After a four-year hiatus, the Chinese Grand Prix returned to the Shanghai International Circuit on April 19. From the first race in 2004 until the 1,000th race in F1 history in 2019, this 上-shaped (the first Chinese character for 上海，Shanghai) circuit has witnessed the inseparable relationship between F1 events, fans and the Jiading District.

Qin Jian

Chen Di, a national first-class photographer and president of the Shanghai Art Photography Association’s Sports Photography Branch, has been involved in the planning, marketing and event photography for major global events, including the Chinese Grand Prix.

“China hosted the first Formula One race in 2004. At that time, many Chinese photographers had not yet experienced high-speed racing photography. So, most of the photographs of the first race were captured by foreign professional sports photographers,” Chen explained.

Formula One has strict qualifications for photographers. Chen got his chance in 2009 and became one of the photographers for the Chinese Grand Prix, stepping onto the race track and using his camera to record the lightning-fast moments.

However, the initial efforts dampened Chen’s spirits.

“I watched the cars coming toward me, confidently pressing the shutter, only to find out later that the photo showed an empty track; the cars had already passed,” Chen said. “I had to progressively figure things out. I would sometimes pay great attention to foreign photographers during shoots, noting how they adjusted their cameras, the lenses they used, their movements, and the elements around them. Once they left, I would quickly move to their position and try to do the same.”

Since 2004, the Shanghai International Circuit has hosted a growing number of car events, giving Chen many opportunities to practice photography. He spent those years shooting, gaining experience and familiarizing himself with composition, settings and tracks.

Over the years, he has shot over 100 racing events, walking every corner of the circuit hundreds of times. Capturing the photo “Bulls Out of the Shed” stands out as one of his most memorable experiences.

Chen Di

During the 2011 Chinese Grand Prix, Chen got an opportunity when the Red Bull Racing team’s car entered the pit stop. He dashed to the scene to take a photograph of the car leaving the pits. However, just as he hit the shutter, a team technician approached him and informed him that he was too close to the car. Despite the chaotic setting, he was able to get the shot that is now permanently archived at the China Art Palace.

“Twenty years have gone by, and while I know the shooting spots at the back of my hand, I still believe there’s potential for creativity,” Chen said.

Western Canada’s second-largest camera show is coming to Richmond next weekend, as the hobby of photography continues to gain popularity.

On May 4, hundreds of photographers and filmmakers will gather at South Arm United Church for the Richmond Camera Show.

Patrons will get to explore offerings including all formats of film gear, cameras and lenses and accessories, and connect with other enthusiasts. A consignment table and appraisals will also be available.

Retro resurgence

Film photography and Y2K digital cameras have continued to gain renewed interest over the past few years, with many on social media rediscovering the small, pocket-sized digital cameras first introduced more than three decades ago. 

One potential reason for this rise in popularity is accessibility, said Kevin Shen, founder of the Point & Shoot Club in Aberdeen Square.

“People think (the trend) probably started two or three years ago, but it actually (goes) way back when those cameras were selling for around $10.”

“$10 doesn’t hurt anything, right? So you spent $10 and figured out it’s pretty fun, and the trend (keeps) going.”

Digital point-and-shoot cameras also often come with built-in flashes, which is better value for money, said Shen.

He added film photography may also be appealing to those who are interested in photography but find the digital editing aspect daunting. 

Although the cost of shooting film and point and shoots has since gone up, Shen said they remain more affordable than the average DSLR and mirrorless camera.

Sometimes, people might not even have to purchase a camera, he added.

“You can always (find) in your garage or your mom’s, your grandma’s places… I guarantee you will have those old cameras just lying around waiting for you,” he said.

Sharing the knowledge

Spanning two storefronts, the Point & Shoot Club serves as a camera shop, a studio and a clubhouse for Shen and his fellow photography enthusiasts.

Shen, who began taking photos more than 10 years ago, told the Richmond News he first set out to be a photographer but when that didn’t work out, he realized he could sell cameras.

He decided to start the club to provide a space for his business as well as his friends who also enjoy photography.

“I don’t know anything else (outside of photography),” said Shen.

The Point & Shoot Club sells anything vintage and used, but it also recently expanded by adding a studio space for local photographers. It also offers a film development service.

“I’m sort of an entrepreneur. I force myself to be an entrepreneur,” said Shen, who said he started the business to fund his dreams.

Not only does the studio welcome beginners to borrow props for photoshoots, Shen and other members of the club are also happy to offer advice. For example, those who are interested in film development can either set up a workshop with Shen, or he could simply show them his secret tricks.

“There (aren’t) many hidden secrets,” he said.

The Richmond Camera Show will be held from 10 a.m. to 3 p.m. at South Arm United Church at 11051 No. 3 Rd. Tickets are $5 and early bird admission from 9 to 10 a.m. is $10. For more information, click here.

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As photographers, we are constantly told that our gear or camera does not matter. As someone who has pushed this narrative, it is finally time to admit I’ve been wrong this entire time.

