© Copyright PPOC www.ppoc.ca

Issue No. 6 - February 2014

Canada’s Premier Magazine for Professional Photographers

Canadian imaging: your guide to the conference

Cover image by: Jeff Noon

10 TIPS AND TRICKS TO IMPROVE YOUR

IMAGE SALON ENTRIES

AIMING FOREXCELLENCE

WorkingTogetherHow one married couple keeps

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The Family line up of frames includes 7 specially selected moulding styles. These are a perfect fit when a narrower moulding is better suited or when a sharper price is desired. The finished frames in the Family Series includes all of the same professional finishing and installation that is in our Gallery line.

Nothing sets the bar higher than adding a custom wood frame to metal prints. The end result is stunning!Select a moulding, choose your preferred method of hanging, and your print arrives ready for display.

Introducing Framed Prints - FAMILY SERIES

FRAMED METAL PRINTS!

March will feature special discounts on most canvas prints, including float framed canvas, sale will last the entire month!

Stay tuned throughout the year for additional monthly deals!

A new set of frames has arrived

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A Message from the PPOC Chair ................................................ 4

Calendar of Events ....................................................................... 5

My PPOC ...................................................................................... 24

Concept to Cover .......................................................................... 26

Facebook "Help!" .......................................................................... 26

Cover image by: Jeff NoonRead more on Page 26

In this issue

GALLERIE - FEBRUARY 2014 CONTENTS

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FEATURES

10 Tips for Image SalonWynna Cooper, MPA

6Canada Wins Gold at theWorld Photographic Cup

8Making it Works as a Husband & Wife TeamSonia Deasy

14

Understanding the Left and Right BrainSharon Tenenbaum

10Gray Light: The Subtly of RestraintMichael Freeman

20

10Canadian Imaging 2014

15

Recently I had the honour of representing Canada and the PPOC at the World Photographic Cup awards in Phoenix.

PPOC chose the 18 images that would represent Canada’s entry. Of these images 6 were selected as top 10 in the world. Two would win medals and of the 22 countries that entered Canada, would be ranked fourth in the world for photographic achievement. This confirms my confidence that our PPOC judges, and our national salon, are consistent with the rest of the professional associations around the world. If you want to be inspired by the variety of the WPC images, make time to attend the presentation at Canadian Imaging in Winnipeg led by our Canadian Judge, Bob Hewitt.

I am so very proud of how well our Canadian team performed on the world stage. On behalf of PPOC, I congratulate our professional photographers for being recognized among the best in the world.

Sincerely, Jillian Chateauneuf,

MPA

Welcome to Gallerie & PPOC From your PPOC Chair Jillian Chateauneuf, MPA

PPOC is pleased to present our flagship publication, Gallerie. With award winning images, feature articles, editorial information, member services, and advertising, Gallerie is the premier magazine for professional photographers across Canada.

Publisher: Mark Orenstein, MPAOffice: 403-327-2658Email: ABdirector@ppoc.ca

Editor: Karyn Lee Email: editor@ppoc.ca

Assistant Editor: Stephen MahGallerie Committee: Marlene Fast HLM, MPA, SPA, F.Ph. Nomayne McIntosh

Advertising Manager: Candisse McCormick Email: advertising@ppoc.ca

SubscriptionAll PPOC members receive the printed issue directly to their doorstep. On-line issues are available to all photographers. To be added to our email mailing list please contact the PPOC office at exec.director@ppoc.ca indicating your province of residence. Additional printed copies of Galllerie are $6.95, plus postage. Please contact the PPOC Office.

Advertising Gallerie is published three times annually; February (on-line issue)June (print and on-line)October (on-line issue)

One single advertising package will secure your ad space in all three issues.

Full Page: $850/yearFull Page Inside (front or back) $975/year Full Page Outside Back Cover $1100/yearHalf Page: $550/yearQuarter Page: $350/year

PPOC Trade members receive a 20% discount and Canadian Imaging Trade-Show Vendors receive a 10% discount . To reserve your ad please contact the editor.

SubmissionsArticles and member stories are welcome, please submit them to the Stephen Mah for consideration.

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From The Editor

It’s that time of year again. No, not spring cleaning. Image Salon and the Canadian Imaging Conference in Winnipeg, Manitoba.

