We were fortunate to have two guest speakers this month, the fi rst being a discussion on Visual Language and Reading the Im-age with Jason Symington. Jason has lived in locations all over the globe, learning and playing with his art of photography. He is currently teaching at Grant MacEwan in Edmonton and exuberantly shared some of his wisdom with us.

Jason took us on a journey of infl uence, meaning that we, as pho-tographers are infl uenced by the masters of yesterday and today. Ideas can certainly just pop into our heads, but many times we see a great photo someone else took, and choose to recreate it with our own fl avour and emotion. Many photography masters were presented to us, each in their own genres, with discussion on their unique qualities. What makes their work so “good”? In studying their work and lives further we can discover the secrets to their mastery, and emulate them if we choose.

PortraituresJanet Ingram, William Claxton, Sarah Moon, Barbara Morgan,

Albert Watson, Eugene Richards, Sally Mann, Jim Marshall, Marry Ellen Mark, Robert Mapplethorpe, Walker Evans, Steve McCurry, Edward Steichen, Richard Avedon, Julie Blackman, Philippe Halsman, Alfred Eisentaedt, Brassai, Elliot Er-win, W. Eugene Smith, Jacques Henri Lartique, William Wegman.

Capturing the spirit of the subject is crucial for a portrait that stands apart from the others. Capturing their personality will go a long way. It’s not just someone posing for the camera, but a relationship between the person and the intended audience. We are not simply operating a camera. We become artists creating a piece of art

that may be mysterious, dreamy, or alluring. Shooting lower will al-low your subject to appear bigger, and draw more attention to them. Drawing the subjects closer into the frame can make even candid fam-ily pictures into photos worthy of, well, framing.

Creating that emotional connection between the subject and view-er can be done using simple ideas. A tug on the chin or slight up-turned smile can create a new dimension to a portrait. And never un-derestimate the engaging power of intense eye contact. Even if your subject is active, create the focus on the person. The activity becomes a means by which the viewer relates to the subject. These are elements that make great portraitures, as seen in the work of the masters.

Street PhotographyRobert Doisneau, Gordon Parks, Dennis Stock, Henri Cartier

Bresson, Robert Frank, Martin Parr, Jodi Cobb, Burt Glinn, Bill Brandt, Joel Meyerwitz, Marc Riboud, Peter Funch, Lesette Mod??, Bruce Davidson, Adrew Kertesz, Bernice Abbott, Nick Waplington, Lee Friedlander, Harry Callaghan, Maholy Nagy.

The art of street photography is all about capturing brief moments of candidness. You either love this genre of photography or veer away from it completely as it can be quite aggressive. One technique is to fi nd a location that engages you and plant yourself there, waiting for the interesting things to happen around you. This can take the “in your face” feel out of street photography, and defi nitely worthy trying.

DetailsIrving Penn, Josef Seduk, Andreas Feninger, Margret Bourke

White, Paul Strand, Aaron Siskind, Ralph Gibson, Edward Weston, Hiroshi Watanabe, Imogen Cunningham.

Detail photography is all about being up-close and personal with your subjects. Flowers are a common muse showing off parts rather than the whole. When you understand detail photography you know that it’s about the patterns and shapes and not the subject at large. Focusing in a smaller areas allows the fi ner points you would otherwise

pass by become centre stage.

LandscapeJohn Sexton, Dorothea Lang, An-

dreas Gurske, Frank Gohlke, Naoya Hatakeyama, Hans Bol, Fay Godwin, Edward Burtynski, Eugene Atget, Sam Abell, Loe Deal, Keith Johnson, Kathleen McLaughlin, Alfred Stieg-litz, Andy Goldsworthy, Frans Lang-ing, William Eggleston, Robert Ad-ams, Ansel Adams, Ernst Haas, John Kunkey, Wynn Bullock, Richard Mis-rach, Gary Wilson.

6 VOLUME 12 6 NUMBER 9 6

April 2013NEWSLETTER OF THE ST.A

LBERT PHOTOGRAPHY CLUB

Est. 1992

6 6 6

April 2013THE

LAST FRAME

by Jody

Goodman

AnEvening with Jason Symington

Is there any photographer unfa-miliar with the black and white land-scapes of Ansel Adams? How did he capture such powerfully engaging shots before digital photography? He knew his art, and he knew that there was always more to photograph and share what he saw.

