouch includes a handle and you can attach the shoulder strap, tripod sling and rain cover to either pouch. As is standard with Kata bags, the Hybrid comes with a 5-year warranty that’s extended to Lifetime if you register the product online.
Autumn 2010 | 29
Tamrac Aero Speed Pack 85.
Kata Bumblebee ULB222.
National Geographic “Earth Explorer Backpack”.
Photo Backpacks For long trips into the field for nature, landscape or wildlife photography, I always carry my gear in a backpack for maximum comfort. Full mobility and freedom from fatigue is assured by a harness system which distributes weight over a large area. The only drawback – with traditional models – is that the pack must be removed when you want to access the contents. As we’ll see however, some backpacks – and the newer sling packs discussed later – offer greater versatility in this respect. Let’s take a look at some of the latest models of various sizes with some entirely different features. Tamrac Aero Speed Pack 85: Featuring individual compartments for photo equipment and for personal items – plus a foam-padded section for a 17” or smaller laptop – this pack is very rugged. It’s made with a strong PolyPak fabric, a water resistant zipper and a weatherproof flap, a completely foam padded bottom compartment and a foam padded harness. When the pack is worn over one shoulder, access to the contents is possible through the side door. Naturally, equipment can also be removed via the front panel with the pack is removed. This versatile pack holds a DSLR with a battery grip and lens attached (including a 70-200mm f/2.8 zoom) plus 2-3 extra lenses and accessories. Features include small pockets (inside the entry door) for memory cards and other accessories, compatibility with the optional Strap Accessory System and a tripod strap plus an elasticized mesh side pocket for a water bottle. A smaller model 75 is available too for carrying less gear, but without the laptop slot. Tamrac Evolution: These new backpacks – available in a large model 8 and a compact model 6 – provide great versatility. They’re equipped with a harness system that allows them to be used as a backpack or as a sling bag when using a single strap worn over either shoulder. When used as a backpack, two foam-padded straps distribute the weight for comfort. Convert it to a sling bag and
30 | PHOTONews
you gain easy access to equipment through one of the side pockets; there’s no need to remove the case to get at your gear. The Evolution 8 features a padded computer pocket for a 15.6” laptop and a compartment to hold a DSLR with battery grip and a lens (up to 20 cm long like a 70-200) plus other lenses and a flash. Evolution 6 does not include the computer slot but will hold a DSLR with a lens (14cm long like a 24-70), two small lenses and a flash. Both models include, well-padded shoulder and hip straps and a foam-padded top compartment. Extras include a hard plastic bottom, a built in tripod quickclip system, zippered side pockets, and a removable rain cover even though the bags are completely weatherproof. Kata Bumblebee ULB222: The first model in the new Ultra-Light collection, this backpack is surprisingly light in weight but features a metal Spine Guard for structural protection, durable RipStop fabrics, impact absorbing Toblerone and Aeriform foams for great protection. The lower compartment can hold a pro DSLR with a large lens (like a 70-200mm f/2.8 zoom) plus an extra camera, four lenses, flash unit plus accessories. Additional storage space is available in the top compartment and the large slot for a 17” or smaller laptop computer. An external top pocket and two side pockets will store personal effects or small
accessories and a water bottle. A modular divider system in the lower compartment makes internal setup very convenient, but it can be removed if desired. Extras include a tripod holder and a builtin camera strap, a rain cover, a Gecko (moulded foam) harness with ergonomic design, plus straps for attaching optional Kata products. National Geographic: Entirely different in styling and fabrics, the canvas Earth Explorer Backpack (in S, M or L size) is made of cotton and hemp with solid brass buckles. It’s coated for water resistance and also includes an internal nylon layer and a removable rain cover. The advanced harness system (shoulder straps, waist belt, lumbar strap) is padded and fully adjustable; when not in use, it can be neatly folded out of the way. A lower padded compartment, with modular dividers, holds photo equipment. The upper compartment opens with a large pull-tight flap and holds food and clothing. There’s a concealed pocket for valuables and a removable divider that allows for combining the two compartments into one. External pockets and pouches can accommodate extras such as wallet, passport, binoculars, water bottles, etc. Special connecting points allow you to tie on an ice axe, walking stick, or sleeping bag. A rear padded slot holds a medium-size laptop; the size of this slot depends on the bag size.
Tamrac Velocity.
Kata 123-GO Series.
Kata Bumblebee PL220 with Instertrolley.
Sling Packs
Rolling Cases
A backpack is fine for shooting out in the field but a “sling” type pack is more suitable in urban environments since it allows full access to gear with maximum convenience. Wear the bag on your back while on the move; when a camera is needed, simply shift (sling) the bag around to the front using just one strap. All packs of this type are similar in the basic concept but the available models can differ significantly. Let’s take a look at a few that I found to be particularly innovative and practical.
While traveling, by air especially, a rugged rolling case designed specifically for large/heavy photo equipment can be useful. This type is available in a wide range of sizes. The only problem is, an oldstyle rolling case is really just for transporting equipment; all of the gear must later be transferred to a more portable camera bag. That’s been resolved with innovative designs for greater versatility.
Weatherproofing - It’s always important to keep your equipment dry, but Kata, National Geographic and Tamrac bags all feature water repellant fabrics that means you don’t need to use rain covers which in some cases limit access to the bag and take time to attach. Rain or shine, just keep shooting!