Whether you’re a seasoned competitor, or a nervous first time entrant, now is the time to be thinking about those images you’ve been squirrelling away in your “Competition” folder. And with 10 Tips for Entering Image Salon from Wynna Cooper, MPA (Page 6), you’ll be sure to get on track and get them entered. Hopefully with some time to spare. I’d also like to take the opportunity to congratulate the Canadian Competitors who did so well at the World Photographic Cup (8). If you’re excited about next year’s competition, then be sure to submit your best work for the upcoming Image Salon. Good luck! We also have some fabulous articles about gray light (20), leading lines (10), and how to work with your spouse in a studio environment (14) ahead of the PPOC’s Canadian Imaging Conference from some of our amazing speakers. Check them out, they’ll be sure to get you excited for all the fabulous programs the PPOC has scheduled for you at the Winnipeg 2014 Conference. And last, I would like to remind all of our readers that Gallerie Magazine is currently looking for contributors. If you’ve got a story idea, please send it to skmah@telusplanet.net for consideration.

Sincerely, Karyn Lee, Editor

PPOC Office / Bureau du PPOC209 Light StreetWoodstock ON Canada N4S 6H6www.ppoc.ca

Bus: (519) 537-2555Toll Free: (888) 643-PPOC (7762)Fax: (888) 831-4036Email: info@ppoc.ca Email: bureauduppoc@ppoc.ca

© All rights reserved. Reproduction of any material appearing in this magazine in any form, without permission of the editor, is strictly prohibited. Views expressed by contributors may not be the representative views of PPOC and the publisher.

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PPOC Calendar of Events2014 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.

5th .................................................................................... Nation Salon Final Entry Deadline18th .............................................................................................. Executive Web Conference21st - 22nd .................................................................................Natonal Print Salon Judging

MAR

Join the PPOC!

7th ...................................................................................................Accreditation Submission Deadline26th – 29th ................................. PPOC Canadian Imaging Conference & Tradeshow, Winnipeg MB

APR

26th .............................................................................PPOC-ON Central Portrait Branch, Toronto, ON MAY

19th ...........................................................................................................PPOC-ON Tips & Tricks NightJUN

14th ......................................................................................................................Accreditation Deadline24th ........................................... PPOC-ON Competition Clinic - Bring your images to the next level!

JUL

21st.........................................................................PPOC-ON Annual BBQ - Family Portrait Workshop24th – 25th .............................................................PPOC SK - Summer Inspiration with Craig Lamere

AUG

19th .......................................................................National Salon Early Bird Entry DeadlineFEB

3rd .............................................................PPOC-SK/PPOC-MB Early Bird Print Competition Deadline6th ........................................................................................................................Accreditation Deadline11th ...................................................................PPOC-SK/PPOC-MB Final Print Competition Deadline18th – 20th ......................................................... PPOC SK Fall Inspiration, Print Show, Awards, AGM

OCT

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10 Tips for Image SalonArticle by Wynna Cooper, MPA

When I first joined PPOC, I was learning so much about refining my photography skills. I attended seminars, workshops and

conventions, gobbling up new tools and techniques for posing, lighting, and retouching. I was growing so much as an artist that in some ways it was information overload. Then along came the next (scary) step: entering image competition. That first year I entered was (on paper) a crushing bust. Not one of the painstakingly prepared, lovingly entered images was accepted into the salon. Every photographer knows our art form goes way beyond the basics of a properly exposed and focused image. Still, I was disappointed - but I did not go away empty-handed. I had absorbed the judges’ comments, both merits and critiques of every image passed before the panel. Now I had a new tool. It was like a lens gathering all of the bits and pieces I had been learning and focusing them to work together to sharpen every image I created. Sitting in on as much competition judging as possible will speed you along the path to creating award-winning images that will thrill your clients. Here are some key points to keep in mind:

1 Impact: This is your chance to make that powerful first impression. I have listed this first because Impact is what hits you when you view an image for the first time. Impact is hard to describe, but with experience you’ll know it when you see it. It is really the magic that happens when all of the pieces in the points below flow together.

2 Focal point: Does your image have a clear primary subject? A random collection of items or subjects can be confusing or unsettling. Your focal point can also be supported by secondary elements and leading lines. Leading lines are your tools to guide the viewer around the photograph. Make sure they do not lead out of the frame, but engage your eye to see more.

3 Distractions: Now that you have your focal point and leading lines, make sure nothing gets in their way. For example, small bright areas in an overall darker scene will grab your attention away from the focal point. A useful way to catch distractions is to squint your eyes to blur your image, make it quite small on your screen, or even turn it upside down. This will let you see where your eye goes when your brain is not analyzing what you are seeing in a practical way. Now you can see any areas that take away from the image and minimize or eliminate them.

4 Rule of thirds: Imagine a tic tac toe board overlaying your image. Placing your main subject (focal point) at any of the four points where the lines intersect amplifies its visual power. Placing secondary or supporting elements in these positions will boost this effect.

5 Storytelling: Are you connecting with the observer? A great photograph speaks [shows] a story. With a portrait, you should feel something for the person or people involved. With a still life or landscape you should convey what it would be like to be in that time and space.

6 Lighting and Mood: Using light with purpose defines your photographs. Lighting technique should complement the subject and the mood you are creating.

