your guide to everything photo december / … · laurence butet-roch fell in love with journalism...

PHO

TOLI

FE.C

OM

DIS

PLA

Y U

NTI

L JA

NU

ARY

31,

201

9 -

$6.9

9

YOUR GUIDE TO EVERYTHING PHOTODECEMBER / JANUARY 2019

PLIFE_1901_INSIDE.indd 1 2018-11-06 3:24 PM

56 57

IF YOU TRAVEL THE WORLDCAMERA IN HAND,

WELCOME HOME.THIS IS YOUR SPACE FOR FUN AND THOUGHT-PROVOKING CONTENT

GUARANTEED TO INSPIRE YOUR PHOTOGRAPHY.

SUBSCRIBE TODAY TO

SAVE UP TO 55% OFF THE NEWSSTAND PRICE

GET FREE ACCESS TO THE DIGITAL ARCHIVES

SUPPORT AN INDEPENDENT CANADIAN MAGAZINE

PHOTOLIFE.COM/SUBSCRIPTION1 800 461-7468

PHO

TOLI

FE.C

OM

DIS

PLA

Y U

NTI

L M

AR

CH

31,

201

8 -

$6.9

9

YOUR GUIDE TO EVERYTHING PHOTOFEBRUARY / MARCH 2018

PHO

TOLI

FE.C

OM

DIS

PLA

Y U

NTI

L M

AY

31,

201

8 -

$6.9

9

YOUR GUIDE TO EVERYTHING PHOTOAPRIL / MAY 2018

PHO

TOLI

FE.C

OM

DIS

PLA

Y U

NTI

L JU

LY 3

1, 2

018

- $6

.99

YOUR GUIDE TO EVERYTHING PHOTOJUNE / JULY 2018

PHO

TOLI

FE.C

OM

DIS

PLA

Y U

NTI

L SE

PTEM

BER

30,

201

8 -

$6.9

9

YOUR GUIDE TO EVERYTHING PHOTOAUGUST / SEPTEMBER 2018

PHO

TOLI

FE.C

OM

DIS

PLA

Y U

NTI

L JA

NU

ARY

31,

201

9 -

$6.9

9

YOUR GUIDE TO EVERYTHING PHOTODECEMBER / JANUARY 2019

PHO

TOLI

FE.C

OM

DIS

PLA

Y U

NTI

L N

OV

EMB

ER 3

0, 2

018

- $6

.99

YOUR GUIDE TO EVERYTHING PHOTOOCTOBER / NOVEMBER 2018


3

PL_FF_XSeries_Colour_EN.indd 1 2018-10-24 11:59 AM

DECEMBER / JANUARY 2019_V. 44, N. 1CONTENTS

EXPOSURE04 CONTRIBUTORS

06 EDITORIAL

08 THIS AND THAT

16 THE COMMUNITY GUIDED BY EMPATHY KALI SPITZER USES TINTYPES TO EXPLORE RESILIENCE

22 MISADVENTURES IN PHOTOGRAPHY THE SEAS AND ME66 THE LIVING ROOM

VISION26 WISDOM, WIT AND OTHER TIDBITS EXCERPTS FROM OUR INTERVIEW WITH EDWARD BURTYNSKY One of the most prominent names in Canadian photography, Edward Burtynsky is

known for his large-scale, semi-abstract photographs documenting the collective impact of humans on the planet.

32 EMBRACING ENOUGHNESS CRISTINA MITTERMEIER’S JOURNEY TO THE INTERSECTION OF NATURE AND PEOPLE One look at Cristina Mittermeier’s portfolio and it’s obvious not only that fear doesn’t

hold her back but also that she’s mastered visual storytelling.

44 SHOWTIME DETAILS

46 THE DAGUERREOTYPE THE ONGOING PURSUIT TO FULLY UNDERSTAND A FASCINATINGLY COMPLEX PHOTOGRAPHIC OBJECT Experts from the fields of chemistry, photograph conservation, and daguerreotypy

share their knowledge and weigh in on the use of synchrotron technology to further understand the materiality of daguerreotypes.

ON THE COVER32 EMBRACING ENOUGHNESS CRISTINA MITTERMEIER’S

JOURNEY TO THE INTERSECTION OF NATURE AND PEOPLE

© CRISTINA MITTERMEIER


4

TOOLBOX58 NIKON Z7 LET THE LIGHT SHINE IN The announcement of Nikon’s new Z-series full-frame compact system and its

forward-thinking Z mount created quite the buzz. I had the opportunity to test out the more powerful of the first two Z cameras, the Z7.