One secret to landscape photog-raphy is the magic of seeing a mun-dane location and bringing an aspect of it to life, making it something to be looked at and noticed. The viewer’s journey should flow from the front of the photo to the back where the subject usually is. Carefully consider the space in the scene and how to use it to suit your creative vision.

Using a neutral density filter and a slower shutter speed are two tools you can befriend for great landscapes. Another tool is to remem-ber not to shoot like a tourist, but as though you are very familiar with the area. Create something you would frame and hang on your own wall.

Having briefly studied the masters’ techniques and visions, we can join their legacies and make similar images of our own. It is not pla-giarism but rather being inspired. Inspiration for photography comes not only from studying the greats, but also from movies, images and even ideas that verbal communications conjure up in our minds’ eye.

The end desire is creating an image that is ours, no matter what in-spired and influenced us. Take pride in your creations. It’s an attitude of accomplishment. I made this image and this is why…

Which brings us to the next part of Jason’s discussion. When we see another’s work we typically judge our own against it, criticizing what we’ve created for one reason or another. There will always be ideas we can take from others. This is why we can study the masters, see what worked for them, and try it ourselves. But one idea doesn’t work for all photographers. We bring our own uniqueness to the art.

When it comes to critiquing, Jason encourages his students to see photography in two ways. The first is the technical aspect of composi-tion.

The composition of a good photo can be summed up as such: the rule of thirds (using the four intersecting points), diagonal lines (taking care not to line things up to the corners of the photo), asym-metrical compositions (moving the subject to one side or the photo or the other), triangular shapes with your subject matter, and the golden ratio with its perfect placement. Each of these have their pros and cons. It’s important to remember they are guidelines, meant to keep us from shooting dead centre. Start exploring the space in your camera’s frame. Where does your eye want to go? This is the relationship be-tween the subject and the viewer. Next consider the visual language your photos speak to its viewer. This communication happens through symbols.

The second and more important aspect to critiquing, as Jason tells his students, is to keep the human element a priority. Learning to read an image is an art in itself. Starting your comments with “This works (or doesn’t work) for me because…” This way you are communicating that it’s your personal relationship to the photo.

There are many parts to a photograph, and these parts will com-municate or mean different things to each of us. We will naturally read a photo through our own filters, and there can be no right or wrong critiques. Of course, adding a title to your photo will assist the

viewers to understand your vision and creativity, but still as a viewer we may miss things others will see.

When we review a photo we are naturally drawn to images and emo-tions that have meaning for us person-ally, things that are familiar and simi-lar to things in our own work. What grabs your attention and why? What are you walking away with from this image? Is there any common experi-ences happening in the photo that you can personally relate to?

This makes reviewing a photo something of nostalgic experience. Do you relate to this image? How? Why? It gets you looking at others’ photos in a new way, a personally historic way. We can relate to it first, before any technical critiquing is done. And we can share how we feel about such connections.

Culture can also play a role into critiquing. Images may have differ-ent meanings or emotions attached to them depending on the country or culture you are familiar with, or where the photo was taken. If you have been to that part of the world, you can bring your own experi-ences into the assessment process, if you choose to share it.

Once everyone has had an opportunity to share their personal con-nection and relationship to the photo being reviewed, the technical aspects can come into play. Some things to consider are how you can help the creator expand on what works about the photo? This is a time of free and open sharing of ideas. There is no room for judg-ment or attacks, or defending. It should be a safe zone for discussion. If something really doesn’t work for you and you share it, always end with something that does work.

Now for the creator, never apologize for anything you create. If there is something you don’t like about your image, don’t bring atten-tion to it. Sure, there may be parts you could have done differently, and next time you can try different angles. It’s about what you brought into this work of art now. What are you wanting to communicate? Create the image so the audience gets it. No matter how you try, some-times they won’t get your creativity. Many times the vision is before its time, and years down the road your passion will be understood. Perhaps your work will even inspire others. Remember that following your creative juices may mean shooting outside the box or what’s in vogue today. Take those risks. Know what the point you’re wanting to communicate is, and just do it.