7 Presentation: Once you have prepared, retouched and colour balanced your images, you can decide on the presentation. We have the space of 1440 pixels x 2560 to display our images for the judges. You can choose to use the entire space for your image, or if that shape

You're all set. You've been setting aside images all year. Now is the time to start polishing them up.

As judges view images, impact has a huge role in determining the grade an image receives. The maker will be rewarded if the photograph holds up to these standards ~Wynna Cooper

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does not suit it, you can choose to mat. The colour choice for mat and key line (a border line around your image) can have a big influence on impact. Pick a tone from your image, instead of absolute white or black. In general, choosing colours that are darker and less saturated will complement and support your image.

8 Colour and density: This is a critical area to get under control for successful competition entries. First make sure your monitor is calibrated the same as the judges will be viewing. This is currently a luminance of 120 cd/m2, white point of 6500, gamma of 2.2. Great images that are too bright or too dark will get overlooked as this is seen as a basic technical skill. Pleasing skin tones are also important, especially in portraits.

9 Paperwork, specifications & categories: This is where it pays to nit-pick and read very carefully. Make sure your images are sized properly, with the file name correctly formatted, and be sure to enter them in the right category.

Although categories are not always announced, submitting an image in the wrong category can affect its score. If in doubt, ask for help.

0 Print Title: This one is tough. Summarize your image in a few clever, relevant words. Keep your audience in mind here. I have never seen an amazing title save a subpar image, but there are titles that confuse the message of an image and this can work against a photograph in competition. Think about the mood, story, emotion, or message your image is portraying when considering titles.

At the beginning of this list, I mentioned Impact as the first impression of your image. As judges view images, impact has a huge role in determining the grade an image receives. The maker will be rewarded if the photograph holds up to these standards. Now that we’ve pulled apart some of the key elements for great competition images, pull back and look at your image again with fresh eyes. What kind of impact will your image make?

As judges view images, impact has a huge role in determining the grade an image receives. The maker will be rewarded if the photograph holds up to these standards ~Wynna Cooper

1

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Canada wins a Gold at the World Photographic Cup

I am thrilled with the win and will be celebrating tonight but tomorrow, like the athletes I shoot, its back to work - hungry, staying focused: wins don't come easy ~ Dave Holland

Dave Holland won gold for his photograph "Crush It" at the award ceremony in Phoenix, Arizona, on January 13th.

In a strong performance by the Professional Photographers of Canada (PPOC), Susie Crichton won a bronze medal at the ceremony for her image "The Gathering." Four more PPOC members secured top 10 finishes in their categories. Points were awarded to each country based on the medals won by their photographers and the success of Holland and Crichton secured Canada fourth place in the World Photographic Cup team competition. Holland, from Calgary, won a gold medal in the reportage category for his dramatic action shot of a skier at the FIS Lake Louise World Cup Super G race in 2012. "Crush It," a fully manual photograph taken with fixed focus and fixed exposure in changing conditions, was entered into the World Photographic Cup by the PPOC after it performed well in provincial and national competitions. “I am thrilled with the win and will be celebrating tonight - but tomorrow, like the athletes I shoot, it's back to work - hungry, staying focused: wins don't come easy,” said Holland. Susie Crichton, of Prince George, B.C., took bronze in the landscape category for her image, "The Gathering." Crichton captured the tree at the heart of the image one morning in Africa before “adding the eerie feeling of the birds, faces and texture” to create the vision she had in mind. “I am in awe,” said Crichton. “If anyone would have told me a year ago that I would be standing here as a medalist I would have laughed. There is an abundance of amazing talent that surrounds us and to be included is more than I ever imagined possible. I am grateful for all the love and support from family and my PPOC colleagues.” The World Photographic Cup attracted entries from 22 countries and each country could enter up to three images in each of the six categories. In total, 18 countries secured

entries in the top 10 in one category or more. Canada provided 10 percent of the 60 top 10 finalists across all categories. In addition to Crichton and Holland, the following PPOC members secured a top 10 place: • Louise Vessey, of Charlottetown, P.E.I., in the

wedding category for "Love on the Rocks" • Alexandra Morrison, of Winnipeg, Man., in the

landscape category for "Tapestry of Rain" • Cameron Colclough, of Calgary, Alta., in the

commercial category for "Taming the Rugged Earth" • Sharon Barnes, of Sherwood Park, Alta., in the

wedding category for "Kiss Me" All the Canadian entries can be viewed on the Professional Photographers of Canada website: http://www.ppoc.ca/blog/2013/10/18/proudly-representing-canada-at-the-inaugural-world-cup

Meadlists: Susie Crichton - Bronze Medal, Dave Holland - Gold Medal

Flags on Stage: International Representatives in Phoenix, Arizona

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Understanding the Left & Right Brain

