Canadian Camera Magazine Spring 2014

O F F I C I A L P U B L I C AT I O N O F T H E C A N A D I A N A S S O C I AT I O N F O R P H O T O G R A P H I C A RT

SPRING 2014 • $9.95

Inspiration • Evocative Images • The Art of Creating A Print 10th Anniversary CAPA 2014 Annual Digital Competition Member's Portfolio • CAPA Competitions Results CAPA News • Club News

Vol. 15, No. 1 • Spring 2014

Contents

Sheena Wilkie

Editor-in-chief 14220 71 Ave. Surrey BC V3W 2L1 E-mail: editor-in-chief@capacanada.ca

Rick Shapka

Rick Shapka

Jozef VanVeenen

Sheena Wilkie

Publishing Editor Art Director E-mail: information@tikit.ca

Roger Partington

Advertising Manager E-mail: advertising@capacanada.ca

CANADIAN CAMERA (ISSN1206-3401) is published quarterly by the Canadian Association for Photographic Art, Box 357, Logan Lake BC V0K 1W0. No part of this publication may be reproduced in whole or in part without prior written permission of the publisher and author. All photographic rights remain with the photographer. Opinions expressed are those of the individual contributors.

Contributions are welcomed from all CAPA members. Story ideas and low resolution photographs may be submitted to the Editorin-Chief at editor-in-chief@capacanada.ca.

CANADIAN CAMERA reserves the unrestricted right to edit, crop and and comment editorially on all submitted material.

SUBSCRIPTIONS: CANADIAN CAMERA is distributed automatically to CAPA members.

Individual copies are available for $9.95. Library subscriptions cost $35.00 for four issues.

2

4 6 8 10 11

12 Catherine Wright 22 Paul Sparrow 26 28 29 36 André Gallant

Message from the President Phototalk CAPA News Club News Book Review - Inspiration by André Gallant 10th Anniversary CAPA 2014 Annual Digital Competition Inspiration Evocative Images The Art of Creating A Print Member's Portfolio CAPA Competitions Results CAPA New Members

For further information, contact CAPA National Headquarters, Box 357, Logan Lake BC V0K 1W0.

Tel.: 1-250-523-2378 E-mail: capa@capacanada.ca Canadian Mail Publication Agreement #1665081

Printed in Canada by

CAPA is a FIAP-affiliated organization.

www.capacanada.ca

theCOVER

Old cigarette dispenser By André Gallant CANADIAN CAMERA - 1

Message from the president Rick Shapka

CAPA Officers & National Founded in 1968, CAPA is a nonprofit organization for photographers, including amateurs, professionals, camera clubs, and anyone interested in photography. The aims of CAPA are to promote good photography as an art form in Canada, and to provide useful information for photographers.

CAPA ac­complishes this through interaction with individuals and member camera clubs and by distributing slide sets, evaluating photographs, running competitions, and publishing the quarterly Canadian Camera. CAPA also sponsors Canadian Camera Conference, a bi-annual summer weekend of field trips and seminars held in a different city every other year.

CAPA is a member of the Fédération Internationale de l’Art Photographique (FIAP).

CAPA OFFICERS PRESIDENT Rick Shapka, FCAPA VICE PRESIDENT Sheena Wilkie, FCAPA SECRETARY Michael Breakey, FCAPA TREASURER Len Suchan, FCAPA PAST PRESIDENT Jacques S. Mailloux, Hon. FCAPA

CAPA DIRECTORS ATLANTIC ZONE Leo Allain QUEBEC ZONE Albert Limoges ONTARIO ZONE Rod Trider PRAIRIE ZONE Harvey Brink PACIFIC ZONE Larry Breitkreutz, FCAPA DIRECTOR OF PHOTOGRAPHIC IMAGING Dr. Bob Ito, Hon. FCAPA DIRECTOR OF MEMBERSHIP Rob Martell DIRECTOR OF COMPETITIONS Virginia Stranaghan

MEMBERSHIP COORDINATOR CAPA Membership phone 1.250.523.2378 c/o Lee Smith Box 357, Logan Lake, BC V0K 1W0 E-mail: membership@capacanada.ca Website: www.capacanada.ca 2 - CANADIAN CAMERA

Photo by Sheena Wilkie

Council Members

Inspiration: What inspires your image making?

What inspires you to improve the artfulness of your photographs?

Each of us will have different responses to these questions. It may be something that you have not thought about for a while. On the other hand, you may think about it each time you pick up your camera. With this issue of Canadian Camera, we include inspirational suggestions you might choose to build into your photographic repertoire.

We are an individual member and photography club driven photographic association, as such CAPA’s volunteer directors work to continually learn, understand, then respond to those needs that inspire your photography. We respond by searching out high quality member articles and images to publish, suggesting stimulating ideas to consider for photography, providing educational programs to you, sharing member’s image portfolios and ideas, as well as sponsoring competitions to stimulate you to produce wonderful photographic art.

Connecting: Where do you like to make your photographs? Where would you like to make your photographs?

Our country offers so many outstanding photographic possibilities that can serve as inspiration for your image making. While it is said, “the best place to make an image is where you are at”, and this may be at home, opportunities abound across the country.

These may be anywhere from the pristine shores of the Great Bear Rain Forest on the west coast, or around your hometown, or to the solitude of Gros Morne National park on the east coast. Whatever genre of photography stimulates your creativeness,

I want to touch upon three issues with this spring message. They are inspiration, connecting with each other, and volunteer change. you have an opportunity to practice and develop your craft, in any part of the country.

With the dollar’s current fall in relative value, this may be the year to photograph only in Canada!

We can help connect you across the country.

We have members and clubs across every part of the country, so if you are planning a trip, consider contacting any member of the CAPA executive to help you connect with other members. Each CAPA director has extensive photographic knowledge and experience to provide recommendations about where, and when to shoot. We have many members who have conducted field trips for their clubs, and these members are as close to you as making contact with our District Representatives in most parts of the country. I invite you to connect with the directors, and the district representatives when you are planning your next photo travel trip.

Volunteer Change: One of our very committed, valued directors, Allen Bargen, recently made the decision to retire from the board. Many people, including any member who attended the CAPA judges training program, knew him. Allen served tirelessly on the executive as President and Past President.

On behalf of the board, I thank Allen for his very significant commitment and contribution to CAPA over the years.

I am pleased to announce the appointment to the board of Rob Martell who will serve as our new Director of Membership. Rob’s home base is Quispamsis NB. He has a great photography background, an abundance of ideas, energy, and wonderful sense of humor.

Please join with me to welcome Rob to the CAPA board.

Sometimes in winter, we do not take the opportunity to make as many photographs as spring, summer and fall. However this year in many parts of the country the winter has provided us with a fantastic opportunity to get some unusual photographs. Send us some to showcase. With springtime almost here, to provide some inspiration to pick up your camera gear, please begin with Andre Gallant’s article and then read his book, INSPIRATION Creative Photography Projects. g Sincerely, Rick Shapka, FCAPA President

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SUBMISSION OF STORY IDEAS, PORTFOLIOS AND NEWS ITEMS CAPA Members… We need submissions for upcoming issues. Canadian Camera is YOUR magazine! We welcome your story ideas, news items, portfolios and reviews. We do reserve the right to accept or reject material as we see fit. We make every effort to achieve a balance of views, subject matter and geographical representation of our members.

How to send material

When to send it

• Please write your story idea as a paragraph or outline of what you would like to write an article about and send it with several low res photos to ­­editor-in-chief@capacanada.ca; • Photos must be JPG format; • If photos are scanned CMYK is ­preferable to RGB; • Photos must have simple ­descriptive filenames and include the photographer's name, e.g. Susan_ Brown_barn_swallow.jpg; • Please include your phone number, ­e-mail address and CAPA membership number.

You may submit a story idea any time but for time sensitive material our ­submissions deadlines are:

• Summer Issue April 10 • Fall Issue July 10 • Winter Issue Oct. 1st • Spring Issue Jan. 10

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Where to send it Canadian Camera c/o Sheena Wilkie, Editor-in-Chief E-mail: editor-in-chief@capacanada.ca

Don’t forget to keep your email and mailing address up to date! We wouldn’t want you to miss your Canadian Camera magazine! You can login to your member account at capacanada.ca and update your personal information there.

