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Get a closer look at the art of photography. From timelines to top tens to discussions of worthy images, Close-ups will zoom in on the photographic medium.
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On a whim, amateur nature photographer John Bennett entered our Snap a Moose Contest for a chance to join Voyageur Quest’s moose photography workshop led by professional photographer Rob Stimpson. To his surprise and excitement, he won and made the trek to Algonquin Provincial Park mid-June, hoping to bag a big one. Now Bennett is back from the bush and ready to share his experience and amazing shots.
Bio: John BennettJohn Bennett’s love of Canada’s outdoors was fostered in his childhood. From fishing trips when he was small to reading outdoor magazines as a teenager, Bennett became increasingly interested in photographing the natural beauty of our nation. But it wasn't until the explosion of digital photography 2003 that he became serious about exploring his passion. Now after only a few years time Bennett is on the cusp of becoming a professional outdoor photographer. To view more of John Bennett's work, visit: jben.zenfolio.com
Q Congratulations on winning! What made you decide to enter?
A In February, I was surfing the CG Photo Club site and noticed the contest advertisement. Like most people, I thought 'nobody ever wins these things,' but since I'd already been thinking about visiting Algonquin to photograph moose, I decided to enter. It was an opportunity of a lifetime to go to a park that I love, photograph moose and talk to a professional photographer about the industry and his craft.
Q What is your most memorable experience from the workshop?
A My favourite experience was my first crack at photographing a moose. On the afternoon paddle of day two we had good light and were about 60 metres away from a pair of moose. At this point I had already started snapping some shots because with wildlife there’s no guarantee of getting closer. We ended up 9 to 12 metres from one of the moose and spent a good half hour photographing it. All I kept thinking was, “Wow! I can’t believe I’m finally doing this!” Opportunities like that are rare.
Q Where did your interest in wildlife come from?
A Mainly from my father, who was a guide at Algonquin Park. He loved the outdoors --hunting, fishing, camping, you name it. Like billions of other fathers and sons out there, he instilled this passion in me. Photography and the outdoors are a natural fit. They go together like peanut butter and jam.
Q Would you describe your experiences working to establish your career as a photographer?
For information on other photo workshops and wildlife viewing trips visit www.OntarioTravel.net/OutdoorA In early 2008, my wife convinced me go out on a limb and send some of my photos to one of my favourite magazines, Ontario Out of Doors. About a month later I received an email from the art director asking if I could send more photographs and if I’d be willing to do assignments.
I spent most of that first year learning the industry and changing my thought process from simply shooting for myself to shooting to illustrate a story. The Ontario Out of Doors art director told me that what sells may not be the best image, but rather one that best fits the article. I also learned that outdoor photography is very seasonal and anything I’m shooting right now won't be sold and published until next year.
Q It sounds like things have moved very quickly for you. Was there anything you did that may have set you apart from the pack?
A Once I got that initial vote of confidence from having my photos published I joined the Outdoor Writers of Canada at the advice of writer Dale Hainer, whom I worked with on my first assignment for Ontario Out of Doors. I’ve gotten some really good things out of the association and one of them was their mentorship program. I was paired with Duane Radford, an established outdoor writer/photographer working out of Alberta. He helped me in many areas, but the most important piece of advice he gave was to treat this industry like a business.
I get frustrated at times when some of my photos don’t sell, but I try to look at this industry as a numbers game. There are only a certain number of publications producing only a certain number of issues per year.
Q What was the most important thing you took away from this workshop?
A Personally, it was great returning to the park to go on a canoe trip. It's been years since I've done that. On a photography level, it allowed me to get two shots that I just love. From a professional point of view, it was incredible to be able to pick Rob’s brain about the business aspect of photography. He shared what he went through when he was starting out as a photographer and helped me improve my craft.
Q Would you recommend the workshop to others?
A Absolutely! Voyageur Quest really takes the edge off roughing it. All you have to worry about is having a good time and getting some great photos.