Article & Images by Sharon Tenenbaum

Ever wonder what differentiates 'good' from 'great' art? What gives some images that extra superior edge in comparison to all the rest? What is going on

in our subconscious mind when we look at these images? What gives some images that extraordinary ‘wow’ factor and some are just okay? As a fine art photographer, I was intrigued with these questions and I spent a few years researching everything I could get my hands on that was about the study of the brain and how it relates to our interpretation of the visual world. My research lead me to the difference in the way the two hemispheres of our brain work as each ‘thinks’

and ‘sees’ differently and this is where I found the answers to my questions. Have a look figure 1 & 2 at the bottom of the page. Did one appeal to you more than the other? Well, in over 90% of people asked, image number one was more appealing and I can tell you that there is a reason for that. We all suffer a bit from split personality. Our brain, as scientists have found, is divided into two completely separate hemispheres, left and right and each reigns over two separate domains. The left hemisphere is in charge of sequential, analytical and logical thought; it is the home of speech and language. The right hemisphere is more spatial and visual; it is nonlinear, intuitive and holistic (sees the big

How these inherent and artistic rules of the subconscious mind affect our visual interpretation of art

In art, and namely in photography we may have elements within our image of which their geometry creates a line that leads our gaze from one point within the frame to another. These organically created lines are called in art lingo, Leading Lines. ~Sharon Tenebaum

Figure 1 - Capilano Bridge, Original Figure 1 - Capilano Bridge, Rotated

Sharon will be speaking at the upcoming Canadian Imaging Conference, Winnipeg, April 2014

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picture). In computer terms, the Right brain operates like a parallel processor while the Left is like a serial processor. So now you might ask: Well, how does all this apply to art? I will answer this question with example of the Capilano Bridge I have shown on the previous page but will first touch on another distinct difference between the two hemispheres and that is that they are contralateral.

Motoric skills of one side of the body are controlled by the contralateral part of the brain, so each time you move your right hand, it is a region in the Left hemisphere of your brain that is in charge of doing that. This fact is mainly apparent in stroke patients. People that experience a stroke in the Left Continued on Page 12

In art, and namely in photography we may have elements within our image of which their geometry creates a line that leads our gaze from one point within the frame to another. These organically created lines are called in art lingo, Leading Lines. ~Sharon Tenebaum

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hemisphere, when blood supply is impaired to that part of the brain, experience a paralysis of the right side of their body and vice versa. Additionally, the trivial movement like moving your head to the right is controlled by parts in the Left side of the brain. This also applies to the subtle eye movement occurring during reading or scanning the horizon. Now, after explaining a few of the fundamentals, I can touch on how these biological differences affect our interpretation of art. In art, and namely in photography we may have elements within our image of which their geometry creates a line that leads our gaze from one point within the frame to another. These organically created lines are called in art lingo, 'leading lines.' Examples of leading lines can be a meandering path through a countryside landscape or a straight side of a building. The point I wish to make in this section is that the direction in which the leading line guides our gaze makes a difference to the way we interpret the image. In the Capilano Suspension Bridge Image, there are three leading lines that we see instantaneously (simultaneous thinking) but don’t register till giving the image a closer look. The two outside railings create the diagonal leading lines guiding the viewer’s eyes from the bottom left to the converging point at the top right. The fact that the lines are not completely straight but have a curvature, adds to the softness and flow of the image. The third line is the walkway sandwiched between the railings leading your gaze even more strongly to the ‘peak’ point. Overall in this image the leading lines are guiding our gaze from left to right in a continuous manner stimulating the left side of the brain, which in nature is a sequential linear thinker. By moving your gaze to the right you are approaching the Left brain, as if you are knocking on a door waiting for someone to answer, you have something to tell them, now you have to make sure that you are talking to them in a language that they understand. The Left brain understand lines. The combination of these two characteristics, 1. Moving your gaze to the right and 2. Continuous, linear movement which creates a natural flow and ease to the image, ‘talks’ to us in the innate language our Left brain understands. A legitimate question can be raised, since English speaking people are already ‘trained’ in reading from left to right, doesn’t that create a bias in their preference for linear sequential images where the leading lines guide your gaze from left to right? I say not and I will make my

point. In my ebook, Left & Right Brain, I open the discussion of the history of the development of written language and the ramifications it has to the way our minds work. Does the fact that our written language in the west is written left to right (Left brain) have any implications on the preference of the image we choose as seen in the example above of the Capilano Bridge. Or perhaps, is it the other way around, Indo-European languages have developed the way they have due to their full-contextual properties and thus just created a growth spurt in the Left brain? Understanding these differences will help you develop and cultivate tools that will assist you to consciously see the world differently. When you see the world differently, your images will be different. Instead of focusing on color tones and post-processing, which I regard as ‘icing on the cake,’ this engrossing study of how our two hemispheres interpret the world will help you improve on your intuitive compositional skills.