62 NIK COLLECTION 2018 LIKE A PHOENIX... DxO brought the Nik Collection back to life, making it more functional with new versions of

applications and operating systems.

Curious about who put this together?Here’s this issue’s who’s who.

CONTRIBUTORSAND EDITORIAL STAFFHolding a passion for the world and an eye for the beauty it contains, Prince Edward Island-based Dave Brosha is one of Canada’s most diverse photographic artists and educators. His work covers a wide spectrum including landscape, portraiture, commercial and adventure imagery. davebrosha.com

Laurence Butet-Roch fell in love with journalism through Scoop, a Quebec sitcom set inside a newsroom. Studying international relations at the University of British Columbia and photography at the School of the Photographic Arts: Ottawa led her to become a photographer with the Boreal Collective, a photo editor and a writer. lbrphoto.ca

Emmanuelle Champagne completed her studies in creative writing and later decided to pursue accounting and administration. She enjoys literature and all forms of art.

Ingrid Forster is a Toronto-based photographer specializing in visual storytelling and documentary photography. She is also a photo archivist, researcher, writer and educator. She holds a B.F.A. from Concordia University and both an M.A in Photographic Preservation and Collections Management and an M.D.M in Digital Media from Ryerson University. ingridforsterphotography.com

Cynthia Haynes likes her words sharp and her photographs (intentionally) blurry. A copywriter and editor, she works primarily with photographers to help them write about the work they create. cynthia-haynes.com

Jean-François Landry has been providing advice to photographic equipment buyers in Quebec City since 1989. He also shares his passion with amateur photographers through courses and magazine articles. cylidd.com

Guy Langevin has worked in the magazine and photo industry for many years. He has had the chance to collaborate with and befriend some of the best photographers in the country, and you’ll rarely see him without either his running shoes or camera. guylangevin.net

Jenny Montgomery is a theatre director and writer who first learned her way around a darkroom in 1998. Photography runs in her family, so it was probably inevitable that it would be a part of her life.jennymontgomery.net

Valérie Racine has been part of the Photo Life team since 2001. She currently serves as publisher and marketing director. Her background includes studies in art, art history and communications, and she is passionate about photography.

DECEMBER / JANUARY 2019_V. 44, N. 1CONTENTS

EDWARD BURTYNSKY P. 26 EMBRACING ENOUGHNESS P. 32 NIKON Z7 P. 58

Made Japanin


24

THE WORLD WE LIVE INPHOTO CONTEST

photolife.com/twwli

+

PRESENT

SPECIAL EDITIONCELEBRATING LIFE

In collaboration with


2726

VIS

ION

_WIS

DO

M, W

IT A

ND

OTH

ER T

IDBI

TS

EXCERPTS FROM OUR INTERVIEW WITH

EDWARD BURTYNSKY

One of the most prominent names in Canadian photography, Edward Burtynsky is known for his large-scale, semi-abstract photographs documenting the collective impact of humans on the planet. Exhibited extensively, his work is in the collections of more than 60 museums around the world, including the National Gallery of Canada, the Museum of Modern Art, the Guggenheim Museum, the Reina Sofia Museum, and the Tate Modern. The Ryerson University alumnus is co-founder of the Scotiabank Photography Award and serves on the board of directors for Ryerson Image Centre and Scotiabank CONTACT Photography Festival. In 2006, Burtynsky was awarded the title of Officer of the Order of Canada. A few of his other honours include the TED Prize, the Governor General’s Awards in Visual and Media Arts, the Rogers Best Canadian Film Award, and Photo London’s 2018 Master of Photography. His newest multimedia exhibition, Anthropocene, is on view at the National Gallery of Canada in Ottawa through February 24 and the Art Gallery of Ontario in Toronto through January 6.

FIRST CAMERA?When I was 11 years old, my father acquired a darkroom from a widow in the neighbourhood, complete with cameras, instructions and about 100 rolls of film. All of that film meant that I didn’t have to be overly careful with my shots by rationing the film in any way. I just walked around shooting to see how the 3-dimensional world looked when flattened onto a 2-dimensional medium.