Jason’s insight to positive critiquing offers inspiration in itself that we can utilize before taking our images as well as when viewing others’ work. In the end, critiquing should be an exciting time of exploring the expanding potential in all our current skills and ideas, rather than simply the technical aspects. These ideas can come from a thought or a photo by one of the masters. Make your photo truly your own, and show to the world what you want to say. While you are the author of this image, each viewer becomes its co-author, reading it through their own emotions and vision. One photo can take on many incarnations and live on through all its audiences.

You can contact Jason here:Website: http://imagenphotography.com/Facebook : https://www.facebook.com/TheImagenPhotography?fref=tsLinkedIn: http://www.linkedin.com/pub/jason-symington-mfa/22/501/156Flickr: http://www.flickr.com/photos/48624642@N03/

Competition THEMES2013May HDRJune TBA (Season Finale Party)

2013-2014Sept. TBAOct. ReflectionsNov. MonochromeDec. Doors/WindowsJan. Self-PortraitFeb. Country RoadsMar. Fog/SmokeApr. Weathered WoodMay Lakes, Rivers & StreamsJune TBA (Season Finale Party)

Greg Harvey is well-versed and skilled in travel photography, from camera equipment to itineraries to packing. Having traveled extensively in Africa, India the Arctic and more, Greg has gained lots of wisdom and shared from his personal experiences. These are some tips he’s gleaned form his travels, with a focus on Africa.

Safe TravelsSharing some of his images from Africa,

Greg started with tips on traveling safely. Not enough can be said about leaving your schedule of your travel plans with at least two people back home. Include locations, hotels and contact numbers, and any other infor-mation you might think important to know in case those back home need to contact you. A great place to register is at www.voyage.gc.ca/index-eng.asp with the government when traveling overseas.

Keeping it safe, make copies of your itin-erary, both physical and digital, in case you lose the one you’re depending on.

Include your itinerary in your luggage and camera bags with contact numbers in case they should get lost in your travels. Hav-ing two contacts back home on this sheet is a great idea as well.

Not enough can be said about medications before and while you are traveling. Do your research and take action regarding Dukerol for gastro-intestinal issues, Malarone for ma-laria, and Twinrix for hepatitis. You’ll also

want to look into yellow fever if traveling to Kenya and Tanzania. It is very crucial that you keep your health/vaccination passport with your travel passport. If you can’t prove that you have been vaccinated the authorities will insist you get them in their country. Atlas Immunization Services is a great service for this area of your travel plans.

Traveling anywhere, it’s vital to have good travel insurance. Don’t underestimate the insurance with your credit cards. Additional coverage is also available for international trips longer than two weeks. Check with your individual credit card providers.

Many countries require a visa to get be-yond the airport doors. Some make visas available in their airports, like Tanzania and Kenya, so you don’t need to worry about that before leaving. And it can end up being less expensive this way too. Do your research be-fore you leave.

Many countries’ taxi services don’t run af-ter midnight so it’s a good idea to ensure your flights arrive well before that time. For safety reasons arrival times no later than 6:00pm are encouraged. Plan your flights accordingly whenever possible.

Another great tip is to have taxi infor-mation and phone numbers before leaving home. Do your research to find the reputable companies in the areas you will be traveling.

Airline TipsAll airline companies will have a “comfort

plus” or equivalent for seat selections. This helps keep your travel costs down.

Pack toiletries like dry toothpaste, tooth brush, bar soap, washcloth, brush, etc. in your carry-on bags. Trav-eling internationally can be a very long process and feeling fresh will make it a better experience for you. Also, it is a real-ly good idea to pack an extra set of cloth-ing in your carry-on for the same reasons

or “just in case”.There may be times when you spend hours

at a time in airports, so locking your baggage in airports locker rooms may be an option you will want to consider. As an alternative there are camera bags, like from Think Tank, that have secure bags and cords that make the safety of your equipment and easier task.

For the process of going through security, plastic bags for your equipment is a good means of allowing the officers to see every-thing you’ve packed simply. Many countries don’t like cords, wires, remotes or anything else that may look like weapons or ammuni-tion. Make it simple for them and it will be a simpler process for you as well.

Weight Restrictions and StrategiesAlways check this information before you

leave. If your luggage is excessive of the air-line’s guidelines you will have to pay for your error. Traveling to Kenya and Tanzania, for example, is restricted to 15-20 kg, and 20 kg in South Africa.