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Working together as a Husband & Wife Photography Team

Article by Sonia Deasy

Husband and wife teams in photography are not that rare. But, every now and then, Padraic and I are still asked – ‘How do you make it click, as a couple and as a team in

the photography business?’ To be honest, when I joined Padraic at Deasy Photographic in 2006, our sole focus was on how to reorganise and streamline the business so that we are not only able to run it efficiently and profitably, but also able take ‘us and family time’ on a day-to-day basis. We made drastic changes – bringing about simplicity in everything from our business processes, to our products, our retail focus and our store décor! Today, we are not only the leading portrait studio in Ireland, we also tour the world with our photography workshops and seminars. And the icing on the cake is that not only do we have a lovely family with five young children, we also make sure we’re both home by 6 every day to spend quality time with them! So now, I’ve got your eyes wide open? Here go our top 3 success secrets - 1. Clearly Defined Roles – The first rule to managing our

business well together, is having well defined roles for both of us. Padraic is the photographer – I am not. Since his childhood, he’s learnt photography from his father and perfected his skills over the years. I, on the other hand come from a retail background. My focus at Deasy Photographic are the retail and customer aspects of our business – from being the sole point of contact for our clients to organising planning sessions for prospects. We clearly understand how our different skills complement each other; and we do not interfere in each other’s daily tasks. So, you will neither find me giving Padraic advice on how to create better portraits, nor will you see him fixating on how to improve our next sales pitch. But we do understand that overall management and business strategy require both our brains and we sit together every week to plan ahead for our business. And this is how it works best for us!

2. Really understanding Work-life Balance – Over the years, at Deasy Photographic, we have consciously created our niche in studio portrait photography. So we don’t do commercial photography and we don’t do weddings either. As a result, we are completely able to control our appointment diary and make sure it fits our priorities, rather than the other way round! I am able to pick up and drop my children from school every day and be home with them after school hours. Padraic makes sure he’s home by 6 latest and is always there to cheer them for their sports sessions and special days. Throwing the ‘eccentricity and

zero control’ factors out of our business, not only lets us spend more time with our family, but actually helps us manage our work better and with greater efficiency! And really, no matter what people say – it’s simply impossible for us to not discuss photography when we are home! It’s not just our work, it’s also our passion. Our dedication and love for photography can probably be judged by this – a few days back when our 2nd youngest child was asked his name, he cheerfully replied ‘Ross Deasy Photographic!'

3. Systematic Workflow and Discipline – No matter how much you want to, you simply cannot achieve the perfect work-life balance without a systematic workflow and disciplined attitude at work. At Deasy Photographic, our management system follows each job right through from sales to delivery. A single click tells us the status of any job in our workflow at a given time – so we never end up wasting time discussing and tracking orders. Further, we are extremely disciplined and consistent with our daily routines. We make sure our studio is open at 9.30 am every day. And our clients’ orders are always ready for collection 7-10 days after viewing. These efforts put together, let us focus on the actual productive work and achieve the desired efficiency levels – that ultimately allow us to enjoy life beyond our studio walls.

These simple and basic rules let us prioritize and control our lives – and help us work together as the perfect team, both at work and in our personal space. However, my advice to all you photography couples is – please sit down and match your skills to see if they complement each other and add value to your business or not. For other important business functions, hire outside experts. But if you do not see it working out for you as work partners – don’t be afraid to part ways in your work-life. Being or not being good work partners absolutely does not reflect on your personal relationship! So do what works best for your business and everything else will fall into place.

How Padraic & Sonia Deasy make it Click!

My advice to all you photography couples is - please sit down and match your skills to see if they compliment each other

and add value to your business. ~Sonia Deasy

Padraic & Sonia will be speaking at the upcoming Canadian Imaging Conference, Winnipeg, April 2014

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Michael FreemanMichael is one of the most widely published photographers worldwide: he is an award-winning editorial photographer, long-time collaborator with the Smithsonian magazine among many others, and the best-selling author of books on the craft and practice of photography. Check out more of Michael’s work at www.michaelfreemanphoto.com

Roberto ValenzuelaRoberto Valenzuela is the author of Picture Perfect Practice: A Self Training Guide to Mastering the Challenges of Taking World Class Photographs. Based in Los Angeles, Roberto is excited to be visiting Canada and inspiring attendees with his stunning wedding photography and portraiture work.