Several Tamrac bags resemble a conventional shoulder bag or backpack but they’re equipped with a telescoping handle and wheels. This type (including the CyberPro a, SpeedRoller and CyberPack Express series) is great for air travel and while walking urban streets but is also a multi-purpose bag or case. The handle opens and collapses with the push of a button, disappearing when not in use; with some bags, it can be stowed in a zippered pocket.
Tamrac Velocity Series: Ranging in size from small (model 7) to large (model 10) this series was designed for speed of access. The Velocity 10 can hold two DSLRs with grips and lenses attached, (even a 70-200 2.8 with a hood) extra lenses a flash and accessories in the pockets. A Velocity 7 will hold a DSLR with a 14cm long (like a 70-300) zoom lens attached and some accessories. Any model can be carried comfortably like a backpack with the adjustable, foam-padded sling strap comfortably distributing the weight. But when swung to the front of the body, a Velocity provides access to gear via top entry; the zippered top flap opens away from the body for convenience. A waist belt helps stabilize the pack while hiking or biking but the Tuck-A-Way feature allows them to be hidden while traveling by air, for example. These sling packs are also customizable, using Tamrac’s Modular Accessory System components.
Kata 123-GO Series: Kata’s most lightweight sling pack series, these are more affordable than the advanced 3N1 series. Available in three sizes, the entry-level GO packs include a daypack for personal effects and another for photo equipment. The midsize 20 model holds a DSLR with battery grip and an attached mid-range zoom lens, 3-4 other lenses and a flash unit. In backpack mode, the weight is distributed across both shoulders; the included chest clip and hip strap help relieve part of the weight from the shoulders to increase comfort. The pack can be worn as a sling so it swings to the front easily (on the left or right shoulder), and allows for Quickdraw access to equipment. Note too that it can be work in an ‘X’ position across your chest. This provides the benefits of a backpack in weight distribution but allows for Quickdraw access when you detach one of the straps using the buckle located at the hip. Other features include internal and external pockets, modular dividers, a rigid rib for protection and a rain cover plus compatibility with an optional Tripod Holder and Insertrolley accessory.
Kata has taken a new approach making most of their larger bags compatible with an optional Insertrolley device, a frame with wheels weighing 1.8kg. Attach the bag’s Trolley Strap to the rugged mechanism and the extendable wheel system will stabilize even a large 25kg case. When arriving at your destination, remove the trolley. Leave it in a hotel room or a vehicle and use the Kata bag in a conventional manner.
The Bottom Line
No matter which type of bag or case you select, shop wisely, with a keen eye for the most functional features. The right combination will assure security, ease of access, and optimum protection. Demand high quality backed by a suitable warranty. Then, you can expect many years of convenience, with full confidence for the safety of your camera equipment.
Autumn 2010 | 31
TheArtofPortraiture | PART ONE
Your first real
Portrait Studio By Eli Amon
Eli Amon is a professional photographer, based in Markham, Ontario, who has developed a successful business spanning a range of specialties. From corporate and commercial assignments, to special events, weddings, and school photography, Eli’s portfolio encompasses subjects at all stages of life… we asked him to reveal the secrets for success, using the basic lighting kit that would be appropriate for the new professional, or the photo enthusiast interested in expanding his or her skills as a portrait photographer. The key to a successful photograph lies not in the technique of the photographer, but the art of posing – anyone can set up lights, backdrop, and camera to create a properly exposed and pleasantly lit photograph – but it takes a pro to coax that perfect smile from the subject, who is often nervous in the midst of a full studio lighting set. I have spent many years working with children, shooting school portraits and family photos ranging from carefully structured formal portraits to casual images,
32 | PHOTONews
carefully posed and lit to bring out the best in the subjects. Working with children is a specialty that not all photographers can master – while a busy executive may only give you a few minutes to capture the perfect portrait, a child will only work with you as long as you can hold their attention – once the child decides that this game isn’t fun anymore, you have lost the magical window of opportunity, and the smiles and expressions lose the genuine qualities that are so important in a portrait.
To photograph a child, you have to create an environment in the studio that will let the child feel at ease. All of your lights and equipment should be ready before the child and parents arrive – check your settings and the angle of light the best you can, anticipating the age and size of your subject. Nothing wastes that precious few minutes of shooting time more than a studio that is not prepared in advance for your guests – that’s right – guests – you have to make the child feel like a guest in your very special play area. I always
suggest that the parents bring along some props – the child’s favourite toys, or a family pet – something that the child will relate to, whether it is in the frame, or just out of view. The expression of a child interacting with a pet can be priceless. For this article, I used the basic three-light studio set-up, with soft box and reflectors. We selected a backdrop that complimented the subject’s complexion, and produced a modern “look”. You will notice from the lighting diagrams that I place the main light – generally the soft
box, quite close to the subject – the secret is to work with the quality of light, not the quantity of light – the closer the soft box is to the subject, the softer the lighting effect becomes – many photographers place the soft box too far from the subject, resulting in light that is more harsh than necessary. Using the lighting diagrams as a guide, and experimenting with your results to produce your own preferred style, is a wonderful way to begin producing professional quality portraits. Start here, and let your
skills develop as you explore the many types of light sources and modifiers that are available to the studio photographer. There are many tutorials available through the PHOTO News website – check out my favourite links by visiting www.photonews. ca and clicking on “Portrait Tips”. In the next issue of PHOTO News, we will explore the techniques of mixing ambient light and flash – the ideal way to photograph friends and family during the holiday season.