MEMBERSHIP COORDINATOR CAPA Membership phone 1.250.523.2378 c/o Lee Smith Box 357, Logan Lake, BC V0K 1W0 E-mail: membership@capacanada.ca Website: www.capacanada.ca

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In preparation for the spring issue I did some research on inspiration.

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We’re all looking for those ahah! moments and scenes before us.

Scientists say that often inspiration comes to us when our mind is not full of other things, when we’re relaxed. Activities that increase inspiration are exercise, reading, listening to music and meditation.

All of which can clear the mind and make us more open to “seeing” what is right there in front of us, waiting to be photographed.

People can be inspired by anything, a walk in the park, a beautiful piano sonata, a painting, a movie, a great book. In this issue André Gallant encourages us to get out there and actively seek inspiration in life around us. He gives “Don't loaf and us practical tips to make that happen.

His photos make me want to get out invite inspiration; there with my camera right now! And he always makes me feel like I too can be light out after it a great photographer – and that’s very empowering. with a club.”

Cathie Wright writes about how we can engage our visual audience and elicit a ~ Jack London response using symbols and other elements in our photography. The quality and depth of her photos are exceptional; they feel like you can reach right into them. Further into the issue, giving us insight into printing our artwork, Paul Sparrow’s article is full of practical advice on the art of photographic printing.

I hope this issue inspires you to get out there and engage in a visual life. Inspiration is not a spectator sport! g Sheena Wilkie, FCAPA www.phototalk.ca

capa@capacanada.ca • www.capacanada.ca Tel.(250) 523-2333

bebyinspired Canada’s

André Gallant

I N V I C TO R I A , VA N C O U V E R , C A LG A R Y

Inspiration – April 2014 Victoria

9:00 AM Saturday, April 5 – Public presentation UVIC

Vancouver

9:00 AM Sunday, April 6 – Public presentation Shadbolt Center

Calgary

9:00 AM Saturday, April 12 – Public presentation UofC

Cost: $80.00 ($70.00 for individual CAPA Members) The Canadian Association for Photographic Art brings to you Canada’s renowned fine art photographer and presenter André Gallant. Gallant is a freelance photographer who specializes in imaginative travel, people, and stock photography around the world. Gallant continually experiments with new visual approaches and techniques in both his professional and personal photography.

Spend the day with André Gallant he will engage you with his informative style and introduce you to ­photographic concepts you may not have considered before. André’s all day presentation is a fusion of art, ideas and humour guaranteed to enlighten and entertain you. His creative and engaging teaching style will help you grow your own creative photographic vision and inspire you to make the photographs you have always dreamed of. Join us in April and leave inspired with a new vision for your own work.

For more information and to register for the event please visit capacanada.ca/presentingandregallant/

CANADIAN CAMERA - 5

CAPA News CANADIAN ASSOCIATION FOR PHOTOGRAPHIC ART FINANCIAL STATEMENT CANADIAN ASSOCIATION FOR PHOTOGRAPHIC ART For the Year Ended December 31, 2013

FINANCIAL STATEMENT For the Year Ended December 31, 2013

BALANCE SHEET

INCOME STATEMENT

ASSETS CURRENT ASSETS

2013

INCOME CC Conference, Fredericton, NB 52,565 Memberships 14,464 Individuals 83,252 NET INCOME/(LOSS) for the YEAR Accounts Receivable 12,238 Family Clubs Total Current Assets of Directors: Rick Shapka, $FCAPA, 79,267 Approved

by Board PresidentLibrary & Subscriptions

Bank - General Account TOTAL LIABILITIES, SCHOLARSHIP FUND Scholarship Fund - G.I.C. AND EQUITY

Note:

$ $ $ $

$ $

L. E. (Len) Suchan, FCAPA, Treasurer

FIXED ASSETS Office Equipment

$

$

83,252

LIABILITIES, SCHOLARSHIP FUND AND EQUITY Accounts Payable GST / HST Payable Prepaid Memberships Prepaid - Workshops, Events

$ $ $ $

1,503 1,075 8,072 7,517

Total Liabilities

$

Scholarships & Education Fund

$

EQUITY Balance, Beginning of Year

$

Income for the year Balance, End of Year

$ $

TOTAL LIABILITIES, SCHOLARSHIP FUND AND EQUITY

$

$ 42,419 15,687 $ $ 4,437 $ 10,857 $ 900 58,613

$

53,570

$ $ $ $ $ $

16,487 1,264 1,080 3,160 21,991

$ $ $ $ $ $

15,693 1,875 868 18,436

Judging Course Income

$

27,653

$

21,868

TOTAL INCOME

$

108,257

$

93,874

$ $ $ $ $ $ $ $ $ $

47,193 11,788 11,520 2,722 7,477 3,048 568 260 10,230

Member Ads

OPERATING EXPENSES CC Magazine $ 49,683 Ofice Expense $ 12,842 18,167 Directors & Officers Expense $ 17,410 Divisions - Member Services $ 2,954 13,234 Web Site $ 3,317 CANADIAN ASSOCIATION Dues to Zones FOR PHOTOGRAPHIC $ ART 2,972 FIAP Dues $ 580 FINANCIAL STATEMENT 36,164 Promotions Membership $ 85 For the Year Ended December 31, 2013 Clothing Costs $ 2,294 15,687 Judging Course Expense $ 10,228 51,851 TOTAL OPERATING EXPENSES $ 102,365

$

83,252

$ 38,997 (932) $ 4,176 $ 9,478 $ 919

$

1,725

The Financial Position of CAPA was greatly improved by the Income generated by the Judging Course in the past five years, along$ with a1,725 successful CC Conference Total Fixed Assets in Fredericton, NB. A further note on the Directors and Officers Expenses, the increase Advertising Sales Inventory - Clothing $ attending 2,260 the $ business, 2,260 board Other Income is attributable to all board members and AGM meetings Clothing in Fredericton along with the CC Conference. As well, an additional trip Sales to meet with Donations members and clubs in sourthern Alberta.

TOTAL ASSETS

9,795

2012

$

94,806

CC Conference, Fredericton, NB

$

9,795

$

NET INCOME/(LOSS) for the YEAR

$

15,687

$

(932)

Approved by Board of Directors: Rick Shapka, FCAPA, President L. E. (Len) Suchan, FCAPA, Treasurer Note:

The Financial Position of CAPA was greatly improved by the Income generated by the Judging Course in the past five years, along with a successful CC Conference in Fredericton, NB. A further note on the Directors and Officers Expenses, the increase is attributable to all board members attending the business, board and AGM meetings in Fredericton along with the CC Conference. As well, an additional trip to meet with members and clubs in sourthern Alberta.

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CAPA News Allen Bargen Retirement from the Board of Directors As all CAPA members and clubs know, Allen Bargen has been a leader with the Canadian Association for Photographic Art for many years. Allen served as President (2009 - 11), and Past President (2011 - 13). His most recent volunteer position was the Board Director, Education & Membership.

Allen has contributed to CAPA in many ways, both photographically and organizationally. Allen’s interest in all things photographic, specifically the CAPA Judging Program, including CAPA certified judges as well as other educational programs is well known. His promotion of the Honours Awards program has been important.

Allen will be missed on the board for his enthusiasm, commitment and hard work. All club members who attended one of Allen’s presentations will remember his very positive style to encourage better, more artful photography.

From all your CAPA friends, THANK YOU ALLEN BARGEN!

CAPA Director of Membership Appointment On behalf of the Board of Directors, Rick Shapka is pleased to announce the appointment of Rob Martell as Director of Membership. Rob will be responsible for all initiatives that will stimulate growth of our membership base, including individual, family, and club members. This includes the continued development of sponsor-affiliated services to members.

Rob has been a serious photographer for about 10 years, enrolling in the New York Institute of Photography course, and then following up this learning with a number of workshops to hone his skills. Rob’s photographic interests are photographic art, landscapes and portraits. He has produced a 40’s theme calendar, which has raised thousands of dollars for Covenant House.

Rob is an active member of the KV Camera club.