WHAT DID YOU WANT TO BEWHEN YOU GREW UP?An artist.

MOST PIVOTAL CAREER EXPERIENCE?My four-month journey photographing across North America in my Volvo in 1984, which was only made possible thanks to a Canada Council grant.

MOST ADMIRED PHOTOGRAPHER?Emmet Gowin for expressing his intimate and personal world in a way that touches the collective imagination.

THE “PHOTO THAT GOT AWAY”?In 1992, I was photographing a Rock of Ages Quarry in Vermont. It was an early-morning shot, and there was mist in the bottom of the quarry. I had framed up a great 8 x 10 shot, and, much to my surprise, the workers in the quarry lit a cutting torch, which made the whole mine glow through the mist. I was so excited I shot two frames with my 8 x 10, only to later discover that I hadn’t loaded my 8 x 10 holder.

FAVOURITE CAMERA-AND-LENS COMBINATION?Hasselblad 100-megapixel camera with my 50-mm lens.

MOST UNEXPECTED THING INYOUR PHOTO BAG?I travel with almonds and granola bars in my bag because I often end up in remote places and go many hours between meals.

FAVOURITE PLACE TO PHOTOGRAPH?Spain—the colour palette of the landscapes and the diversity of the terrain are spectacular.

EARLY RISER OR NIGHT OWL?Both.

CURRENT FAVOURITE PHOTO (OF YOUR OWN)?I don’t have one—it’s like asking me which one of my children is my favourite.

WHAT’S A NORMAL DAY FOR YOU?There aren’t any.

Continued on page 30


2726

VIS

ION

_WIS

DO

M, W

IT A

ND

OTH

ER T

IDBI

TS

HA

SSEL

BLA

D H

6D-1

00C

, 35

MM

, F/1

1, 1

04 S

, ISO

100

. © E

DW

AR

D B

UR

TYN

SKY,

CO

UR

TESY

OF

NIC

HO

LAS

MET

IVIE

R G

ALL

ERY,

TO

RO

NTO

.H

ASS

ELB

LAD

H4D

-60,

50

MM

, F/4

, 1/7

50 S

, ISO

100

. © E

DW

AR

D B

UR

TYN

SKY,

CO

UR

TESY

OF

NIC

HO

LAS

MET

IVIE

R G

ALL

ERY,

TO

RO

NTO

.


33

VIS

ION

_PRO

FILE

© C

RIS

TIN

A M

ITTE

RM

EIER

BU

BB

LEG

UM

© C

RIS

TIN

A M

ITTE

RM

EIER

32


33

EMBRACING ENOUGHNESS CRISTINA MITTERMEIER’S JOURNEY TO THE INTERSECTION OF NATURE AND PEOPLE

BY CYNTHIA HAYNES

She’s come face-to-face with apex predators, tackled public speaking on the world stage, and journeyed into realms primarily explored by—and associated with—men. But what scares Cristina Mittermeier more than anything is becoming the most mediocre version of herself.

Twenty years ago, marine biologist and fledgling photographer Cristina Mittermeier stood up and asked a group of nature photographers how they could collectively do more to inspire conservation groups—and she was basically told to shut up and sit down.

Now, however, it’s not so easy to talk over the woman who has become one of the most prestigious conservation photographers in the world. As the founder of the International League of Conservation Photographers and with publications in National Geographic, Science, and Smithsonian; countless awards; and worldwide recognition, she is one of the most sought-after public speakers on art and conservation.

In 2014, she co-founded SeaLegacy, a non-profit organization dedicated to maintaining healthy and abundant oceans, led by a collective of experienced and renowned photographers, filmmakers and storytellers. This is one of the things Mittermeier does best: she picks up everyone around her so that the group moves forward, together, exercising strength in ever-growing numbers.

It’s a pretty impressive résumé for someone who didn’t intend to become a photographer. Earlier on in her work as a marine biologist, she travelled with her then-husband to a remote Indigenous village in the Amazon and, with a borrowed camera, made a photograph of a man coming out of a hut. She liked it, and so did the Houston Museum of Natural Science, which included that photo in an exhibit…under her husband’s name.