If you’re a hobbyist this is a fantastic experience, and if you have aspirations to take your photography further I’m living proof it can be done with this workshop.
Interview by Michela Rosano.
Learn more about the Algonquin Moose Photography Workshop led by photographer Rob Stimpson.
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During a trip to Newfoundland in August 2006, I happened upon Brigus South, a small community on the Avalon Peninsula about an hour south of St. John's. I hoped to board a fishing boat to photograph and experience the lifestyle. As I approached the harbour, a local fisherman and his crew of friends and family were returning from sea. After a short conversation, I was invited to join them for a morning of squid jigging and the experiences that followed are the highlight of this incredible trip.
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Growing up in Hudson, Que., a town on the Ottawa River west of Montréal, Rob Stimpson always had a close connection with the outdoors. He developed a passion for photography in his 20s and, despite the fact that he studied graphic arts, landed his first full-time position as a photojournalist shooting stock images at a large multinational pharmaceutical corporation in Switzerland. Twenty-five years later, Stimpson combines his love for travel and the outdoors with his award-winning photography through wildlife workshops.
Q How did you make the switch from your background in the graphic arts field to photography?
A I was one of those people who can’t figure out what to do in life. Photography happened by accident. When I was in my 20s, I had a friend who lent me a camera. I was raving to my father about how great it was. So he got me a Fuji camera for my birthday, and almost 25 years later I’m still taking photographs and am as passionate about it now as when I started.
My education was in graphic arts. While working in that field for a few years, I began doing some freelance photography work. I landed my first photography position in Switzerland as a photojournalist for a large multinational pharmaceutical corporation. My boss at the time, Emile Hasler, was instrumental in shaping my “creative eye.” He enriched my life more than I realized at the time.
Q Why did you choose photography as a career?
AI wanted a job that combined my love of the outdoors, travel and tourism and one that would allow me to be creative. The desire to create has always been part my life and photography is one of those vocations that allows this. I have the freedom of not working in an office. It took a while to get to where I am today but it is a very rewarding career.
Q Years after your first position as a photojournalist, do you still shoot assignment work?
A Yes. I’m mostly involved with tourism here in Ontario and get to travel all over the province. I’m working as an outdoor lifestyle photographer and have been to the Arctic and Antarctic working aboard expedition ships. I’ve been very lucky. I love this profession and I’ll do anything and everything I can to stay in it. I keep reinventing myself. You have to in this day and age.
Q Aside from assignment work, you’ve been leading workshops for almost a decade. Can you tell me about the Algonquin Provincial Park moose photography workshop?
A A few years ago I was talking with John Langford, the owner of Voyageur Quest, whom I had done some work for in the past. He suggested we run this moose photo workshop and we put an itinerary together.
It’s a chance to see one of North America’s largest animals in its natural state. Plus, you hardly see anybody in the park when we run the workshop, in June, because it is usually too early for most people to do any paddling. Also, there are certain flowers at this time of year like the pink lady slipper, an orchid found in pine forests, trout lilies and a variety of trilliums, both white and purple.
Being in the outdoors with people who are as passionate about photography and the outdoors as I am is always special
Q What can people expect to experience during this workshop?
A This is a great opportunity to shoot with like-minded people, learn new photographic skills or enhance the ones you already have and to experience the world-famous park at a time most people don’t even think of going on a canoe trip. If you have never seen a moose up close, to see this magnificent animal in its natural habitat is an unforgettable experience. Seeing a moose in its natural setting from a canoe rather than along the roadside is special.
Q Who would this experience appeal to?
A This will appeal to anyone who wants to capture wildlife in its natural setting and doesn’t mind sleeping in a tent, paddling a canoe and dealing with the natural environment. Photo experience is not a must but knowing your camera is – you don’t want to miss some of the exciting opportunities if you and your camera are not in sync. A long lens is also a must. We do not allow participants to get too close to the wildlife, so they will need at least a 200mm lens.