Drake BusathA photographer based in Utah for 35 years, he is known both for his private commission portraiture in the U.S., and for his fine art photography and teaching abroad. Drake owns and operates Italy Photo Workshops and Utah Photo Workshops since 1999, teaching landscape and fine art imaging to hundreds of participants. His fine art photographs may be seen at drakebusath.com and his studio work can be seen at www.busath.com

Conference Pricing: Early bird members price $349 – includes all conference meals.

New PPOC member? Registration is half price: only $175.

Conference Hotel: The Delta Winnipeg features all newly renovated rooms

Conference attendee rate is only $125 per night To reserve your room now CLICK HERE.

Join us in Winnipeg for what promises to be an amazing lineup of speakers!

© Drake Busath

© Michael Freeman

© Roberto Valenzuela

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Hospitality Suite

This is your nightly networking time. Debrief the days events while enjoying a beverage and the company of other photographers. Open to all conference attendees. Drop by and say hello. Cash bar.  Accreditation Judging

Earning an accreditation is one of the requirements for becoming an Accredited PPOC Member and a requirement to receive a Craftsman of Photographic Arts or Masters of Photographic Arts designation. Watch the PPOC judges as they comment on and rate accreditation submissions. Each submission is comprised of 10 images so this is a great opportunity to learn. Free Session.

Welcome to PPOC

Drop in and learn more about the Professional Photographers of Canada and how to maximize your membership. Learn about accreditation, designations and merits, plus salon image competition and how to get involved. Everyone is welcome; bring your questions. Free Session.

Salon Image Critique

The 2014 PPOC Image Salon will be judged prior to Canadian Imaging. This is your chance to come listen to the PPOC judges as they critique images from the salon. Submit your membership number for an opportunity to hear comments on the images you entered. Free Session.

Judging Clinic

Spend the day learning what it takes to be a judge. What to look for when assessing an image, the PPOC scoring system, and how to critique effectively. Open to PPOC members holding a minimum of our CPA designation. Clinic Charge $90/person includes lunch (Discount available for previous attendees). Register via the PPOC Office: exec.director@ppoc.ca

Early Riser Programs

Your opportunity to get up close and learn from the conference speakers in a small, intimate session. Limited seating. Tickets $50 each.

Social Night

Let loose and network with new and old friends. This casual evening will take place off site and features light refreshments and a cash bar. Tickets $45 each (one ticket is included in full registration).

Awards Gala

This formal banquet is the highlight event for the Professional Photographers of Canada. Enjoy a delicious three-course dinner and celebrate the best of Canadian photography as the 2014 Salon award winners are announced. Cheer on members receiving their designations and congratulate the four PPOC Photographers of the Year. Formal or business attire suggested. Tickets $85 each (one ticket is included in full registration).

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Check out new equipment, the latest camera gear and current photographic supplies. Exhibitors from across North America will be in attendance to display and sell their photographic equipment and supplies.

Tickets $10 each (one ticket is included in full registration and day passes)

Canadian Imaging TradeshowThe Delta Winnipeg Hotel

350 St Mary Avenue, Winnipeg, Manitoba

Tradeshow Hours:Sunday April 27, 2014 2pm - 6pm

Monday April 28, 2014 10am – 2pm

Exhibitors from across North America will be in attendance to display and sell their photographic equipment and supplies. Stroll through the displays and speak directly with trade vendors, ask questions, touch the product. Check out new equipment, the latest camera gear and current photographic supplies. A Tradeshow pass is included with all full conference registrations and day tickets.Extra tickets $10 each.

Trades wishing to participate in this show should contact Strauss Event Management:Geoff Powell | gap@strauss.ca | 1-888-899-3976

Michael FreemanMichael is one of the most widely published photographers worldwide: he is an award-winning editorial photographer, long-time collaborator with the Smithsonian magazine among many others, and the best-selling author of books on the craft and practice of photography. Check out more of Michael’s work at www.michaelfreemanphoto.com

Roberto ValenzuelaRoberto Valenzuela is the author of Picture Perfect Practice: A Self Training Guide to Mastering the Challenges of Taking World Class Photographs. Based in Los Angeles, Roberto is excited to be visiting Canada and inspiring attendees with his stunning wedding photography and portraiture work.

Drake BusathA photographer based in Utah for 35 years, he is known both for his private commission portraiture in the U.S., and for his fine art photography and teaching abroad. Drake owns and operates Italy Photo Workshops and Utah Photo Workshops since 1999, teaching landscape and fine art imaging to hundreds of participants. His fine art photographs may be seen at drakebusath.com and his studio work can be seen at www.busath.com

Conference Pricing: Early bird members price $349 – includes all conference meals.

New PPOC member? Registration is half price: only $175.

Conference Hotel: The Delta Winnipeg features all newly renovated rooms

Conference attendee rate is only $125 per night To reserve your room now CLICK HERE.

Join us in Winnipeg for what promises to be an amazing lineup of speakers!