Autumn 2010 | 33
For the first portrait set-up, I used the soft box placed to the left of the subject, at an angle of approximately 40 - 45°, and set the strobe to f/8. I placed the background light behind the subject, and set it to f/8 as well. The fill light was placed directly in front of the subject, at a distance of approximately 2.5 metres (8 feet) and the strobe was set for f/5.6. The camera was set for ISO 100, and I shot at f/8, 1/125 second. This produces a 2:1 lighting ratio, which is a standard for portraiture.
34 | PHOTONews
For the second set-up, I changed the angle of the background light, aiming it at the back of the subject’s head to act as a hair light. The setting, once again, was f/8. The main light was the soft box, placed close to the subject, but out of the frame. The fill light for this set-up can be adjusted according to the subject – for children, I like to use a 2:1 lighting ratio – for adults, I vary the fill lighting ratio to adapt to the characteristics of the person’s face. For heavyset subjects, I move the soft box to light the short side of the face. For lean subjects, the lighting can be a bit more pronounced. I start shooting at ISO 100, f/8, 1/125 second, and vary the exposure and/or the light output as required.
For the third set-up, I moved the hair light to the right side of the set, to function as a kick light, and used barn doors to keep the light off the backdrop. The main light was the soft box. The fill light for this shot was set to f/4, to produce a 3:1 lighting ratio. Camera setting was ISO 100, f/8 at 1/125 second.
The fourth set-up used a technique that I like to refer to as “cross-lighting”. I set up two units, one to the subject’s left, and the other to the subject’s right, and used a grid to diffuse the light. The third light was a hair light. This produces a very dramatic but evenly lit portrait, that stands out very well from the background.
Autumn 2010 | 35
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Equipment: I used a three-light Visatec Logos Kit #308, consisting of: three LOGOS 800 strobes including flash tubes, modelling lamps, protecting glasses and grey transport protection caps, mains cables; 1 standard reflector; 1 set of barn doors; 1 silver umbrella; 1 umbrella reflector; 1 Soloflex 60; 1 set of honeycomb grids; and 1 synchronous cable, 5 m. The kit comes with a handy travel bag, compact enough for the trunk of your car. While light stands were not included in the kit as described on the Visatec website, I ordered a version of the kit that came with Manfrotto stands. Some photographers just setting up their first studio may wonder why I chose the Visatec kit, rather than the less expensive alternatives. The choice is really simple – for a professional, the quality and dependability of equipment is critical, and for a realistic investment, you have a set of lights that will deliver long-term durability, backed by excellent product support. With the Visatec units, manufactured by Bron in Swtzerland, you can be confident that the product will be the highest quality – that gives you consistency of light output and colour at the full range of settings. The Visatec line is distributed in Canada, and
Trevor Sherwin recorded the portrait session on video – watch the movie by following the link posted under the Portrait Tips heading at www.photonews.ca.
meets all of the Canadian electrical standards. Spare parts and accessories are readily available, and you can expand your lighting gear as your skills develop and as you take on more complex assignments. The photos shown here were shot with a Canon EOS 1D Mk 4, and a Tamron 70-200mm f/2.8 lens. This focal length is ideal for portraiture, as it allows you to stand out of the light, and far enough from the subject to avoid crowding their “comfort zone”. Shooting at a low ISO maintains very high quality, and using f/8 assures that the subject will
be in focus, from the tip of her nose to the curls at the back of her head. From a professional perspective, setting up a studio shot on location often becomes a spectator event – when you arrive with professional gear, your clients will be confident that they have chosen the right photographer for the job – show up with equipment that does not perform, or gear that is not up to professional standards, and your clients may not be as certain that they made the right call… it is, in effect, a matter of professional image.
TORONTO - SEPTEMBER 9TH, 2010 Silverline Studios - 1:00 - 7:00pm
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PrintingYourDigitalPhotos | PART ONE
Choosing
Printers &Papers By Peter K. Burian for PHOTONews
W
hile you can order prints from a store or an on-line photofinisher, many digital camera owners appreciate the ability to occasionally – or often - make their own prints. A printer that is optimized for photos need not be expensive or complicated. Thanks to user-friendly software, the process can be relatively quick and straightforward. Serious photo enthusiasts can get a great deal of control however, using the advanced features in the printer’s driver software. In the past, that level of control required a darkroom and a great deal of skill or a custom lab that could follow your instructions to the letter. While larger photo printers are available, the letter size and the 13x19” models are the most common; they’re also relatively affordable. The vast majority of the 8.5x11” printers also include a built-in flatbed scanner although a separate high-grade scanner is preferable for scanning photos or slides and negatives. Let’s take a quick look at the technology, some of
38 | PHOTONews
the most suitable printers as well as the inks and the many types of available media.
Technology and Features Other types of printers are available, such as laser for business use and dye-sub for 4x6” snapshots, but inkjet printers are the ones that specifically target photo enthusiasts. While reading reviews or data on the manufacturers’ websites, it is important to fully appreciate the primary factors that distinguish one inkjet printer from another. How They Work: All inkjet printers employ either heat (Canon and HP) or vibration (Epson) to force ink onto paper through micro-size nozzles. Because an inkjet photo is comprised of millions of individual droplets, it is not really “continuous tone” like a conventional photograph. Frankly, that’s not relevant in a high-resolution print made from a large image file because the individual droplets will be visible only under a high power magnifying glass.