Recently retired from business, Rob lives with spouse, Mary in Quispamsis NB. He and Mary have a son and daughter who live in the Saint John NB area.

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Club News

Victoria Camera Club Celebrates 70 Years

Mike Wooding, Stellers Jay

Lydia Dagg, And All That Jazz

The Victoria Camera Club has a long and distinguished history in Victoria and this year marks our 70th anniversary, highlighting its journey from a small camera club to one of the oldest and largest camera clubs on Vancouver Island. This deeply symbolic moment in the life of our club is a time to celebrate our past, the present and our promising future.

The club was established in 1944 when the Victoria Photographic Society and the Civil Service Camera Clubs merged to create the Victoria Camera Club. Despite all of the changes that the club has experienced over the years, the traditions that the old Victoria Camera Club were built upon persist today.

In the early beginnings the club was comprised of 45 members. Today the Victoria Camera Club boasts a strong membership of approximately 220 individuals with a diversity and wide range of experience, skill and photographic interests. This has evolved in the formation of three special interest groups; lighting, nature and creative allowing members to concentrate on their specific photographic interests.

Between 1941 and 1966, Victoria Camera Club hosted 22 international print and slide salons, and many prominent photographers have graced Victoria Camera Club with their presence including Andre Cabuche, Fred Chapman, Sam Thomson and Freeman Patterson. More recently we 8 - CANADIAN CAMERA

hosted André Gallant, Steve Simon and in 2014 we are presenting André Gallant jointly with CAPA as part of his Western Canada tour Since its inception in 1946 our award winning magazine, Close-Up has undergone many changes throughout the years on its way to becoming the high quality award winning magazine that it is today. Originally published as a one-page newsletter, our magazine has grown to a 24 page print version with colour covers and centrefold, as well as a full colour electronic version. It has been recognized internationally and has been the recipient of several PSA awards in the large club category.

Our website was launched in 2002 and has evolved from a simple “place for information” to the centre of our communication for members and the public. Like Close-Up, the website is a major advertising tool for the club as well as playing a primary role for informing our members of activities. Our website has won awards in each of the 3 years it has been entered in the PSA club website competition including 1st place in 2013.

Victoria Camera Club is fortunate to have a strong core of individuals who volunteer their time, energy, and provide countless hours of dedication to making every facet of our club run smoothly. Through their effort, our membership enjoys a rich and diverse speaker’s program, extensive field trip program as well as a workshop pro-

gram that provides educational, hands on learning. Our members night showcases the remarkable talent of our members where we have developed a 3 tiered competition model so members can compete at a novice, intermediate or advanced level.

In addition to these internal competitions, we enter CAPA competitions at both the club and individual level, and other locally organised events such as the Lions Gate and North Shore challenge. We also hold friendly competitions each year with the Medicine Hat Photography Club in Alberta, and the Eastwood Photographic Society in Glasgow, Scotland.

Membership is the heart and soul of our club’s success; and the club’s jubilee celebration is an acknowledgement of the untiring efforts of successive generations of members who have devotedly served the club over these past 70 years. It is a time of considerable pride for all of us who are and have been part of the club and its inspiring journey.

A strong spirit of camaraderie and cooperation has always existed within the Victoria Camera Club and has been a hallmark of the club over the years. We are constantly striving to maintain this cohesive and collaborative environment and to strengthen the already strong bonds that exist between our members. Before our club meetings there is a buzz of activity, and a general level of happiness is noticeable as members socialize and engage one

Club News

Lois Burton, Night Falls

Carole Valkenier, Gooseneck barnacles

Hanna Cowpe, Alstroemeria

Steve Lustig, Perfect Symmetry

Dan Takahashi, Focused on the hunt

Richard James, A Crowd of Mushrooms

Lloyd Houghton, Winter Stillness

Ove Christensen, Female Leopard Kruger National Park, SA

Herman Surkis, Mad Hatter

Blake Ford, Vancouver Night

another. We have a positive club environment and we always try to keep it fun!

Our members take pride in the art they create and from the very beginning our

members have been willing to share their expertise with one another. It is one of the principles that the club was founded on and it prevails today. g

Lois Burton ~ President Victoria Camera Club

CANADIAN CAMERA - 9

MEMBER’S PORTFOLIO

One day in my class at Langara College my photography instructor said, “I want you guys do something you’ve never done before, in fact you don’t even know how to do it yet. The idea and execution are all yours; now leave me alone I want to go home.” It wasn’t even an assignment, at least not for me A few weeks later I still had no idea what I was going to shoot but I could not stop thinking about it. One day I saw a body pain advertisement plastered on a wall on a building in the streets of Vancouver. I had absolutely no idea how it has been created but I loved it. My research and tests started from that day. I asked classmates to stand in front of me while I projected images on them and photographed. These photos became my favourite works. Because with these photographs I step somewhere new, somewhere uncomfortable but exciting. I feel that I pushed my boundaries and limits forward one step.

Ehsan Mahdizadeh Photography Student 10 - CANADIAN CAMERA

10th Anniversary CAPA 2014 Annual Digital Competition The 2014 topic is “Misty Water” This is the 10th Anniversary of our highly anticipated competition. It is the one where CAPA members eagerly wait for the topic to be announced! This year our ‘inspirational’ topic will require participants to think, plan and perhaps explore new techniques and acquire some knowledge to compete. Although it may seem simple, this subject will require expertise and understanding of how your camera works.

The Annual Digital Competition is the one CAPA competition with merchandise prizes. The announcement comes early in the year to give you time to go out, and make your best image. If you find later that you get an even better one, you can easily re-submit this new entry in place of a previous one. As in prior years the first three winners will share the prizes which will be revealed in the upcoming summer issue of Canadian Camera. In addition to our three winners, 10 CAPA Honour Awards will be given.

This competition is open to CAPA individual and family members only; those members who are permanent Canadian residents. If you are not a CAPA member, and if you belong to one of our many CAPA clubs, we encour-

age you to join as an individual or family member. By participating in this competition you will have a chance to win one of three fabulous prize packages.

All entries must be submitted electronically no later than midnight (Pacific Standard Time: GMT-8:00) September 30th, 2014, through our online submission system on the CAPA website.

Your CAPA member number and a valid e-mail address are required to login and register. All participants will be confirmed as members in good standing and living in Canada with our database, before their entries are accepted and judged. E-mail and regular mail entries will not be accepted and will not be returned.

The rules and guidelines governing this competition are posted on the CAPA

website. Any email enquiries should be sent to CAPA-ADC@CAPACanada.ca.

Make sure you include the title of the competition and the word CAPA in the subject line, or your message may be tagged as spam.

Participation is limited to 2 entries per member. You may submit either colour or black and white photos. Manipulation in editing software is permitted. Judging will be carried out in Ottawa in October 2014, and the results will be announced on the CAPA website.

Competition Chair: Jacques S. Mailloux Co-Chair: Léo Allain

EVENT SPONSORS

www.capacanada.ca CANADIAN CAMERA - 11

Inspiration

By André Gallant “What inspires you André?”

This question took me by surprise at a recent presentation to a photography club. After a brief pause, I answered: “Life inspires me!” “Just last week, inspiration came from an Inuit artist’s drawings I saw in a gallery. Although the work made me want to rush out and buy pencils and paper so I could give drawing a try, it’s the powerful artwork that has stayed with me since, urging me to strive for simplicity in my photography. Sometimes, a quote or a passage from a book will move me emotionally, and at that moment, those words become my inspiration. Just recently, I purchased a wonderful piece of pottery. Its colour and elegant lines seduced me, and looking at that vase on my mantle is a source of inspiration. I knew then that “Life inspires me” was the right answer,

Black and white in colour One of the topics from a fifty-two week challenge was to take a colour photograph that looked like a black and white image. I decided to go to a zoo and photograph the zebras. I felt this close up of an eye was powerful, and it illustrated the topic well.

Un dès thèmes du défi 52 semaines consistait à prendre une photographie couleur qui ressemble à une image noir et blanc. J'ai décidé de visiter un petit zoo local pour photographier les zèbres. Ce détail de l’oeil d’un zèbre illustre le thème vraiment bien.