Fresh from the sting of losing her copyright for that image and with three kids at home, she went back to school to study photography. “I just wanted to learn more about what I was interested in; the degree wasn’t important to me.” She fully embraced the power of the craft when she realized that people don’t necessarily get emotionally attached to scientific documents; change happens when issues can be felt through imagery. Photography gave her a new platform through which she could help increase global communications around conservation by telling visual stories of the issues backed by science.

Armed with that new knowledge and camera gear, Mittermeier set out to be a wildlife photographer but found it to be highly physical, technical and lonely. It takes an immense amount of time and commitment to be in remote places, sitting and waiting for the shot. But it was out in those wildlife areas that she found her photographic calling when she and her team stayed in Indigenous villages.

Opting out of some of the more physical treks undertaken by the rest of her crew, she stayed behind and made portraits of their village hosts. Her male teammates wanted to know how she was able to create such intimate portraits—something she hadn’t realized she had done. It was her eureka moment. She had found her niche and has been photographing at that intersection of nature and people ever since.

WHEN THE TIDE RISES…One of Mittermeier’s many goals in expanding conservation efforts is to share her knowledge. Based on her own experience, she believes that the one true way to gain the expertise needed to make a difference is to have a mentor or a series of mentors. And while she wants to help all photographers, she has a particular interest in helping women, especially those in wildlife and conservation photography. “I think many women are intimidated by those particular

VIS

ION

_PRO

FILE

© C

RIS

TIN

A M

ITTE

RM

EIER

BU

BB

LEG

UM

© C

RIS

TIN

A M

ITTE

RM

EIER

32


4746

THE DAGUERREOTYPETHE ONGOING PURSUIT TO FULLY UNDERSTAND

A FASCINATINGLY COMPLEX PHOTOGRAPHIC OBJECTBY INGRID FORSTER

The daguerreotype is a completely one-of-a-kind photographic object; there really is nothing else like it. If you have ever had the opportunity to see a daguerreotype in person, you might have noticed its rather magical quality. Daguerreotypes are meant to be held in your hand for viewing—an intimate experience. The reflective image can appear as a positive or a negative depending on the viewing angle. In most cases, the image is laterally reversed, like in a mirror image. When you look at a daguerreotype, the light is reflected and scattered back to you, making it difficult to judge the depth of the dark areas. As soon as you hold it at the proper viewing angle, the image appears, and it’s quite mesmerizing.

We’ve asked experts from the fields of chemistry, photograph conservation and daguerreotypy to share their knowledge and weigh in on the use of synchrotron technology to further understand the materiality of daguerreotypes.

THE HISTORYDAGUERRE’S INVENTIONThe daguerreotype process is named after its inventor Louis-Jacques-Mandé Daguerre. Although a number of individuals experimented with photosensitive materials before Daguerre, the daguerreotype is considered to be the first practicable, publicly available and commercialized photographic process. On August 19, 1839, the French Académie des Sciences held a meeting to publicly present the daguerreotype process. Daguerre sold his invention to the French government, which made it available to the world for free— except in England, where you had to pay a fee. Soon the process became widely used throughout Europe and the United States. Daguerreotypy remained the dominant photographic method until the mid-1850s, when it was replaced by more convenient and less expensive processes like the ambrotype and tintype.

THE PROCESSThe daguerreotype process produces a single, direct photographic image. The image material sits on a finely polished silver-coated copper plate. Making a daguerreotype begins with the laborious process of polishing a plate to perfection. Producing a successful image is very much dependent upon how well the plate is prepared. The plate is made photosensitive by exposing it to iodine vapour, producing a thin layer of silver iodide. After a plate is exposed in a camera, it holds a latent image. The image is only revealed after developing the plate in heated mercury vapours, which causes microparticles to form in areas where light has interacted with the plate. The result is whitish-looking microparticles that diffuse light—a mercury-silver amalgam which forms the image highlights. Following development, the plate remains photosensitive until it is immersed in a sodium- chloride solution (table salt) and then thoroughly rinsed in water, known as fixing.

Subsequent improvements to the process included the use sodium thiosulfate (hyposulfite in the 19th century) instead of sodium chloride as the fixer and the introduction of toning/gilding with a gold-chloride solution. Gilding improved contrast and helped solidify the microparticles to protect the image. Prior to this, an image could literally be wiped right off the plate.