Ink Types: An inkjet printer combines various colours of dyes or pigments to produce a wide range of hues and tones. Pigment-based inks are microscopically small grains of colour floating in a liquid, while dyes are inks that are dissolved in a liquid. Five years ago, machines using dye-based inks definitely made prints with richer, more brilliant colours and better results on glossy paper. But today, newer pigment technology can generate photos with vibrant hues and tones and very good high-gloss results. Pigments offer
maximum resistance to fading, although some of the latest dye-based inks provide adequate permanence for most purposes. Number of Ink Colors: An inkjet printer combines the various ink colours to produce a wide range of hues and tones. The more individual inks the better the photo quality will be, with less white space between the dots for a smoother look. Six or more inks also provide superior colour differentiation, as with skin tones that are slightly different. If the
printer employs two or more black inks simultaneously, it will probably be ideal for blackand-white printing. Ink Tank Setup: At one time, a single ink cartridge containing reservoirs of each colour, plus a separate black cartridge, was standard. Now, most photo printers accept individual tanks, including all of the machines that I’ll discuss. Instead of replacing an entire cartridge when a single color runs out you can replace only the tank that is depleted.
Printer Resolution: Defined in dpi (dots per inch), printer resolution refers to the number of dots of ink the print head can apply per square inch on the paper. Based on my tests of many machines over the years, 2880dpi is plenty for true photo quality. Higher resolution is available but that slows printing time and consumes more ink without a significant improvement in the definition of intricate detail. Print Permanence: All photos eventually fade, especially when displayed in direct sunlight. Some ink/paper combinations are more lightfast than others, and the resulting prints are “archival”. In other words, noticeable fading should not occur for 30 or more years when the prints are matted, framed, covered with glass and displayed away from direct sunlight. Much greater permanence is possible when prints are stored in archival photo albums. Actual permanence will vary depending on the type of paper used. Hint: To maximize print longevity, use a
Autumn 2010 | 39
product such as the Hahnemühle Protective Spray that increases resistance to water and to UV light rays. This fast drying product does not turn yellow and is completely transparent so it has no influence whatsoever on the original colours of the ink or the paper. Direct Printing Capability: All current machines can print images from a computer whether connected by a cable or via wired Ethernet connectivity. They also include PictBridge technology so they can print from an attached camera. Most of the recent letter-size models can print from other sources too, such as memory cards. Wireless connectivity is becoming common, particularly Wi-Fi and Bluetooth, making it
possible to print images from devices that have this technology. While you will find some image modifying features that are useful in direct printing, don’t expect the same quality you’d get if you downloaded the image to a computer and enhanced it with image-editing software. Still, many “direct prints” are very good, suitable for a family album or scrapbook.
Canon PIXMA MG5220 and PIXMA MP495 Wireless Photo AIO Printers
Wireless Photo AIO printer would be an ideal choice. With the ChromaLife100 + ink system and a maximum color resolution of 4800 x 1200 dpi, this new printer can produce a 4” x 6” high-quality borderless photo in approximately 41 seconds.
If a wireless printer with a variety of options and highquality printing is on the wish list, the Canon PIXMA MG5220 (photo) and PIXMA MP495 Wireless Photo AIO printers should definitely be considered. Featuring five individual ink tanks with the ChromaLife100 + ink system, the PIXMA MG5220 Wireless Photo AIO Printer has a maximum color resolution of 9600 x 2400 dpi and can create a 4” x 6” borderless photo of superb quality in approximately 20 seconds. The Advanced Media Handling capabilities with Auto Duplex printing and a two-way paper feed can help reduce paper. A 2.4-inch TFT screen and new user interface add to the appeal of this model. For the consumer interested in a more affordable wireless printing option, the PIXMA MP495
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Letter Size Photo Printers Intended for making prints in all of the popular sizes, from 4x6 to 8.5x11 inches, these machines will meet most of any family’s needs. You can find a wide range of letter size printers - an increasing number with built-in flatbeds for scan/copy operation - but the
As an added incentive, both printers are 802.11n Wi-Fi certified which will allow for a faster network transfer rate. Wireless networks can be set up with the press of one button when using a Wi-Fi Protected Setup (WPS). Canon offers its award winning service and support online for all users looking to set up any of the new Wi-Fi products at www.usa.canon.com/wirelesshelp. Here customers have access to manuals and video tutorials to assist in setting up a Wi-Fi device. A new option for users of smartphones equipped with the AndroidTM OS is the free Canon Easy-PhotoPrint (EPP) for Andriod application allowing images captured with the phone’s camera to be printed quickly and easily shared with friends and family. For Apple iPhone®, iPod touch® and iPad™ mobile device users, the Canon
following recent models are particularly worth considering. While many stores can make 4x6” prints at an extremely low price, the cost of 8x10” and larger prints will be lower at home, with greater control over all aspects of the process. Upgrades to the enhanced Easy-WebPrint EX software (Windows® Only) include a new Fit-to-One-Page button for easy printing of texts and images from websites. This button can be especially useful when printing driving directions so both the map of the area and the stepby-step directions are on one easy to read page. This new software will also provide printing of multiple documents into a booklet format for easy handling and improved organization.