Typically, security is not interested on how much weight you are packing personally, but what is in your bags, so use a photo vest (check out The Vested Interest at www.vestedinter-

Planning Your Trip Overseas

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est.com). It can hold up to 60 lbs of equipment, allowing your bag to become much lighter. Once through security you can return your equipment to your camera bag to make your flight more comfortable.

Clothing ListEspecially when going on safari trips, Greg suggests taking three

pairs of leg zip-off safari pants, two safari shirts and four pairs of underwear. There are camps that will take care of your laundry for you which will allow your more time for photography.

Be prepared for cooler weather for the nights and early mornings. Taking a couple of sweatshirts will help keep you comfortable. A pair of light gloves is also a good idea. Having a water/wind resistant light jacket with a hood will serve you well too.

Don’t leave without any medications like Malarone, sunscreen, a hat, mosquito repellant, and a flashlight. And of course don’t forget any camera gear, lenses, and binoculars for the safaris. Taking both your DSLR and a point and shoot camera will both come in handy for difference situations.

Your camera bag will be very important on the long and dirty trips into the wildlife sanctuaries to keep your gear dust-free, and to keep it safely pack away on the bumpy ride. Also having a collapsible backpack is a good idea. Greg straps his to the seat in front of him in the safari vehicles for quick access.

Packing StrategiesAs mentioned, you may want to choose a camp that has laundry

services. Have a set of clothing to wear, one to wash and one spare set

to be prepared. Using packing cubes or envelopes will help keep your clothing in its best shape for wearing. These can be found at places like Camper’s Village.

Using soft-sided luggage is preferable as they stack better.

Country, Religions, CustomsDefinitely do your research for each country you are traveling to.

Know what you are getting into, and be wise about their local cus-toms.

Bathrooms are an important issue to check out. Many countries don’t use toilet paper so bring your own! Muslim countries may or may not have conventional toilets either, so be aware of this.

Also, in Muslim countries food is never touched by the left hands. This is the hand they use to wipe with after visiting the bathrooms. Only eat your food with your right hand. Also be aware of which foods the residents eat versus what tourists eat. Take care eating foods washed or prepared with the local water as many water sources are unclean in under-developed countries. Feel free to eat peeled fruits, but be careful with cooked fruits and vegetables.

What Animals Do You Want To See?If it’s lions and cheetahs you desire, you will want to head to the

Serengeti and Masai Mara areas. While leopards will be more preva-lent in the Sabi Sands in South Africa, along with lions. You’ll also find river crossings in the Massai Mara.

Herds in the Masai Mara and Serengeti migrate during differ-ence seasons, so be aware of this in your planning. Typically, August through to October are good times.

If it’s elephants you’re seeking you’ll want the Chobe National Park in Botswana or the Tarangire National Park in Tansania. Also check out Gemsbok and Orynx in Namibia for their wildlife.

What Time Of Year?July to September is great for the migration of herds and river

crossings in the Masai Mara. For the grass wildlife in the Mara the short season is form September to October. The huge herds will be fewer but you’ll be able to see the small cats like servals and caracals.

Booking Camps and GuidesTrip Advisor is a fantastic place to do your research. Learn from

those who have gone before you and have commented. Don’t pay much attention to the first and last few comments, but focus on the bulk in the middle. That’s where you’ll find good information.

From this information you’ll gain insight into which camp/s to book with, as well as the room or tents themselves. You’ll also find helpful comments on guides to use.

Camp StrategiesDefinitely book in advance. Greg and his associates book a year

ahead. From your research at Travel Advisor you’ll know which rooms/tents are farthest from the kitchen or closest to the vehicles. Having this knowledge will empower you in your planning.

If you are a “safari keener” you can ask for the option to have picnic breakfasts and lunches. This will allow you to stay on the safari for longer, only returning for dinners in the evening. Otherwise they return at lunch, which loses a good chuck of your day. Book this in advance if it’s an option you like.

Photo TipsBesides bringing both a DSLR and your point and shoot cameras,

if you have both cropped and a full frames there will be times one will be better over the other. Shoot in RAW and JPEG, to allow for edits if you choose.

When purchasing your camera equipment, Greg encourages you to spend more on your lenses rather than the body. The difference you see will be in the lenses you use.