Since silver iodide isn’t actually that light sensitive, exposure times were quite long during the early days of daguerreotype practice. They ranged from a few minutes to half an hour depending on how much light was available. Taking a good portrait was a challenge. By the end of 1840, however, an important innovation reduced exposure times from minutes to seconds. The use of bromine and chlorine vapours, in addition to the iodine sensitizer, significantly increased the plate’s light sensitivity. The faster exposure times made the commercialization of daguerreotype portraits possible and led to a boom in the industry.

VIS

ION


4746

VIS

ION

GIR

L W

ITH

PO

RTR

AIT

OF

GEO

RG

E W

ASH

ING

TON

, MET

RO

POLI

TAN

MU

SEU

M O

F A

RT

PHO

TOG

RA

PHS

CO

LLEC

TIO

N. G

IFT

OF

I. N

. PH

ELPS

STO

KES

, ED

WA

RD

S. H

AW

ES, A

LIC

E M

ARY

HA

WES

, AN

D M

AR

ION

AU

GU

STA

HA

WES

, 193

7.


58 59

TOO

LBO

X

TEST: NIKON Z7LET THE LIGHT SHINE IN

BY GUY LANGEVIN

The announcement of Nikon’s new Z-series full-frame compact system and its forward- thinking Z mount created quite the buzz. I had the opportunity to test out the more powerful of the first two Z cameras, the Z7.

Aside from the Z7’s smaller-than-DSLR size, what’s most striking is the diameter of the new Z mount—55 mm. Why’s it so huge? Put simply, light. The large mount means that Nikon can develop much brighter lenses with maximum apertures up to f/0.95. Since there’s no mirror, it’s closer to the sensor (a short flange focal distance) and the gain in brightness covers the whole frame. They designed this four-lug bayonet mount with “room to grow.” Though it doesn’t use them all now, the Z7 has 11 communication contacts, making it ready for when new technology is developed in the future.

Z7With a 47-MP full-frame sensor, the Z7 is like a mirrorless version of D850, the reflex at the top of the Nikon pecking order. The Z7’s ISO range is impressive: from 64 to 25 600. There’s hardly any more noise at ISO 400 ISO than at ISO 64, and even when the ISO is in the upper limits, the sensor is still able to capture detailed images. The autofocus system has been redesigned entirely and is now integrated right into the sensor. It’s fast, even in lowlight scenes.

Even though the camera is noticeably smaller and thinner than a high-end DSLR, its substantial grip makes it comfortable to hold. The magnesium-alloy camera is—as it should be—weather-sealed. The dials and buttons are ergonomically positioned, and you can quickly get to the most frequently used settings. Anyone already familiar with Nikon cameras will feel right at home.

The shift to mirrorless brings with it an electronic viewfinder—and the advantage of being able to preview exposure and depth of field before making an image. The viewfinder’s resolution is mind- blowing, and the refresh rate is very fast. You can access and

navigate the menu in the viewfinder by using the multidirectional buttons. (It’s not possible to use the joystick or dials to do this.)

The rear touchscreen is big and bright, just like the stars in Texas. You can use it to navigate the menu, focus, take a photo, and go through your shots. It tilts more than 90 degrees upward and about 45 degrees downward. The camera also has a small control panel on the top with a quick summary of the main settings.

The Z7 has several functions to make life easier: focus peaking in manual focus, focus stacking and silent mode, to name a few. Its in-camera vibration reduction works in conjunction with Nikon’s VR lenses and also prevents movement blur when using lenses without image stabilization.

Before taking the bold step of introducing a new mount, Nikon had to consider a number of things, not least of which was the 100 million F-mount lenses that they estimate are on the market.

NIKON Z7, 35 MM, F/1.8, 1/500 S, ISO 25600. © GUY LANGEVIN

NIKON Z7, 35 MM, F/2, 1/8000 S, ISO 200. © GUY LANGEVIN


58 59

TOO

LBO

X

NIKON Z7, 35 MM, F/1.8, 1/500 S, ISO 25600. © GUY LANGEVIN

NIK

ON

Z7,

70

MM

, F/4

, 1/1

00 S

, ISO

400

. © G

UY

LA

NG

EVIN

NIKON Z7, 24 MM, F/4, 1/1000 S, ISO 200. © GUY LANGEVINNIKON Z7, 35 MM, F/2, 1/8000 S, ISO 200. © GUY LANGEVIN


your guide to everything photo december / … · laurence butet-roch fell in love with journalism...

Documents