Q What equipment do you use for photographing wildlife?
A I have an 80mm to 400mm VR (vibration reduction) Nikkor lens. I also have an 80mm to 200mm f/2.8 Nikkor lens, which is sharp as a tack. I have two camera bodies: a Nikon D300 and a Fuji S5 Pro. I have a Manfrotto and a carbon fibre Gitzo tripod. The VR lenses are important, especially for wildlife photography. With the moose photography workshop, you want to have a camera that you get good steady shots with and the VR technology really helps.
Q What excites you about wildlife photography and how is this apparent to guests participating in your workshop?
A The chance to photograph an animal in its natural environment is an experience that not many get. I have photographed animals in Africa, the Arctic and Antarctica. The excitement is always there for this type of shooting and my enthusiasm is contagious.
Q What is your most memorable experience from your workshop?
A Last year, a young woman from Denmark was on the trip —she had never seen a moose and got to see 30 in two days!
To view more of Rob Stimpson's work, visit: http://www.robstimpson.com/
For information on other photo workshops and wildlife viewing trips visit www.OntarioTravel.net/Outdoor
Interview by Michela Rosano.
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Since technology in the world of photography is constantly changing, choosing your equipment can be a daunting task. However, if you concentrate on just a few essentials, there’s no need to feel overwhelmed. Trevor Sherwin, manager of Henry’s School of Imaging, presents his top picks.
Manfrotto190 XPROB Tripod with 484RC2 Ball Head
Photographers must be able to shoot a variety of images on the spot. A ball-head tripod like the Manfrotto 190 XPROB ensures a shake-free photo and makes it easy to switch from portrait to landscape shots, all without having to unscrew your camera. With retractable legs, this compact tripod allows you to fit in some of the tightest situations.
http://www.manfrotto.com/
ColourBalanceCoach Disc
No need to bracket anymore with the right exposure and perfect white balance in one handy tool. The ColourBalanceCoach Disc is made up of four colour patches that measure the quality and quantity of light and ensure the best exposure and the truest colours, before you snap you image. While, the ColourBalanceCoach Disc comes in a variety of sizes, the small eight inch model is all you need.
http://www.colorbalancecoach.com/
Filters
A little tip from the professionals, attach a circular polarizing filter, any good quality one, to your lens and make skies bluer and colours more vivid. Polarizing filters can add or remove reflections, giving you flexibility for whatever effect you are trying to achieve.
UV Filters, like a Hoya Pro 1, UV filter, protect your images it from ultra violet rays, which can give your photographs an undesirable cerulean tint, like an all over blue wash. While a Hoya Pro 1, UV filter can cost you a little more than some lower end UV filters, it’s very important to buy a high quality filter as it becomes an extension of your lens.
http://www.hoyafilter.com
Lowepro Slingshot 100 AW
This bag has it all — memory card pouches, baby-soft micro fiber LCD cloth, room for extra lenses, cables and the ability to hold your camera with an attached zoom lens. Plus, photographers can access their gear easier with the sleek sling strap.
http://www.lowepro.com/
Flashes
Using a flash made by your camera’s manufacturer, like the Nikon SB600, Canon 430EX and Sony HVLF42AM, will not only ensure compatibility and that your equipment will work properly, it also can give you more opportunity to utilize the many features and get creative with the lighting. No need to go high-end for these, a middle range flash will do the job perfectly.
However, sometimes light from your camera’s flash can be harsh and unflattering, especially for portraits. To give you soft, perfect light, use the Gary Fong Light Sphere. This flash accessory attaches onto your camera’s flash and works with just about any model. It diffuses harsh light, created by your camera’s flash, to brighten the whole room.
http://www.garyfong.com/
Sandisk Extreme series cards, Lexar Pro series
Want lightning speed performance? Fast-read and-write memory cards, like the Sandisk Extreme series and Lexar Pro series, allow for quicker performance when shooting multiple photos in rapid succession. These memory cards will also speed up your photo downloading time.
http://www.sandisk.com/
http://www.lexar.com/
Vertical grip made by your camera’s manufacturer
While this can’t be purchased for all entry level camera models, vertical grips can be bought for most mid-range to high-end camera models. This handy device attaches onto the bottom of your camera and provides an extra shutter release when your equipment is rotated vertically making it much easier to snap portrait style shots.