When shooting animals in slow motion like walking, shoot in the sports mode or a speed of 320-500. For animals that are running you’ll need a faster speed of 640-1250. Use Greg’s Six-Point Checklist for each shot: Focus. Aperture. Speed. Composition. Background. Horizon. Shoot. Set your aperture to f/8 for the best por-trait qualities.

Aim for that treasured shot of the animal looking directly at you, or walking into your frame. Using your longest lens will make it ap-pear as though you are on the ground right there with the animals.

As the action on the safari can be very quick at times, resist the temptation to look at your images until all the action is finished. You don’t want to miss anything that may come out from behind a bush somewhere. If you do have time, shoot, refocus and reshoot. How-ever, that’s not normal on safari.

How you will store your photos is an important consideration. Having external hard drives for is the best option, and keeping them in separate locations. Using online storage is another option, but not if the place you have booked doesn’t have internet service. Your re-search will serve you well here once again. And you won’t want to forget grounding or converters for the local outlets.

Watch Our For The BugsLastly, watch out for the bugs. Africa has lots of bugs that can

cause you real problems, but the worst by far is the Africa Bug. It’ll keep you coming back time and again.

Meanwhile Back In Canada…Keeping the theme of safety, that should be our main concern

while photographing in our own country of Canada as well. Shoot-

ing Grizzly’s can bring a rush and great photos. Cadomin is a great place for Grizzly’s. On the whole, bears aren’t that interested in humans. It’s best just to stay out of their way, but never turn your back to them.

Wild cats, on the other hand, will require more threatening maneuvers to scare away. Make yourself look big and as intimidating as possible.

When shooting in the extreme cold, nothing will dampen your time than cold batteries. They make for very slow processing in the camera and will use up power faster. Always keep a spare battery or two in your jacket where they will stay warm. And if you won’t be shooting for an ex-tended time, remove the batter from the cam-era to keep it warm until you are ready to shoot

again. Greg has noticed, too, that his crop sensor camera will work longer than his full frame as it takes less power from the batteries.

For health reasons, only shoot in extreme cold temperatures until you no longer feel your fingers. Of course your goal is to stay warm, but inevitably your fingers will get cold. Stop shooting at this point. If you go beyond that you risk frostbite.

When you come back in from the cold outdoors, putting your cam-era and lenses into a plastic garbage bag and tying it up will eliminate excess moisture on your equipment, which will damage it. Once it is all warmed to room temperature it will be safe to retrieve from the bag, but it will take some time. Don’t rush this.

In closing, though Greg is sticking closer to home now, these same tips are appropriate whether traveling to a foreign country or a few provinces away. Keep your personal safety in mind, and safety for your equipment. Know the customs and laws of travel wherever you are going. And don’t forget to do your research. Once you get to your destination you will be able to spend all your time doing what you love. Photography.

Greg’s work can be seen at these two websites:http://www.harveywildlifephotography.com/gallery.htmhttp://www.harveywildlifephotography.ca/

We completely forgot to publish a 2nd place winner from last month. Sorry Lesley Roy for the omission. Great photo!

April WinnersApril WinnersApril WinnersTheme: “Water”

Open

Dig

ital

Them

eP

rint

Them

e

1st 2nd3rd

Digital Theme Print Theme Open Name Points Name Points Name Points

Koslowski, Sieg 5 Koslowski, Sieg 5 Edwards, Richard 1

Popil, Al 4 Pesklewis, Mark 3 Adamoski, Bill 2

Riley, Eva 3 Goodman, Jody 3 Koslowski, Sieg 11

Roy, Lesley 5 Popil, Al 6 Watkins, Ray 1

Ryziuk, Barry 14 Ryziuk, Barry 17 Michon, Gord 2

Vanveen, John 2 Bromilow, Brent 2 Pesklewis, Mark 1

Watkins, Ray 3 Watkins, Ray 3 Ryziuk, Barry 22

Adamoski, Bill 1 Battrick, Corey 1 Popil, Al 5

Bromilow, Brent 2 Adamoski, Bill 5 Battrick, Corey 1

Rombough, Kelly 3 Michon, Gordon 1 Erickson, Wayne 2

Kruger, Wally 2

Michon, Gordon 1

Barry Ryziuk Wayne Erickson

Bill Adamoski

Kelly Rombough

Barry Ryziuk

Wally Kruger

Sieg Koslowski Gordon Michon

Brent Bromilow

Gordon Michon