12 - CANADIAN CAMERA

I believe there are many ways you can find inspiration. As photographers, a good place to start is to look at other photographers work, either in books, magazines or in an art gallery. At your fingertips is the Internet where you can peruse the world, looking at the work of some of the best visual artists.

When viewing beautiful images that touch you, it will certainly compel you to get your camera out and start photographing. You will also get ideas and experience a burst of creativity.

Online sites such as flicker (www. flickr.com), 500 pixels (www,500px. com), and 1x (www.1x.com) showcase beautiful imaginative work, definitely offering an abundance of inspiration.

They even offer weekly challenges

Reflections in automobiles Quite often on my daily walks, I take along a camera and tripod. As much as possible, I plan these outings when the light is more dramatic, either early morning after sunrise, or about an hour before sunset. I look for backlit situations, shadows and reflections. One evening, the warm light was shining on some buildings, which reflected on the metal and windshield of a car parked in the shade. The abstract views were quite compelling.

Très souvent lors de mes promenades quotidiennes, j’apporte une caméra et un objectif ainsi qu’un trépied.

Autant que possible, je planifie ces sorties lorsque la lumière est dramatique, que ce soit tôt le matin après le lever du soleil, ou environ une heure avant le coucher du soleil. Je cherche des ombres et reflets créés par des objets éclairés à contre-jour. Un soir, la lumière brillait et le reflet des bâtiments sur le métal et le pare-brise d'une voiture garée dans l'ombre a créé cet abstrait qui me plaît beaucoup.

and it’s free to participate. Beyond photography, look at paintings from the great masters, but also those painted by children in preschool, or at a daycare. Be more attentive to everyday things that surround you.

Watch how the light comes through your windows at different times of day, or take a closer look at the reflections on your vehicle. Once you begin this process of being more observant, you will become more conscious of your

surroundings. Without a doubt, new photographic opportunities will reveal themselves.

I’d like to share a few challenges that have been very helpful and inspiring through my journey as a photographer.

Exercises as simple as illustrating a word or concept. Ideally, it will be more challenging if someone else chooses a topic for you. Often, I ask friends to give me a concept to illustrate, or to choose an item to photograph. Over

the years, I’ve struggled with the most basic topics such as “bottles”, “paper” and “citrus” because these items don’t particularly appeal to me as far as photographing them. But this exercise made me think of ways to shoot these André Gallant is a mature artist, though his growth shows no sign of abating. What I see more and more are superb images and programs that express his joys, his sorrows, and his fundamental awareness that subtle and restrained visual statement can be the most powerful and moving form of communication.

And, what I sense more and more is a man who has quietly accepted the life-long challenge of becoming in touch with his inner self. ~ Freeman Patterson CANADIAN CAMERA - 13

Chairs Photographed near the Musée de l’Orangerie in Paris, this image seemed like a good candidate to experiment with selective colour. In Photoshop, I converted the image to black and white, and then I painted back the vibrant green colour in two of the chairs, without a doubt making them the star attraction.

Photographiée près du Musée de l'Orangerie à Paris, cette image semblait être un bon candidat pour expérimenter avec des couleurs sélectives.

Avec Photoshop, j'ai converti l'image en noir et blanc, ensuite, j'ai filtré les deux chaises afin de retrouver leur couleur vert. Cest une technique que j’aime beaucoup.

simple items creatively. Just thinking about how to illustrate words like “aura”, “innovation”, or “sorrow” will set the wheel in motion, and that’s a big part of these exercises.

A self assigned project I highly recommend is to photograph everyday for the duration of a month. Over the years, I have committed to such a challenge on four occasions, and was fortunate to have two of these published in magazines. “The Coming of Winter” graced the pages of Canadian Geographic in 2000, and “December Light” was published in its entirety in 2008 in Canadian Camera.

Immersing yourself in photography for a month will certainly push you creatively, and the images you come up with may surprise you. Perhaps you can ask other photographers to join you in this challenge. Mention it at your photography club, and see what happens.

Another project I absolutely enjoyed is a fifty-two week challenge. Just this 14 - CANADIAN CAMERA

past year, I and a couple of friends (one from New Zealand and 2 from Ontario) challenged ourselves to photograph one topic per week, for the duration of 2013. The topics were chosen by the four of us. Each week we photographed the assigned topic and then we would e-mail our images to each other. This was followed by some comments, suggestions and accolades within our group. It proved to be a a

very productive endeavour and it was a fantastic way to stay connected with good friends. It is a big commitment, but definitely worthwhile.

Post processing images on your computer is another way to be creative and find inspiration. There is an abundance of software available for your digital darkroom, which can help you in creating exciting results. This can be as simple as converting some

Blue One evening, I walked into a spare bedroom in our house and noticed this window. The blue colour cast at dusk transformed the green sheer fabric into various shades of blue. I ran and grabbed the camera and tripod before the light faded.

Un soir, je suis entré dans une chambre d’invité chez nous et j'ai été saisi par l’allure de la cette fenêtre. La couleur bleue du crépuscule avait transformé le tissu vert en différentes nuances de bleu.

Rapidement je me suis emparé de ma caméra ainsi que mon trépied afin de faire cette photo avant qu’il fasse noir.

of your images to black and white (Nik’s Silver Effects Pro & Topaz B&W Effects are wonderful filters to add to your computer), or perhaps you can experiment with ‘”selective colour”.

Using Layers in Photoshop, you convert an image to black and white, then, using a brush, you can paint back some colour in specific areas of your photograph, to make these stand out (e.g. the colour of the eyes in a portrait,

or the red petals of roses in a still life image). There are very good tutorials on YouTube that will walk you through this easy process.

Recently, I’ve been fascinated with minimalism in photography. For over a year now, I’ve been going out for a walk with my camera, one lens and a tripod, looking for simple images. I walk the same route on purpose almost every day. I try to avoid distractions, clear

my mind and be as alert as possible to my surroundings. To some, walking the same route might seem mundane, but it excites me, as I always seem to see new images appear in front of me. The light and the shadows it casts moves slightly every day. The sky is never the same. The cars change constantly in the public parking lot. King’s Square, Saint John’s centerpiece goes through the seasons, filled with flowers, benches and bistro sets in summer, shedding its colours in autumn, donning black and white in the winter months, and, exuberant with new life in spring.

When I look at the images made after each walk, I’m surprised at how the photographs differ, not only from month to month, but from day to day as well. As humans, and photographers, we constantly change, and that shows through in our photography.

Remember, a camera always looks both ways (Freeman Patterson Shadowlight), and our images often reflect our heart and soul. g CANADIAN CAMERA - 15

Enchanted forest Setting out to photograph the topic enchanted forest; my mission was to convey a sense of wonder and mystery. With that in mind, I photographed a stand of trees in the forest. By panning the scene with a slow shutter speed, the trees appear to move, as if they are dancing. Using Photoshop and working in Layers, I then combined the forest scene with an image of various splashes of colourful paint on a canvas, creating a visual fantasy.

Pour photographier le thème forêt enchantée, ma mission était de transmettre un sentiment d'émerveillement et de mystère. C'est dans cet esprit que j'ai photographié plusieurs arbres dans la forêt en utilisant une vitesse d'obturation lente, créant ainsi l’impression que les arbres se déplaçaient en dansant. Avec Photoshop, j’ai combiné la scène des arbres et une image de diverses touches de peinture colorée sur une toile, ce qui a créé cette fantaisie visuelle

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Wide The wide angle is my least used lens, so one of my challenges has been to use it at least once a week. Confronted with this wide landscape it was the right lens choice to convey the vastness of this field of canola. The line created by the fireweed added a shape to the composition as well as colour contrast.

Le grand angle est mon objectif le moins utilisé, donc l'un de mes défis a été de l'utiliser au moins une fois par semaine. Face à ce vaste paysage c'était l’objectif de choix pour capter l'immensité du champ de canola. La ligne créée par l’épilobe ajoute une forme à la composition ainsi qu’un contraste de couleur.

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Inspiration « Quelle est ton inspiration André? »

Fork The components of this image are very simple; a fork, a piece of white board and directional light. After sunrise one morning, I placed this elegant fork on a piece of white board, and then rotated the board as I watched the shadows created by the low sun in the sky. At a certain angle the shadows appeared elongated and sensuous. The original photograph appealed to me, but a mirror montage of it became whimsical.