Spare batteries
Be prepared for any situation by carrying a spare battery. Generally, batteries should be made by your camera’s manufacturer to ensure compatibility and that no damage is done to your camera. However, there are third party batteries that can be used from brands like Optex, but be sure to check with your camera’s manufacturer. Whatever batteries you choose, be sure to bring extras along. You don’t want to miss out on a great shot!
Hoodman LCD shades
When it's too cloudy or too sunny out, it can be next to impossible to see your LCD screen. Hoodman LCD shades come in a variety of styles and attach to your screen, making it easier to see your photos in any lighting condition.
http://www.hoodmanusa.com/
Camera classes at Henry’s School of Imaging
Henry's School of Imaging offers courses on all major brands of Digital SLRs, so you can become a pro with your camera. Workshops are broken down into two parts. The first teaches you how to operate your camera and shows you how to get the best results shooting in automatic modes. The second workshop illustrates the advanced features of your camera and explains exposure theory. Each workshop is three hours long and offered at almost all locations.
www.henrys.com/school
Many of these products can be found at www.henrys.com
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15th century Although the concept is expressed much earlier, Leonardo da Vinci gives the first detailed description of the camera obscura, a dark box with a pinhole at one end and a glass screen at the other. When light shines through the pinhole an image appears on the screen.
16th - 17th centuries Giovanni Battista della Porta describes in his 1558 book, Natural Magic, the use of a lens instead of a pinhole in the camera obscura to make images appear sharper. Many artists use the camera obscura as an aid to accurately portray perspective in their work.
1826 Joseph Nicéphore Niépce experiments with pewter plates treated with bitumen, an asphalt type substance that changes colour when exposed to light, as a way of recording an image in the camera obscura. After failed attempts, Niépce produces the first permanent image, titled View from the Window at Le Gras, by treating the plates with oil of lavender post-exposure. However, this process is not easily recreated since it takes eight hours to get a proper exposure.
1840 Charles Chevalier constructs the first folding camera, with a sleeker and more portable design than the camera obscura. Its side panels can be unhinged from the body to fold flat and it is a daguerreotype camera, meaning it houses a film process in which highly polished silver-plated copper sheets are treated with light-sensitive silver-iodide.
1851 The wet collodion film process becomes very influential in camera design. Since the film needs to stay moist while making the exposure, the camera has to be fitted with draining channels for the negative material.
Mid 1850s Bellowed cameras are introduced to allow for movement and flexibility that the rigid designs did not allow. Advancements in the construction of the bellows allow for lenses with greater focal length and the ability for close-up photography, since the bellows adds distance to the camera.
1860 Thomas Sutton, a University of London photography lecturer, designs the first single lens reflex (SLR) camera. Through the use of mirrors inside the camera, the photographer can now get an accurate view of what will appear in the photograph.
1880-1900 As the construction of film evolves, dry-plate and roll-film versions of the SLR camera are created. Around this time, detective cameras, designed to be hidden in hats, watches and books, become popular but the fad doesn’t last long since the small photos are not practical and the image quality is very poor.
1881 Thomas Bolas constructs of one of the earliest twin lens reflex cameras. The camera uses one lens for the viewfinder and the other for taking the photograph. Similar to the SLR, the twin lens reflex uses mirrors for both lenses.
1888 The Eastman Company manufactures the Kodak, the first built-in roll-film box camera, ushering in the era of modern photography. This camera is lighter and easier to use than it predecessors, helping to make the art of photography more readily available to the masses. The company's slogan is, “You press the button, we do the rest.”