© Drake Busath

© Michael Freeman

© Roberto Valenzuela

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Gray Light: The Subtlety of Restraint

Article & Images by Michael Freeman

Poor Gray Light. Few people seem to want it. It’s too ordinary, an all-too-predictable condition in mid-latitudes, often persisting day after day to the

irritation of people who know that just above that low layer of shapeless cloud (low-level stratus is the culprit), a warm bright sun is shining. Not only is it ordinary, but it casts no distinct shadows that might at least give form to objects, while the sky itself is featureless. If there’s a horizon in the view, nothing above the line of hills or row of buildings is of any interest whatsoever. This is truly the orphan of photography’s lighting repertoire. Well, hang on a minute. Is there really nothing to do with it? Are we just conditioned to find it boring? Maybe instead it’s worth wondering whether we’re over-stimulated by impressive light. A glance at the majority of competent landscape images suggests this, as photographers go to great lengths to capture the

simply gorgeous. Fiery sunsets, shafts of light, rich magentas, blazing reflections. It’s like the Hudson School of painting all over again. High-octane lighting can indeed be spectacularly beautiful, and appropriate. But not all of the time. The word mood crops up frequently when photographers talk about light; how it contributes. A full range of moods includes more than elation, the sublime and surprise. There are many occasions for moods that are more reflective, quieter, even melancholy, and I probably learned more about this in the few years I spent shooting in Japan, where restraint in many things conveys a kind of pleasure. Above all, this is sober light that does little to interfere with the subject. It demands, perhaps, a more rigorous approach to composition, especially with placing subjects against backgrounds that contrast because of their natural tones and colors. Colors, interestingly, can benefit from grey light. If you take a range of colors Continued on Page 22

Gray Light - are we just conditioned to find it boring? Maybe instead it's worth wondering whether we're over-stimulated by impressive light.

If you take a range of colors all from the same group—the same sector of the color circle—they appear at their best saturation when the lighting is even and gentle, not bright and contrasty. ~Michael Freeman

Icelandic waterfall, 1987

All text taken from Michael Freeman's upcoming book, Capturing LightMichael will be speaking at the upcoming Canadian Imaging Conference, Winnipeg, April 2014

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all from the same group—the same sector of the color circle—they appear at their best saturation when the lighting is even and gentle, not bright and contrasty. This seems counter-intuitive, but it’s because flat light does away with bright highlights and sharp, dark shadows, neither of which have much color at all. I was making a book about Japanese gardens and learned the lesson quite quickly that they often look their best this way. At least, they tend to look the way that the gardener (and gardening in Japan is a fully-formed art) liked. On the whole, bright colors from lots of flowers are considered a bit uncouth, and what is valued is a subtle interplay of greens, which come alive in gray light, and even more so when wet. One precaution, wherever possible, is to exclude the sky, which usually goes well out of range. It’s a matter of taste, of course, but the other images here are ones which, to my mind, work especially well in this shadowless light—sombre, even contemplative light, if you will. They also illustrate an important choice that gray light gives: you can vary how light or dark the exposure is, according to the mood you want. The contrast in this lighting is low, so there are no benchmarks for brightness. You can see the scene as darker gray or paler gray, and

expose and process accordingly, as the histogram illustrations show. In the case of West Lake in the Chinese city of Hangzhou, I was actually hoping for sunshine and my first reaction was some disappointment, though my friends who live here said that this is exactly what to expect — Hangzhou is also famous for rain. So, what to do with West Lake on a gray day? The answer was to learn a little bit more about its place in Chinese culture, and what better way than the poets—here are the opening lines from a series of

In these two illustrations, the hues are the same but the lighting is different. The sunlit version catches attention, but because of its contrast. The saturation in the other one is actually stronger by a quarter.

High Court Judge, St Paul’s Cathedral, 1982

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well-known ancient poems:

A light boat with short oars - West Lake is good.A gentle curve in the green water

Deep in spring, the rain's passed - West Lake is good.Fine mist on distant water,

One white egret flying from the Immortal Isle

Misty mountains shrouded the rain

In the shade of the green willows

The water's surface has just smoothed, the foot of the cloud low

The blur of color across the hills is richer still in rain

The direction was plain. Gray cloud and still water, green willows, a small boat, a bird, and above all, soft. Little pleasure boats still operate, and all that remained was to find the right, simple combination, keep bright colors out of the frame, and enjoy the gray.