Après le lever du soleil un matin, j'ai placé cette fourchette élégante sur un morceau de carton blanc, que j’ai ensuite faite pivoter tout en observant les ombres créées par le soleil bas dans le ciel. À un certain angle, l’ombre s’est allongée et est devenue sensuelle. La photo originale est plaisante, mais le montage miroir possède une touche fantaisiste.

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Récemment, lors d’une présentation à un club de photographie, cette question m’a pris par surprise. Après une brève pause, j’ai répondu : « La vie m’inspire ». J’ai ensuite élaboré : « La semaine dernière, lors d’un vernissage pour un artiste Inuit dans une galerie à Toronto, les dessins sur papier noir de Tim Pitsiulak m’ont vraiment touchés. Tellement, que j’ai eu le goût de me précipiter pour acheter papier et crayons afin d’expérimenter avec le dessin.

Toutefois, c’est la puissance des œuvres d’art qui reste gravée en moi. C’est la simplicité et la restreinte que j’espère pouvoir intégrer dans mon propre travail. Parfois, un passage lu dans un livre ou une citation peuvent m’affecter émotionnellement et, à ce moment, ces mots deviennent mon inspiration. Tout récemment, j’ai fait l’achat d’une pièce de poterie. Séduit par les belles couleurs et la simplicité de ses lignes lorsque que je l’admire, ce vase devient ma source d’inspiration. » Affirmer que la vie est mon inspiration est sans contredit la bonne réponse à cette question.

Je crois qu'il y a de nombreuses façons de trouver une source d'inspiration. Un bon endroit pour commencer est d'observer le travail des autres photographes, que ce soit dans les livres, les magazines de photos ou bien dans une galerie d'art. L’Internet est également à notre disposition et nous permet de nous connecter avec l'univers. On peut y voir le travail des meilleurs artistes visuels qui œuvrent à travers le monde. En regardant de belles images qui vous touchent, vous aurez le goût de faire de la photo

Fireweed When fog rolled in from the Saint Martins coast in New Brunswick, it softened the light of a setting sun.

Photographing the fireweed, I chose a vantage point so I could take advantage of backlight. This also showed the sun rays coming through the trees adding some drama to the scene.

Lorsqu’un brouillard a envahi le petit village de Saint Martin au Nouveau Brunswick, il a adouci la lumière du soleil couchant. Pour photographier l’épilobe, j'ai choisi d’exploiter la lumière à contre-jour.

Ce point de vue laissait passer les rayons de soleil à travers les arbres, ce qui ajoutait une touche dramatique à cette scène.

vous aussi, car vous obtiendrez une multitude d’idées, tout en ressentant une abondance de créativité. Les sites Web tel que Flickr (www.flickr.com), 500 pixels (www.500px.com), ainsi que 1x (www.1x.com) offrent une magnifique vitrine de travail imaginatif accompagné d'inspiration à profusion.

Ces sites présentent aussi des défis photographiques hebdomadaires auxquels vous pouvez participer sans frais, ce qui vous permet de partager vos résultats avec d’autres participants.

Au-delà de la photographie, vous

pouvez vous inspirer en regardant les tableaux de grands maîtres peintres, mais aussi ceux peint par des enfants d'âge préscolaire. Soyez plus attentif aux choses de la vie quotidienne qui vous entoure. Regardez comment la lumière pénètre vos fenêtres à tout moment de la journée. Lorsque vous vous déplacez en voiture, observez de plus près ce qui reflète sur le métal ou dans les fenêtres. Lorsque vous commencerez à être plus attentif, vous serez plus conscient de votre environnement et de nouvelles

opportunités photographiques se présenteront sans doute à vous.

Je veux partager avec vous quelques défis photographiques qui m'ont vraiment inspiré dans mon cheminement en tant que photographe. Vous pouvez utiliser un exercice très simple, tel qu’illustrer un mot ou un concept. Ceci est plus efficace si quelqu'un d'autre choisi un sujet pour vous. Parfois, j'invite mes amis à me donner un objet ou un thème à photographier. Il semble que les sujets les plus simples sont souvent les plus difficiles à illustrer. J'ai eu beaucoup de difficulté avec les mots « bouteilles », « papier » et « citrons », car ce ne sont pas des choses que je trouve excitantes à photographier. Cependant, cet exercice m’a poussé à trouver une façon créative de photographier des choses que je considère banales.

Imaginez comment vous illustreriez CANADIAN CAMERA - 19

Dollar store Part of a fifty-two week challenge, with the topic being an item purchased at a Dollar store, this image is of a roll of metallic wrapping paper photographed indoors in a room with a lot of sun coming through the windows. I ended up photographing this for a couple of days as the light and colours kept changing, prolonging my excitement.

Faisant parti d’un défi 52 semaines, le sujet étant un item acheté à un Dollarama, cette image est un rouleau de papier d’emballage métallique, que j’ai choisi de photographier dans une pièce très ensoleillée. Comme la lumière et les couleurs changeaient continuellement, l’exercice et mon enthousiasme ont duré plusieurs jours.

en photos les mots suivants : amitié, innovation, tristesse, vélocité.

Un autre projet auto-attribué que je recommande vivement est de faire de la photographie quotidiennement pour la durée d'un mois. Au fil des années, j'ai relevé ce défi à quatre reprises et j’ai eu la chance d'avoir deux de ces projets publiés dans des magazines. « The Coming of Winter » a orné les pages du Canadian Geographic en l’an 2000 et « December Light » a été publié en entier en 2008 dans Canadian Camera.

Vous immerger dans la photographie pour un mois va certainement vous pousser à être créatif et les images que vous accumulerai risqueront de vous surprendre. Vous pouvez peut-être demander à d'autres photographes de se joindre à vous dans ce défi.

Le traitement d’images sur votre ordinateur est une autre façon d'être 20 - CANADIAN CAMERA

créatif et de trouver de l'inspiration. Il y a une abondance de logiciels disponibles pour votre chambre noire numérique qui peuvent vous aider dans la création de résultats passionnants. Ceci peut être aussi simple que convertir certaines de vos images en noir et blanc (Nik Silver Effects Pro et Topaz B&W Effects sont de merveilleux filtres à ajouter à votre ordinateur). Il est aussi possible de convertir certaines photos en noir et

blanc pour ensuite repeindre les couleurs originales dans certaines parties de votre photo dans le but de créer un impact visuel (i.e.: la couleur des yeux dans un portrait, ou le rouge des roses dans une nature morte). Il y a de très bonnes classes de travaux dirigés disponibles sur Internet (par exemple pour apprendre à créer l’effet noir et blanc avec touche de couleur) qui vous guideront dans ce processus facile.

Watchful eyes While processing some images from a recent trip to Paris, I decided to play around in my digital darkroom hoping to create something original from the various scenes I had photographed. Experimenting with composite montages, the image of a gargoyle taken at the Notre Dame Cathedral was combined (using Layers in Photoshop) to a texture image of dabs of paint on a piece of canvas. Using Nik’s Color Efex Pro filters, the colourful outcome was then converted to black and white - soft sepia, to give it an antique appearance.

Lors du traitement de certaines images prises pendant un voyage récent à Paris, je me suis amusé dans ma chambre noire numérique en espérant créer quelque chose d'original à partir de ces photos.

Avec une image d'une gargouille prise à la Cathédrale de Notre Dame, j’ai décidé de faire un montage composite (utilisant Photoshop) en ajoutant une photo de touches de peinture sur une toile. J’ai ensuite converti le tout en noir et blanc avec une touche de sépia douce utilisant les filtres Nik Silver Efex Pro, pour donner un aspect ancien.