Easy-PhotoPrint for iPhone (iEPP) application is also available for free on the App Store SM. The estimated selling price of the PIXMA MG5220 Wireless Photo AIO printer is $149.99 while the PIXMA MP495 Wireless Photo AIO printer has an MSRP of $79.99.
Canon PIXMA MG5120 and PIXMA MP280 Photo AIO Printers The new Canon PIXMA MG5120 and PIXMA MP280 Photo AIO printers provide consumers with the ability to print, copy and scan documents of high-quality at an affordable price. Both new models feature the ChromaLife100 + ink system with the PIXMA MG5120 Photo AIO Printer having a maximum color resolution of 9600 x 2400 dpi and the PIXMA MP280 Photo AIO Printer offering a maximum color resolution of 4800 x 1200 dpi. The PIXMA MG5120 also features the same Advanced Media Handling options as the PIXMA MG5220 AIO Printer.
Canon Pixma MG5220 Announced just before our press time, this very fast machine with a scanner/copier includes a Full HD Movie Print feature that allows for printing individual frames of movies made with compatible EOS and PowerShot cameras. It’s well equipped with a 2.4” LCD screen, slots for memory cards, and Auto Photo Fix II software. The wireless connectivity is very fast, with 802.11n Wi-Fi certification, and it can also print from compatible iPhone, iPod touch and Android devices with a suitable app. An optional Bluetooth adapter can also be used. The MG5220 has four ChromaLife100+ dyes plus black pigment to make prints with a maximum resolution of 9600x2400dpi. The permanence rating is 300 years - on certain photo papers in an archival album, or 30 years when displayed under glass.
Looking for a Better Image… The quality and permanence of your prints depends on the types of ink and paper that you use, and the way you display the image. Your photo retailer can show you sample packs of papers from top-rated brands such Hahnemühle FineArt and Ilford Galerie Professional. Choosing specialty papers can bring a new dimension to your work – take a look at the various types of inkjet canvas, watercolor, Photo
The PIXMA MG5120 AIO Printer has an estimated selling price of $129.99 while the PIXMA MP280 AIO Printer will have an estimated selling price of $69.99.
PIXMA iP4820 Inkjet Printer The Canon PIXMA iP4820 Inkjet printer is ideal for any consumer interested in a high-quality single function model. With five individual ink tanks working in conjunction with the ChromaLife100 + ink system, this printer can produce a borderless 4” x 6” image of superb quality with a maximum color resolution of 9600 x 2400 dpi in approximately 20 seconds. This printer has the ability to Auto Duplex print and has two-way paper feeds as well. With an estimated selling price of $99.99, the PIXMA iP4820 is an ideal addition to any home with its polished finish and overall functionality. Canon CREATIVE PARK Looking to extend creativity beyond just photos and documents? Consumers can try Canon Inc.’s
In the next issue of PHOTONews we will continue our primer on printers, focusing on the popular 13 x 19-inch format machines. For additional information, please visit www.photonews.ca
Rag, Baryta, Gold Fibre Silk and etching papers. Textured papers add a tactile element that draws the viewer into the image. The websites www.Hahnemühle.ca and www.Ilford.com provide ICC profiles as well as advice and detailed insights into the settings that will produce optimum results with specific printers.
CREATIVE PARK website at www.canon.com/cpark. The site offers free 3-D paper craft projects, scrapbooking templates and embellishments, novel greeting cards, and educational materials. As an added bonus with the purchase of select new PIXMA printers, consumers will be provided with exclusive printable content through CREATIVE PARK PREMIUM. This content includes post cards, albums, and many more projects including paintings by artists such as Norman Rockwell. Epson Artisan 725 This new photo printer with scanner/copier features great speed, a smart touchpanel, built-in wireless (Wi-fi) plus wired Ethernet networking capability and direct printing from Bluetooth devices and from memory cards. It can also print onto inkjet-printable
CD/DVD discs. In direct printing, use the image correction features and the 2.5” LCD to preview the effects. The Artisan 725 employs six Claria HighDefinition dyes to make prints with resolution up to 5760 x 1440 dpi with an on-display permanence rating (on premium photo papers) of 92 years. (Street price, $200) HP Photosmart Plus e-All-in-One Surprisingly affordable, this new family-oriented printer with scanner features a 3.5” touchSmart screen, wireless connectivity (Wi-Fi), direct printing from memory cards and wireless printing from an iPhone or iPod Touch. It employs four Photosmart dyes, in individual tanks, to make photos with up to 4800x1200dpi resolution on certain media. A print permanence rating is not yet available. (Street price, $150).