1913 Oskar Barnack invents the UR- Leica, the prototype of the first 35-mm Leica camera. This is one of the earliest cameras to take 35-mm film and uses the 24x36mm standard image size.
1914 The George Eastman Company produces the first autographic roll-film camera. Autographic film has two layers, the front layer for recording the image and the back layer for writing information about the photo. Photographers write on the back of the film by opening a small door in the back of the camera. This is the first form of photographic data collecting.
1925 The Leica A is introduced and is the first 35-mm camera to gain commercial success because of its portability, superior construction and advanced lens quality.
1930 Johannes Ostermeier patents the first commercially available flashbulb, called Vacublitz. Around this time, General Electric makes its own version of the flashbulb, called Sashalite.
1936 Kine introduces the Exakta, the world’s first 35 mm SLR. Its small design remains almost unchanged until 1949.
1947 Edwin H. Land creates the Polaroid camera. It is the first camera to deliver instant results, producing a positive image in 60 seconds.
1959 The Nikon F, a 35-mm SLR camera, is introduced. Although many cameras come close, the Nikon F is said to be the first real professional 35-mm SLR and is used by photojournalists.
1963 Kodak announces the Kodak Instamatic, a camera that is fully automatic. All the user has to do is load the film cartridges. The camera is a mass-produced success.
1981 Although the technology is already being used for government purposes, Sony introduces the Mavica, the first commercially available electronic still camera. This camera does not use film. Instead, it records images onto a minidisk, which can then be connected to a computer for viewing. While this camera is not digital, its technology is the precursor to the digital revolution.
1985 Konica Minolta releases the Maxxum 700 AF SLR, the world's first true autofocus SLR. A variety of autofocus lenses are built for the camera.
1986 Fuji introduces the first disposable camera. The camera, called the Quicksnap, is box-shaped and can take about 20 pictures on 35-mm film.
1987 The first camera of the popular Canon EOS series is developed. The camera includes full electronic control throughout as well as an all-electronic lens mount.
1991 Kodak introduces the first digital camera. It is an updated version of the Nikon F-3 with a Kodak 1.3-megapixel image sensor. This camera is targeted at photojournalists, not mass-market consumers.
1994 The first digital camera for consumer use is the Apple QuickTake 100. This camera can be connected to a computer using a serial cable.
PresentDigital cameras continue to increase in quality and capacity as technology advances. A range of professional digital SLRs, like the 50-megapixel Hasselblad H3D11- 50, point-and-shoot digital cameras, like the Sony DSCW300 Cyber-shot, and models in between, like the Nikon D-40, are being produced.
View from the Window at Le Gras
Photo: Joseph Nicéphore Niépce, 1826 
L’Atelier de l'artiste
Photo: Daguerre, 1837 
Alice Liddell as a Young Woman
Photo: Julia Margaret Cameron, Print from wet collodion negative 
An example of a bellowed camera
Photo: Stephen Coburn/istockphoto.com 
An example of a twin lens reflex camera
Photo: Dmitri Melnik/istockphoto.com 
The Leica A
Photo: Eugene Ilchenko 
A Graflex Speed Graphic camera with flash from the 1940s
Photo: James Steidl/istockphoto.com 
The Kine Exakta
Photo: Eileen Hart/istockphoto.com 
An example of a later Polaroid camera
Photo: Adrian Assalve/istockphoto.com 
The Nikon F
Photo: Jeff Dean 
The Kodak Instamatic
Photo: Henk Badenhorst/istockphoto.com 
The Sony Mavica
Photo: Rama 
An example of a disposable camera
Photo: Jeff Gynane/istockphoto.com 
The Apple QuickTake 200
Photo: Jared C. Benedict 
An example of a modern digital point-and-shoot and a digital SLR
Photos(L to R): istockphoto.com, Jakub Semeniuk/istockphoto.com
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