Récemment, je suis fasciné par la photographie minimaliste. Depuis plus d'un an, je me promène à la recherche d'images simples, armé de ma caméra, d’un objectif et d’un trépied. Je parcours à pied le même trajet presque tous les jours. J'essaie d'éviter les distractions et de devenir plus attentif à ce qui m’entoure. Pour certains, suivre le même trajet peut sembler banal, mais au contraire, cela

me passionne, car je semble toujours découvrir de nouvelles images sur mon chemin. La lumière change et projette des ombres qui se déplacent légèrement tous les jours; le ciel n'est jamais le même, les voitures bougent constamment dans les stationnements publics. Au milieu de mon trajet, je traverse King’s Square, pièce maître de Saint-Jean, doté d’arbres majestueux qui changent au fil des saisons : remplis

de fleurs en été, alors qu’en automne les arbres se revêtent de couleurs rouges, jaunes et oranges, pour ensuite s’enfiler de noir et de blanc en hiver, dénudé de feuillage et de couleurs. Le tout redevient exubérant au printemps avec un renouvellement de vie. Quand je regarde les images prises après chaque promenade, je suis surpris de voir à quel point les photos diffèrent, non seulement de mois en mois, mais aussi de jour en jour. En tant qu’êtres humains et en tant que photographes, nous changeons constamment et cette transformation se reflète sans contredit à travers notre photographie. N'oubliez pas, l’objectif de la caméra n’est pas à sens unique et nos images reflètent souvent notre cœur et notre âme. g

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Evocative Images

By Catherine Wright

The most difficult challenge for me when aiming for an image that qualifies as photographic art is to achieve a meaningful balance between psychological content and form. My courses in art history and psychology taught me that there is more to consider when creating a thought provoking image than perfect light, appropriate mechanical settings and a pleasing arrangement of elements. I quickly realized that art historical perspectives are valuable tools in crafting images that offer more than a literal interpretation.

I learned that symbols are useful as a type of visual shorthand. They represent complicated concepts that often include both negative and positive attributes. In photography, having a basic knowledge of traditional symbols that trigger cross22 - CANADIAN CAMERA

cultural responses is one way of adding psychological interest. Some common universal existential symbols are knots, mountains, ladders, caves, trees or pillars, mazes or spiral shells, an egg and of course, water.

Abstracts and layered images are especially conducive to exploiting symbolism, to invite a more contemplative journey into your work. However, photographers often miss the importance of metaphorical hooks–shapes that excite your brain, that remind you of something familiar.

Mark Rothko’s canvases are not just soft moody blends of muted colours and shapes. He was inspired by studies in psychology and tried to illustrate how people felt during those difficult times.

An abstract is almost like a Rorschach inkblot. We look for something to assign a known factor, but our interpretations differ because they depend on a viewer’s state of mind.

In nature photography I have always been enamoured with the Sierra Club style, but was surprised to learn that it is a relatively new genre in western European art. Plants and landscapes were a common feature in early Chinese and Japanese paintings, but in western art, landscapes were generally nondescript backgrounds to human activity–until the1800s. As a photographer, I found Chinese art of great interest, especially the 12th century Lyric Style adopted and expanded by Japanese artists in the 15th century. Oriental artists used a parallel system rather than perspective that is well suited to lens distortion. Studying principles of Chinese art gives you some amazing tools. For example, an ordered composition easily attains a random feel, appearing less contrived when using an odd number of elements, like 3, 5 or 7.

One of my favourite Chinese artists is Ma Yuan who was famous for his “onecorner Ma,� compositions. His stacked

planes are separated and framed by dense mist. An energetic diagonal foreground in one corner illustrates highly detailed trees and rocks, and all of the elements display an emotional quality. This style of image has an overpowering sense of

drama comparable to the current trend of super saturated wide-angle shots.

Orientals read from right to left, so they feel that right facing elements are looking backward and therefore encourage meditation on CANADIAN CAMERA - 23

the past. Western artists perceive these compositions as optimistically looking forward because they read from left to right. Some photographers routinely flop their images to face right without realizing why. My images often face left because I gravitate toward a reflective attitude. I really like the energy that a close-up diagonal corner plane projects, giving the image more depth, more detail, and a comfortable base from which to visually travel into the illusionary deep space. I also like to choose natural elements that have a feeling of duality, of angst–or hope, depending on the mood of the viewer.

Optical studies in the 1800s led to Impressionism and new ways for artists to use light and colour. As a photographer, knowing which colours vibrate or change hue when placed beside one another, and which colours recede or come forward, or the cultural attitudes and emotions inspired by specific colours is another way of manipulating the mood. It is useful to know that warm, light or bright colours come forward and cool, dark or dull colours recede… or that small light objects become more noticeable as they move away from the centre. There are 24 - CANADIAN CAMERA

many fulcrums that can be used to design a path into your picture plane, many subtle ways of directing the eye though a work of art.

For most of us, finding that ultimately pleasing image is the goal, but tension produced by the use of optical anomalies often gives your work an edge that takes it successfully beyond the mainstream, breaking the rules but not the balance.

Emotional content has just as much

weight as shapes when balancing your image. For example, “Roots and Rocks” can be seen as a metaphor. The upturned tree root, reaching progressively to the right into a vast white space is both grotesque and nurturing. This outstretched ragged root appears to be pulling the egg-like rocks into a nest.

Tension is increased by placing the dark optically receding root in front of a stark white snowy background that presses

image is not just a pleasing arrangement of elements, or a dramatic play of colour and light. It is a moment in time that maps the emotional side of our life experiences. g

Suggested Reading: • History of Art, H.W. Janson • Varieties of Visual Experience, Edmund Burke Feldman • An Encyclopaedia of Archetypal Symbolism, Beverly Moon • Images and Symbols, Mircea Eliade • Principles of Chinese Painting, George Rowley • Art and Visual Perception, Rudolph Arnheim • Toward a Psychology of Art, Rudolph Arnheim

forward. Detailed root tendrils, smooth surfaces, diffused light and muted colours intensify the feeling of refined tenderness, or it could illustrate oppression.

Many of our images strike a chord in us that we can’t explain, but after performing a critical analysis we can discover symbolic elements in our natural metaphors that interact to give it that spark of life. Sometimes, after we instinctively shoot something that appeals

to us, we suddenly recognize the levels we included from our subconscious, and that image then becomes a blue print for another attempt that can be optimized to sell those qualities more effectively.

Like artists in any other medium, I fully appreciate and utilize the tools available to me. Digital software allows me to refine my images, not only to achieve a more painterly effect, but to enhance the message. For me, a fine art

capa@capacanada.ca www.capacanada.ca CANADIAN CAMERA - 25

The Art of Creating a Print

By Paul Sparrow

The famous landscape photographer Ansel Adams once said that “the negative is the equivalent of the composer’s score, and the print the performance“. Even being the master printmaker that he was, he would still test out different variations of a print to see what worked. In today’s world of mega pixels and digital imagery this is even truer than at any other time. The tendency is to depend on the technology and what it can do in an instant with the press of a button and we sometimes forget the “art” of printmaking in the automated options that today’s digital tools provide.

Creating a great print that inspires the imagination takes trial and error, patience and perseverance.

The first thing to consider is the scene being photographed and how it’s exposed in the camera. Is the contrast range of the scene within what your camera can handle? Even though we might be able to see details with our 26 - CANADIAN CAMERA

own eyes it does not always mean that the camera is able to translate that into a usable photograph.

Some high contrast scenes can fall well outside of what is possible to reproduce unless steps are taken to

adjust the contrast range. This can be done in a variety of ways in camera from using a polarizer or graduated neutral density filter to HDR (High Dynamic Range) exposures to equalize the density differences that keep the contrast within a range that can be reproduced. Also, where you expose an image on the histogram can make a huge difference. Exposing to the right end of the histogram, without burning out the highlights, can allow for more shadow detail but requires more image processing in software. How the image is created in the camera should always be considered as the first part of the process of creating a print.

The next step is how the image actually looks when evaluating it on

the computer monitor. It goes without saying that a well calibrated monitor is necessary if you’re to judge your image critically. But even with a perfectly calibrated display system, some images will look much better on the screen than they will reproduce on a printed surface. This is ultimately due to the dynamic range of the two completely different media. The luminosity of the additive colour space of the RGB light transmitted directly to the eye from a computer screen can get lost when translated to a reflective surface that uses the subtractive CMYK ink process that’s the standard for creating printed images on a sheet of paper.

This is where the “art” of processing a file for the printed medium comes into play. Certain parts of an image might need changes to either density and or colour so they appear on the printed surface as you see them on the monitor. And often this is a trial and error approach where changes have to be made and then printed out to see if they work. Making test prints with minor density or colour changes can result in noticeable changes when they get translated to the final printed surface.