Autumn 2010 | 41
The magic of Michel Roy…
... in Autumn colours Text and photos by Michel Roy
Summer is over and autumn has arrived, transforming the landscape into an artist’s delight. At this time of the year we all focus on the vibrant colours of the season … so let’s explore the techniques of adding and enhancing colours in Photoshop! It is a simple and creative process – we will begin by exploring the hue/saturation adjustment layer and layer masks to change colours in a photo or specific parts of a photo, then we will use the colour layer mode to add some special “magic” to the image. For today’s adventure in Photoshop technique, we will work a little magic with a portrait - the same technique can add impact to any type of photo, and it can be used for special effects or basic colour correction. One colour adjustment that is essential for commercial photography focuses on the impact of the eyes in a portrait. When you take a very close look at modern magazines,
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you will see that almost all of the portraits have the eye colour changed or corrected, and we are not just looking at photographs of people – the eyes of animals are often Photoshopped as well! Let’s start with a photograph of my son Mathieu, that I took last year, and apply a touch of magic. The first step is to add a dash of colour correction. To keep the original image intact, duplicate the layer before making any alterations (Ctrl/Cmd J). Now you can safely create a hue/saturation adjustment layer. Click the icon on the bottom of the layer palette (Image 1). Now make sure you see the hue/saturation panel - if not, go to top menu - Windows – Adjustment to display the panel. If you play with the sliders (image 2) you will see the colour change throughout the image. When we create an adjustment layer in Photoshop, a mask is automatically built by by Photoshop and
3
attached to the displayed image. For this experiment we just want to change the colour of the eyes, and we only want to do this on the on the mask layer, we begin by using a soft brush tool to paint the iris black - the colour effect is now everywhere but on the iris. Now invert the mask (Ctrl/Cmd I) and only the iris will be affected by your adjustment. Play with the sliders to see the range of adjustments that are available – you can go for slightly enhanced effects, or you can use your imagination and really make it cool. If you want to erase some parts of the mask, just paint them black with your brush tool. Always make sure that you select the mask icon and not the image itself. A white border appears on the mask icon when it is selected. You can verify your selection by clicking on the mask icon while holding the Alt/Option key (Image 3) - repeat this action to return to normal view.
Once you have become familiar with these simple steps, the real magic can begin. Start by moving the sliders left and right until you have the effect and colour that you desire. Because the effect that you create is on a masking layer, the next step is to use the opacity slider to adjust the intensity of the effect to perfection. When you create all of your special effects using different Photoshop layers you can enhance or “dial down” each effect to suit the image, without risking any damage to your work. Now that you have taken the first step, repeat the process to create a new adjustment layer, but this time, mask the background (image 4). Of course, there are several more complex techniques to adjust colours in Photoshop but our project is designed to show you an easy and effective way to play with an image – so have fun!
4
Some Photoshop fans use the “colorize” button from the hue/saturation panel to add colour to a photo, this will work but it has it’s limitations, and it will remove all of the colours already present in a photograph and replace them with a tint – this technique can be quite interesting, and it would be a logical next step in your Photoshop adventure. You can also use the “color picker” for more precise work. After choosing any colour from the drop-down menu, click on the “color picker” button (image 5) then click on your image to choose the colour you want to adjust, then make the change with the saturation sliders. There are also adjustment knobs at the bottom of the adjustment panel - you can slide them to making even more precise selections. Add a mask to make precise adjustments without losing any of your previous work.
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1 The way to add colour to your image is to make a new empty layer (Shift-Ctrl/Cmd N) change the layer to “colour mode” (Overlay, Multiply and Screen work well also!) and paint your selected colour on that new layer with a brush tool (image 1). The magic will appear right before your eyes, and you can put different colours on different layers. It is a good idea to take notes as you experiment so you can keep track of what you have created at each stage of the process. It is always a good idea to keep your work organized. If you make a mistake, just use the eraser to remove colours. Change the layer mode back and forth, and use the normal view to see exactly where you applied the colours. The final step is to use the layer opacity slider to enhance or subdue the colour density to your taste. Please don’t abuse theses techniques because this can ruin an image in the blink of an eye. Of course, with Halloween coming up very soon, you might want to make your model look like an alien! Now that you have mastered this Photoshop technique, don’t let the magic
stop here. With these basic skills you can add or change colours in any image – add impact to a sunset, change the colours of clothes, fix skin colours – the Photoshop techniques that we have explored today are the basic tools that you can use everyday. Using a new layer with colour mode transparency is a wonderful way to add colour to older black and white photos…. Let me suggest one more trick to end this magic show… if you want your white subjects to look really white, just use the saturation slider to desaturate the part you want white (with a good mask)… Make sure to use and discover the saturation adjustment layer. It is a wonderful tool for any photographic retouching tasks, and it can be so much fun!
Before
Michel Roy, is a professional photographer based in Quebec city. If you are looking for a great photographer or private Photoshop lessons over Skype at a competitive price, just send him a message! Info@digitaldirectphotos.com • www.digitaldirectphotos.com • www.flickr.com/ michelroy
Autumn 2010 | 44
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NewsFlash Two New Models from Mecablitz 58 AF-2 digital The top model in the Metz compact flash unit range has been upgraded, with numerous optical and functional features. The new Mecablitz 58 AF-2 digital has a new stable metal base, with an optimized lock system, a revised motor zoom mode and an improved high performance flash tube. Additional features include servo flash release functionality via the integrated camera flash which is also perfectly compatible with cameras without master function. The slave/servo sensor has been integrated into the front of the flash unit to increase the transmission quality of wireless flashes. The wide-angle diffuser has also been adapted to cover wide-angle focal widths from 12 mm (135 format). The Mecablitz 58 AF-2 digital offers an innovative secondary reflector that provides perfect image illumination for portraits, and a fully swivelling reflector system with a flip-out reflector card and a diffuser. The new flash is available in models specifically designed for use with the major DSLR camera systems, providing refined flash technology that is compatible with the E-TTL and E-TTL II flash mode for Canon – iTTL/D-TTL/3D flash mode for Nikon/Fujifilm – P-TTL for Pentax and four thirds TTL mode for Olympus/Panasonic/Leica.