Ichijo-in temple garden, Koya-san, Japan, 1996

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Last October 2012, I attended the two day  PPOC  Ontario

Convention to hear Joe  McNally  speak. I had no intentions of joining the  PPOC  but things changed. I am not a trained photographer but I had been entering photo contests, attending photo seminars, and taking basic photography classes from a local professional. I had just finished a one month Fine Art showing, locally up in  Thornbury/Collingwood  area and wasn't sure where I was going next. I needed to grow, to be in touch with other professional photographers, and I needed to be able to see where I stood.  I joined the Professional Photographers Of Canada in November 2013 as a Non-Accredited Member. I received my first Accreditation in February 2013. Upon joining, I received a phone call, welcoming me to the PPOC. The person said something to me that resonates. She said, you have go out of your way, step up and participate, if you want to make your membership worthwhile. She also said if you need help call the PPOC office and ask for a possible mentor. Well, I did that, and got in touch with an experienced PPOC member to guide me though the

Accreditation and National Salon process. The toughest moment was showing up to my first PPOC meeting. There are all these pros in one room and my head was swirling with emotions. I sat through their print show where each person could put in 4 images to be judged. No one knows who owns them, so they can be judge fairly. I was overwhelmed by the work but saw that my images were meeting their standards. Also learned some amazing tips to make my work better. So from this point on I wanted people to see my work. I wanted the truth if my work was bad or good. I took the plunge and entered the National Salon in April 2013. "Illumination,” which scored an Excellent, was created by the desire to have fun capturing a bolt of lighting for the first time. I saw this big storm front coming down the bay and I grabbed my tripod and camera. I took a few random shots trying to photograph one. In post process, to my amazement I had captured one. I had to crop it horizontally from a vertical image and made it into a  pano  which I had learned from a PPOC Central meeting. I turned down the darkness in Lightroom, there appeared this simple, balanced image which looked great. I put the image in my 5 star file, and decided to submit it for my very first entry into the National Image Salon. The rest is history. I would say if you are anew member, get your confidence, educate yourself, be passionate, spend the time and do the work so you have something to show, ask for help, go to meetings, network, step up and make things happen. Also, keep your image simple, clean of distractions and have other people view it so they can give you honest feedback. Good luck.

Pete Mather,Accredited Professional Photographer

PPOC members share their stories.

My PPOC

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facebook“Help!”

As a location based photographer, it can be very challenging in colder seasons to find visually exciting locations with all the required elements for great photographs.

We have this great laundromat in an older area of our city that hasn't been touched since the 70s and it's still in use today. I work with some pretty incredible clients who are willing to try almost anything – and for the most part, so am I. This couple drove from Saskatchewan on a less-than-optimal fall day. This was my vision for the cover of their wedding invitation. We went into a number of covered locations throughout our session getting most of the shots that I needed beforehand; allowing me the freedom to attempt this laundromat location just for fun. I wandered around the laundromat, opening dryer doors and closing them – looking for the right spot to compose these two – all the while joking about the laundromat and what I was attempting to create. I think any expectations this couple had went out the window immediately which allowed for their true personality and chemistry to show. And it did. I had them snuggle up against one of the machines close to the window so that I could get the necessary focal length and desired backlight. I opened the dryer doors between the couple and myself and made sure to catch the rim of the doors. I jokingly asked him to show me some of his “moves” - moves that would have landed him the first of many dates with his soon-to-be bride. That's when the real chemistry began. Hilarity ensued as he jokingly tried seducing her right there in front of me. Smitten with his charm, frame after frame, her laughter rang out and their playful vulnerability that is their relationship came through. It was absolutely fantastic. When people let their guards down, the images become so real and that's what I love about this photograph.

Original photo before retouching

After Camera RAW Edits

Concept to CoverThe creative story behind the cover photo.

Images By: Jeff Noon

By Jeff Noon

facebookget in on the discussion at facebook.com

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“How can something that’s so well made cost so little?”

When seeing Illumi and Mantis lighting gear for the fi rst time, pretty much everyone reacts

the same way. They’re impressed with the quality. And blown away by the prices.

New to North America, Illumi and Mantis have set their sights on designing and producing

the best lighting products imaginable. Their goal is to exceed the demanding expectations of

professionals, from studio and on-location photographers to dedicated strobists.

See the full line of Illumi and Mantis lighting gear: including umbrellas and umbrella kits,

background support kits, collapsible softboxes, stands, booms, refl ectors, backgrounds,

clamps, brackets, adapters and spigots.

You’ll fi nd it all on display at a Vistek showroom near you.

introducing

5-in-one Refl ectorsCollapsible Softboxes On Camera Softboxes Halo Ringfl ash Softbox

Umbrella Kits Umbrella Holders Background Support KitsRefl ector Clamps Spigots, Adapters

The Visual Technology People

PHOTO | VIDEO | DIGITAL | SALES | RENTALS | SERVICE

TORONTO • MISSISSAUGA • OTTAWA • CALGARY • EDMONTON • VISTEK.CA

PPOC_Gallerie_ad_Spring_2014.indd 1 2014-01-15 4:24 PM

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