Often the tendency is to make these test prints at a smaller size so as to save

some ink or paper, however, an image’s overall appearance will fundamentally change when seen at different sizes. To save on consumables consider making a test strip through the most important area (as a crop) at the same size as the full print. Getting a real sense of how the image will look at the intended size of the final printed image will help you critically evaluate whether your changes worked.

Print size makes a big difference to how much detail can be seen and is interrelated to the camera original’s resolution. The larger the print size, the more pixels are needed to create a well defined image. This is separate from how sharp the image is when taken, as that can be effected by a variety of things like camera and subject movement, lens sharpness, what aperture it was shot at etc. But, if you’re talking strictly about the file that creates the print, between 200-300 ppi (pixels per inch) is needed at the size of the final print to make sure that detail is translated to the print. Images that don’t have any hard edges or defined detail may look fine towards the lower end of 200 ppi, however, images that have very fine intricate detail will require upwards of 300 ppi to look crisp and sharp. So when making larger

prints from lower resolution files it’s often necessary to re-sample the image up in size to the desired 200-300 ppi to maintain their overall sharpness.

Finally, the type of printer used to produce the image (how many colour inks it uses) can make a huge difference as to how good the final print will look. Since the CMYK ink process is limited in the number of colours it can reproduce, some printers are incapable of reproducing what is there in the file itself. To compensate, some printers have additional primary inks colours like red, green or blue (besides the usual Cyan, Magenta, Yellow, Light Cyan and Light Magenta) and can have multiple monotone inks that extend the possible printed colours that can be reproduced.

Even the type of paper can affect the tonal range of the final image. Printing on a glossy surface enhances the tonal range of an image where printing on a matte or canvas textured surface can compromise certain tones.

So even today it still comes down to an art. And although we’re now using much more sophisticated tools than Ansel Adams ever did, I think if he had used the same technology as in today’s world of digital photography he probably would have approached his print making the same… one of trial and error, patience and perseverance. g

Paul Sparrow has been professionally involved as a photographer for over 35 years and a producer and presenter of large scale multi-image AV shows that celebrate the wonder of our world in imagery. He heads up the Digital Group of the Latow Photographers Guild in Burlington ON and runs 8 week courses on introductory and advanced photography techniques as well as Photoshop courses & workshops and ProShow audio-visual seminars through his organization The Burlington PhotoWorkshops. His web site can be found at http:// home.cogeco.ca/~psparrow/.

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Book Review Book Review by Rick Shapka

INSPIRATION Creative Photography Projects

By André Gallant

André Gallant is well known to most of our members for his very expressive images, photographic workshops, and many published books. He was a favorite presenter at the recent Canadian Camera Conference, at Fredericton NB. André’s latest book is the subject of this review, as well as one of the subjects for his upcoming CAPA sponsored trip to Victoria, Vancouver and Calgary in early April.

André is enthusiastic about photography, his teaching, and sharing photographic skills with everyone. This is one of the first impressions gleaned from reading his book. It is a sharing of his many productive ideas, and positive thinking for making better images. While it is about his creative projects, including a 52-week project completed with Rosita, good friend from the NZ photographic society, André wants ‘to inspire’ the reader to become a much better photographer.

With an imaginative list of possible self assigned topics or concepts to photograph, the reader is inspired to begin their own creative journey accepting the discipline of self-assignment. André encourages the use of a simple concept, thoughtful composition, with your ability to imagine. André suggests when a photographer might consider using a different viewpoint, choosing a different lens, or selecting an alternative light source.

Your first photograph of any specific subject begins the building block process to produce a final image result. This final image for a specific topic, or concept is only as limited as your imagination. You 28 - CANADIAN CAMERA

become aware of this as André takes you through his thinking, feelings and the resulting images of a photographic challenge.

Rosita says the 52-week photographic challenge completed together by her and André “pushed her to produce thought provoking imagery that many times moved me out of my comfort zone. Over this period I made some of my best images, with one going on to gain a silver medal in the NZ competitions. I recommend this challenge to all photographers as a refreshing and stimulating experience.”

Another photographer Mary Ellyn tells me “I was encouraged to step up my image making by his book, INSPIRATION, and my fellow workshop attendees. Some agreed to participate in the weekly challenges. The improvement of my image quality was remarkable; the group’s comments helped to stimulate and stretch my photographic capabilities. I am happily continuing this in 2014.”

In a second section of the book André describes skills to develop for many image-making techniques such as panning, creative blurs, multiple exposures, cell phone photography, infrared and HDR photography. His clear writing style and step-by-step explanations with examples, allows the reader to be able to mentally and visually translate the information to begin your personal project.

In the final section of INSPIRATION, André provides the reader with examples accompanied with the image results for some creative exercises. Examples are how to photograph smoke, cross polarization photography using simple plastics, photographing folded paper lighted with a flash light, and frozen flowers under ice.

These exercises should stimulate the creativeness in every photographer.

This is a stimulating, well-written book, which has some wonderful examples of creative images. André describes a photographic challenge process that can be modified to inspire any photographer’s thinking, no matter the level. Those photographers with limited Photoshop skills will benefit from his “how to” post processing directions.

I highly recommend this book to any photographer who is looking to become inspired to make better images. This book is self-published by André Gallant and is available from his website at andregallant.com.

2014 CAPA scholarships Individual and family CAPA members may apply for the annual $500.00 scholarship to assist members in furthering their knowledge of photography. Your application must include information describing how the funds will be used and the expected benefits from the scholarship. Send a letter to the CAPA President, or email to president@capacanada.ca.

Applications must be received no later than June 30th, 2014.

Please write a short photographic biography; include a list of service to CAPA and/or Canadian photography and details regarding the proposed use of the funds accompanied by a portfolio of six of your own images.

Scans 1024 x 768 pixels up to 2 mb are preferred.

www.capacanada.ca Tel.(250) 523-2333

CAPA Competitions Greeting and Note Card Best of Show Kas Stone, Winter Farm Greeting Card Winner Sharon Shales, Happy Anniversary Honour Award Kas Stone, Quiet Friends Kas Stone, Night Sky Kas Stone, Windblown Sharon Shales, We've Moved

Greeting Card Winner, Sharon Shales, Happy Anniversary

Note Card Winners Kas Stone, Winter Farm Derek Applegarth, Evening Light Lauren Nicholl, Fall Reflections Les Raskewicz, Shore Patrol Marion McCristall, Spring Reflections

Honour Award, Sharon Shales, We've Moved

Les Raskewicz, Shore Patrol

Lauren Nicholl, Fall Reflections

Derek Applegarth, Evening Light

Honour Award, Kas Stone, Night Sky

Marion McCristall, Spring Reflections

Honour Award, Kas Stone, Quiet Friends

Best of Show, Kas Stone, Winter Farm

Honour Award, Kas Stone, Windblown

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CAPA Competitions Digital Nature - Club Competition Gold Medal North Shore Photographic Society Silver Medal St. Catherines Photo Club Bronze Medal Trillium Photographic Club Botany Certificate Trillium Photographic Club Certificate of Merit 1st Photographic Guild of Nova Scotia Certificate of Merit 2nd St. Catherines Photo Club Certificate of Merit 3rd St. Catherines Photo Club Honour Award Abbotsford Photo Arts Club Honour Award Cowichan Valley Camera Club Hononourable Mention Photographic Guild of Nova Scotia Hononourable Mention London Camera Club Hononourable Mention Chatham Camera Club

Gold Medal North Shore Photographic Society Carol Coleman, Savannah Sparrow Eating Lupins

Silver Medal St. Catherines Photo Club Terry Rooney, Ruby

Bronze Medal Trillium Photographic Club David Seldon, Great Blue Herons

Botany Certificate Trillium Photographic Club Don Corby, Shooting Star

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CAPA Competitions Digital Nature - Individual Competition Gold Medal Jason Duncan, Vancouver, British Columbia Silver Medal Janet Kempster, Brantford, Ontario Bronze Medal Mike Wooding, North Saanich, British Columbia Botany Certificate Mike Wooding, North Saanich, British Columbia Mushroom Honour Awards Mimi Lo, Come Fly with Me Theodore Lo, Roseate Spoonbill Peter Ferguson, Loon Stretch Lauren Nicholl, Great Blue Heron Suzanne Huot, Hungry River-Tern Chick