Mecablitz 58 AF-2 digital The Mecablitz 50 AF-1 digital is the new generation of the 48 AF-1 digital, winner of the TIPA Award for “best photographic accessory 2008”. The 50 AF-1 has the same new metal base and optimized lock system as the topof-the-line 58 AF-2 model. The guide number has been increased to 50 for ISO 100/21° and 105 mm focal length. Performance and reliability have been further optimized through improvements to the high performance flash tube, and the flash has been equipped with the new “servo” mode. The wide-angle diffuser has been adapted and is now suitable for illumination of wide-angle focal lengths from 12 mm (135 format). Like all Mecablitz system flash units, this new flash unit is available in different versions, perfectly tailored to digital cameras made by the leading manufacturers. With a guide number 50 for ISO 100/21° und 105 mm focal length, the 50 AF-1 digital lends itself perfectly to being used as an indirect flash. The flash is equipped with a flip-out reflector card, integrated into the reflector that tilts and swivels vertically and horizontally.
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Autumn 2010 | 47
Editor’sChoice Tamron 70-300 zoom wins EISA Award Just before press time, we learned that the Tamron SP 70-300mm F/4-5.6 Di VC USD zoom lens has been awarded the 2010-2011 EISA award. Described in the official press release as “easy to use, with best-in-class resolution”, this moderately priced lens is compatible with crop or full frame sensors, with dedicated mounts for the major DSLR cameras. This award, the fifth in a row for Tamron lenses, is one more in a string of accomplishments marking Tamron’s 60th Anniversary year. For more information, visit www.tamron.ca
Quantum Turbo Blade Looking for a lightweight and compact power source for your flash? Take a look at the Quantum Turbo Blade. Ideal for fast-moving situations, the Blade attaches to the tripod socket of your camera, and connects to your flash power input jack to provide from 400 to 2000 shots per charge, at recycle times of 1/10 second in TTL to 1.5 seconds for full power shoe mount flashes. The Turbo Blade recharges fully in just 1.5 hours. Use a “C” long cable to connect the Blade to a remote flash – there is a handy “dead shoe” mount on top of the Blade to allow the power supply to be used with slave flash units. The Turbo Blade works with Canon, Nikon, Metz and Qflash units, and features the Quantum “gas gauge” power indicator lights – so you always know how much power you have available! For more information on this and other Quantum flash products, visit www.quantum-flash.ca/
Manfrotto Video Head Nothing improves the quality of a video production more than a good video head for your tripod, like the new Manfrotto 504HD. Perfectly balanced, with a bridge design for rigidity, the 504HD offers friction controlled pan and tilt with silky smooth fluid movements, adjustable to match the weight of your equipment. This video head is just one of a wide range of tripod accessories that can make your Manfrotto the “best supporting actor” in any photo or video application. For information on the full Manfrotto line, visit www.manfrotto.ca
48 | PHOTONews
Editor’sChoice Marshall Video Monitor When you are ready to create a professional video with your DSLR, but the LCD panel is just too small, it is time to discover the new Marshall 7” Video Monitor, manufactured by specialists in the broadcast video industry. The Marshall monitor is powered by the popular DSLR batteries – mount a spare Nikon EN-EL3, a Canon BP 511 – or other DSLR battery, and you will really be able to see what you are shooting! Lightweight and affordable, this monitor mounts in the hot shoe of the DSLR, and adjusts to the most convenient viewing angle. Connect the monitor with a short HDMI cable for on-camera use, or use a longer cable to remote mount the monitor to your tripod. Full HDMI cable and power kits are available. For more information, visit www.photonews.ca and look for the New Product links.
Genus Loupe Tired of straining to see your LCD display in bright sunlight? Looking for a better way to use the LCD as an electronic viewfinder for your DSLR video productions? Ask your photo retailer to show you the new Genus Loupe – a top quality magnifying viewer for all DSLR still and video applications… part of the Genus system of video accessories, now available in Canada!
Complex made simple.
Use your smart phone to watch our video on selecting a light modifier. Download the app at http://gettag.mobi
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B e C a u s e t h e y w o r k.
LumiQuestDigitalOutdoorThirdSqR.indd 1
8/9/10 3:28:06 PM
Autumn 2010 | 49
FinalFrame
Norm Rosen strapped a Manfrotto 190 tripod into the back seat of his speeder, and used a remote shutter release to capture this tribute to Star Wars with a Pentax K20D, 12-24mm lens at 12mm, 6 seconds at f/16, ISO 200. “Many years ago, in a province far, far, away, I was inspired by the original Star Wars movie to replicate the effect of flying through the galaxy at light speed. This long exposure, from my “Car Wars” collection, captures the earth tones of Autumn in an entirely new perspective.” – For a complete description of the equipment and technique used to capture this image, visit the PHOTONews flickr group at www.flickr.com/groups/photonewsgallery/ and look for the thread “Norm’s Car Wars Saga – Episode VII”.
Our PHOTONews Challenge for Autumn 2010 is “What I shot Last Autumn” – a theme that lends itself to a wide variety of interpretations. Look for subjects that represent a celebration of the season – wildlife, landscapes, friends and family enjoying autumn activities – or any image that portrays an interesting technique that reminds you of the season. To participate in the PHOTONews Challenge, please visit our flickr® group at www.flickr.com/groups/photonewsgallery/ and click on the discussion thread titled “PHOTONews Autumn Challenge”. Post a 600 pixel wide version of your entry in this thread – please include your name, your location, a description of how you took the photograph, and why you feel it is a special image. Full instructions on how to join the flickr® group, and how to post photos, can be found at the flickr® site. The photo pool at our flickr® group will also be used to select images for our Reader’s Gallery – so take a look, sign in, post a few of your favourite photos, and enjoy our interactive photographic adventures!