Gold Medal Jason Duncan, Aurora over Iceland

Silver Medal Janet Kempster, Anhinga Preening 2

Bronze Medal Mike Wooding, Red-winged Blackbird

Botany Certificate Mike Wooding, Mushrooms

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CAPA Competitions Digital Open Club Competition Gold Medal Toronto Camera Club, Agnes Shaw, Beautiful Ballerina Silver Medal North Shore Photographic Society Roberta Dixon, End of the Day Bronze Medal Trillium Photographic Club John Overmeyer, By the Sea Certificate of Merit 1st North Shore Photographic Society Brenda Douglas, Smoker on Granville Certificate of Merit 2nd Toronto Camera Club Christopher Siou, Lion Peak Vista Certificate of Merit 3rd Welland Camera Club Earl Reinink, The Skipper

Gold Medal Toronto Camera Club Agnes Shaw, Beautiful Ballerina

Honour Award Delta Photo Club Welland Camera Club Beach Photo Club

Silver Medal North Shore Photographic Society Roberta Dixon, End of the Day Certificate of Merit North Shore Photographic Society Brenda Douglas, Smoker on Granville

Bronze Medal Trillium Photographic Club John Overmeyer, By the Sea

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CAPA Competitions Digital Open Individual Competition Gold Medal Theodore Lo, Fierce Competition Silver Medal Jason Duncan, Phare du Petit Minou Bronze Medal Heather Bashow, 1812 Revisited Certificate of Merit 1st Theodore Lo, Tibetan Boy Certificate of Merit 2nd Richard James, Old Stockmans Pond Certificate of Merit 3rd Theodore Lo, Street Hawker Honour Award Jason Duncan, Desert Dune Depth Heather Bashow, Goldfinch in Spring Ann Alimi, Hummingbird and Columbine Doug Cunnington, Loon and Chicks Judy Griffin, Country Lane Bruce Gunion, Rail Fence In Winter

Certificate of Merit Theodore Lo, Street Hawker

Gold Medal Theodore Lo, Fierce Competition

Silver Medal Jason Duncan, Phare du Petit Minou

Bronze Medal Heather Bashow, 1812 Revisited Sandy Barbour, Maddy

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CAPA Competitions Print Open Club Competition Gold Medal London Camera Club, Ted Lo, Tibet Boy Silver Medal Crossroads Camera Club, Sheila Holzer, Fesitval Dancer Bronze Medal Abbotsford Photo Arts Club, Tony Willingdon, Stop Right There Certificate of Merit 1st Bill Boswell, Floating Fruit Certificate of Merit 2nd Jim Cox, Autumn at the Ice fields Certificate of Merit 3rd Phil Dyer, Autumn in New Brunswick

Gold Medal London Camera Club Ted Lo, Tibet Boy

Silver Medal Crossroads Camera Club Sheila Holzer, Fesitval Dancer Certificate of Merit, Bill Boswell, Floating Fruit

Certificate of Merit, Jim Cox, Autumn at the Ice fields Certificate of Merit, Phil Dyer, Autumn in New Brunswick

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CAPA Competitions Print Open Individual Competition Gold Medal Jim Ainslie, Autumn Reflection Silver Medal Jason Duncan, Chanbord Fairytale Bronze Medal Bob Royer, Spring Time Certificate of Merit 1st Jim Ainslie, Peonies Certificate of Merit 2nd Jim Ainslie, Limber Pine Certificate of Merit 3rd Jim Ainslie, After Dark Honour Award Bob Royer, Boat In Mist

Gold Medal Jim Ainslie, Autumn Reflection

Silver Medal Jason Duncan, Chanbord Fairytale Certificate of Merit 1st, Jim Ainslie, Peonies

Certificate of Merit 3rd, Jim Ainslie, After Dark

Certificate of Merit 2nd, Jim Ainslie, Limber Pine

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Getting Your Work Published in Canadian Camera Magazine From the Editor’s Desk Sheena Macintyre Wilkie FCAPA editor-in-chief@capacanada.ca

It’s easy! Email us your story idea,

a simple outline or paragraph and a few low resolution photos. (editor-in-chief@ capacanada.ca) Keep in mind we plan over a year in advance. Take a look at our editorial calendar below for inspiration. We’ll work with you to cover your topic well and make sure your photos look their very best.

You told us you want articles that educate you about photography, how to’s and tutorials. Keep that in mind when preparing your outline for us.

We are delighted with the interest and enthusiasm with which people approach Canadian Camera Magazine and we look forward to seeing your photos in our inbox very soon!

Summer 2014 – Summer Road Trips – a unique perspective on holiday photography Fall 2014 – Architecture – structures, inside and out, organic and constructed Winter 2014 – Portraiture – the art of communicating the human expression Spring 2015 – Natural environment, wildlife and botany Summer 2015 – CAPA Photo Expo Collector Edition

Spring 2014CAPA NEW MEMBERS Atlantic Zone Tanya Buck NS Raymond Fitzpatrick NB Andre Gallant NB Dolores Harvey NL Colette Légère NB Mulholland NB Sandra Phinney NS Lillian Risley NS Ontario Zone Maxim Gontcharenko ON Parvez Khatib ON Dave Lindey ON Donald Nadeau ON Robert Parker ON Judith Patrick ON Jim Smith ON ShirleyTrentowsky ON Quebec Zone Jean-Marc Beaudoin QC Jean-Daniel Gagne QC Oeil qui voit de St- Hubert QC Prairie Zone Abdullah Aldahami SK Julian Buchwald AB

Richard Craig AB Ashley Kaboha MB John Locke AB Group of Ten Photography Club SK Lindsay Sullivan AB David Vallance AB Pacific Zone Jamie Allport BC Angelina Brooymans BC Joanne Evans BC Robert Forbes BC Deanna Hill BC Ritchie Leslie BC Glenn Marcus BC Tony Roberts BC Michael Sinclair BC Colleen Walden BC Warren Watson BC USA & International Zone Susan Titterton Bermuda Donations Ann Collins M.R. Ito Richard Shapka

CAPA Annual General Meeting Please be advised that the Annual General Meeting of the Canadian Association for Photographic Art will be held at the University of British Columbia - Okanagan Campus at 1 PM PDT, on the 10th of August, 2014. The room location will be posted on the website at a later date.

Latow’s 35th Annual PHOTOGRAPHY WEEKEND

April 5-6, 2014, in Burlington, ON Featured Speakers Jay & Varina Patel Full-day seminar • Choice of mini-seminars AV Festival • Juried Print Exhibition

www.latowseminar.com 36 - CANADIAN CAMERA

Never Lose Focus.

The Nikon D7100 is the camera you want by your side when high speed shooting with flawless metering and autofocus is crucial. With High-density 51-point AF and a 3D tracking system, the Nikon D7100 helps maintain unbelievably accurate focus in the most challenging of conditions.

Visit the Nikon Booth at...

www.henrys.com

Photograph courtesy of Victor Liu, victorliuphotography.com

The print is on the wall because Nikon is in the bag Photographers like Victor Liu look to Mother Nature for inspiration. But they rely on their cameras to capture their vision. For Victor, and for so many other fellow outdoor photographers, the camera that’s in the bag is a Nikon. And for good reason …

Take the Nikon full-frame D610.

With its 24.3 megapixel full-frame FX-format sensor, the D610 allows outdoor photographers to capture Mother Nature at her very best.

The D610 delivers smooth gradation and an outstanding dynamic range and captures every detail with breathtaking sharpness. With the

D610, landscapes seemingly come alive. Everything looks better and more grandiose. The sky, sea, mountain ranges and forests appear to take on an added dimension.

And with its rugged, weather-sealed magnesium alloy body, the D610 can handle anything an unruly Mother Nature can dish out.

If you’re considering the move to full-frame, check out the Nikon D610 on display at a Vistek showroom. Ask a Vistek camera specialist to explain why the D610 would make a great addition to your camera bag.

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