50 | PHOTONews
COMING IN THE NEXT ISSUE:
Winter 2010 / 2011
Our next issue will celebrate the 20th Anniversary of PHOTONews Magazine – Canada largest circulated photo enthusiast publication. We have planned a very special issue, filled with helpful hints and fantastic photos from some of Canada’s finest photographers, plus a selection of the best images from our readers! Watch for our tutorial on special event location lighting; travel adventures to exotic destinations; photo techniques, and more magic from Michel Roy’s digital darkroom!
For in-depth information on the equipment and techniques featured in this issue, please visit the website www.photonews.ca. To participate in our flickr® group, please visit www.flickr. com/groups/photonewsgallery/ where you can sign up to
exchange ideas and display your favourite photographs – it’s fun, it’s free, and it’s a friendly environment for photographers of all ages and skill levels.
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Whether you sell digital prints, photo books, or personalized photo merchandise, Print World is your opportunity to learn new ideas in photo printing from leading vendors all in one place.
Featuring over 200 exhibitors including major digital, inkjet, specialty, and print software vendors.
NOV. 20– 22, 2010 10 a.m. – 5 p.m.
DOWNTOWN TORONTO, CANADA Direct Energy Centre, Exhibition Place TRADE SHOW AND CONFERENCE
www.printworldshow.com PHONE: 1-800-331-7408 905 625-7070
Hotel and travel—special discount rates available
REGISTRATION FORM REGISTER NOW! Avoid the line-ups and pay only $9 + HST
(REGISTRATION AT THE SHOW COSTS $18.00 + HST)
Register online at www.printworldshow.com or complete form below: Complete this form and mail with cheque or credit card for $10.17 (trade show only) or $62.15 (per seminar) to: Print World, #8-1606 Sedlescomb Dr., Mississauga, ON, L4X 1M6. Please submit separate registration forms for each individual. Please print clearly FIRST NAME:
LAST NAME:
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NOV. 20 to 22, 2010 Direct Energy Centre Toronto, Ontario
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Registration required; check box(es) to attend
Keynote Speakers and Print Buyers Panel Sunday, Nov 21, 9:00 am ❑ K1 KEYNOTE: Where is Print Headed? Speaker: Frank Romano Monday, Nov. 22, 9:00 am ❑ K2 KEYNOTE: How to Make Print Valuable in a Digital Age Speaker: Bob Young Sunday, Nov. 21, 2:00 pm ❑ P1 Print Buyers Panel
For further assistance, visit www.printworldshow.com or call 1-800-331-7408 or 905-625-7070 TYPE of BUSINESS (select one of the following) ❑ Commercial Printer ❑ Instant Printer ❑ Business Forms ❑ Packaging Printer ❑ Quick Printer/Copy Shop ❑ Graphic Designer/Creative Services ❑ Ad Agency ❑ Print Broker ❑ Prepress Trade Services ❑ Bindery Trade Services ❑ Manufacturer/Dealer ❑ Other: ________________
$9.00
Print Management Seminars Early-bird deadline: Oct. 29 Early-bird price per seminar: $55.00 + HST; After Oct 29: $75.00 + HST. Price includes FREE entrance to the trade show. Monday, Nov. 22, 11:00 am ❑ A1 Social Media Marketing for Printers Speaker: Anita Windisman ...................... ❑ B1 Sales Secrets for Today’s Print Market Speaker: Bill Farquharson .................. ❑ C1 How to Prosper with Inkjet Speaker: Bob Atkinson .............................................. ❑ D1 How to Win the War on Print Panel ........................................................................
$55.00 $55.00 $55.00 $55.00
Monday Nov. 22, 2:00 pm ❑ A2 Social Media Marketing for Printers Speaker: Anita Windisman ................ $55.00 ❑ B2 Sales Secrets for Today’s Print Market Speaker: Bill Farquharson ................ $55.00 ❑ C2 Create a Profit Centre with Web to Print Speaker: Bob Atkinson.................... $55.00 Subtotal: HST No. R103929717 13% HST: TOTAL: Note: payment must accompany registration form. If you pay by credit card, you may fax this form to 1-800-446-5782. We regret that no refund will be given once your registration has been received.
JOB FUNCTION (select one of the following) ❑ President/Owner ❑ General Manager ❑ Executive/Management ❑ Production Manager ❑ Estimator ❑ Graphic Designer ❑ Student ❑ Other_______________
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(number of employees at this location)
(check all that apply) ❑ Offset Presses ❑ Post-press: bindery & finishing ❑ Software: MIS, workflow and press systems ❑ Software: design ❑ Consumables and supplies incl. paper ❑ Digital: toner presses ❑ Digital: inkjet presses ❑ Prepress & CTP ❑ Large-format inkjet ❑ Trade services ❑ Used Equipment
❑ 1 to 9 ❑ 10 to 19 ❑ 20 to 49 ❑ 50 to 99 ❑ 100 & over
SALES VOLUME (at this location annually) ❑ less than $500,000 ❑ $500,000 to 1 million ❑ 1 million to 3 million
Show floor admission restricted to persons 14 years of age and over.
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