As a full-time landscape photographer with a small platform to voice my opinions to more than just my pets or friends, words carry meaning. Phrases like “gear doesn’t matter,” which I’ve said for years. The intention behind those words is to express that gear shouldn’t hinder you from pursuing photography, or finding ways to improve your work simply because you don’t have a certain lens or camera. While the intent of the phrase remains true, interpreting the words more literally could very easily be misleading to those that are newer to photography.

Gear does matter! Every person touting that it doesn’t (me included) is simultaneously taking photos with multi-thousand dollar equipment. Recently I’ve realized that gear even makes us better photographers, and if you don’t agree, then I’ve got a plethora of reasons to change your mind.

Excitement

Excitement is one of the most important aspects of photography. It motivates us to get outside and experience nature, or into the studio to learn how light changes the mood of a portrait, or to invite friends around to practice on. This is how many of us fall in love with photography. If you’ve ever been excited to capture photos on a new piece of gear, then it has made you a better photographer!

When I first dived into the hobby of photography back in 2009, I purchased a camera and was genuinely excited to learn everything about how it worked while learning many of the technical aspects of photography in the process. I spent weeks or even months researching a particular lens I wanted to the point where, when it finally came in, it single-handedly reinvigorated my excitement to go out and take more photos. This continually made me a better photographer, even if I didn’t realize it at the time.

This is a great time to vocalize that it’s okay to enjoy gear! While I personally don’t get nearly as excited as I once did, it is totally okay if you do.

A Camera to Photograph What You Want

I’ve spent the majority of my landscape photography career without the ability to photograph anything cohesive past a 200 mm focal length. Once I finally took the plunge and bought the Canon RF 100-500mm so I could photograph wildlife in Alaska, it opened a new door for what I could capture during my travels. Did such a lens suddenly make me a master wildlife photographer? Of course not. However, by giving me access to a genre I once avoided, I had to learn (and continue to learn) a myriad of new photography techniques.

Landscape photographers typically are not worried about autofocus, shutter speed, or burst modes. Wildlife photography is the exact opposite, and I had to teach myself the ideal shutter speed for a flying bird or just how far I can push my ISO for noise reduction software later. Without the lens, I simply would have just enjoyed the moment in front of me and moved on.

Imagine the widest focal length lens you own is 35mm and you recently got a super-wide angle lens such as the Canon RF 15-35mm to capture astrophotography. That is an entirely new genre of photography with a lifetime worth of knowledge to learn by simply opening the door with a new lens, thus resulting in you becoming a better photographer in the process.

Easy to Use Cameras

While I personally don’t get too excited about new gear anymore, I do find myself continually on the hunt for a camera that just gets out of my way so I can focus on creating. I gravitate towards cameras that are ergonomically better for my hands, have simple menu systems, or reliable autofocus. A few years ago, I even “downgraded” the image quality of my videos on YouTube by trading in my ​​​​​​​Fuji X-T4 for a Canon R7. The biggest reason is I couldn’t rely on the autofocus when recording myself. This fault, along with a poorly organized menu system, meant I got frustrated enough times to get rid of it.

You never want to be frustrated with the camera you’re using. As photographers, if we spend more time focused on getting the camera to do what we want rather than the story or art we want to represent, we won’t capture the moments that matter. This is incredibly important in the moments where I’m not only trying to capture the photo as it happens, but also record me capturing the photo. So how does a camera that gets out of my way make me a better photographer?

Simple, I can focus on the photography! A camera that gets out of your way so much that it becomes second nature to you and you can focus all your energy on the composition, the lighting, or the moment. This will slowly improve your skills as a photographer. Not only that, but you’ll be more excited to go out and shoot when you’ve got such a positive relationship with your gear.

Like an old car that only you can start the engine on, developing a relationship with your camera is far more important than you might imagine. If your camera hinders you from capturing the images you want, you are likely going to be unmotivated to go out and shoot. If you love the camera you have, you’ll find yourself enjoying the experience much more, which results in your becoming a better photographer in the process.

Cameras That Slow You Down

While a camera that doesn’t get in your way is great for someone like me, what about cameras that do get in your way? That might sound ridiculous, but think about it. The most popular camera in the last 5 years is very likely to be the Fuji X100 line. A fixed lens, crop sensor, “slower” camera. 

Combined with the significant resurgence of film, it’s pretty clear that many people out there are looking to slow down and take a less-is-more approach. Just like having access to any focal length you could possibly want, restricting yourself to a fixed focal length provides unique challenges within itself. You have to find images that fit into that frame, and many photographers out there find these challenges refreshing or fun.

These restrictions test your capabilities, challenge you in new ways, and ultimately push you to become a better photographer simply because of the camera you picked up that day. This goes even further when trying to learn film. As someone who hasn’t taken the plunge yet, I know for certain that I will become a better photographer with an arguably much worse, slower, and older camera when I snap my first 35mm roll of film. These cameras are more about the experience and relationship you have when capturing photographs than they are about the end result.

Before you get your pitchfork out in the comments, please note that I’ve never said any of these things suddenly make you a good photographer. A new expensive or old expensive camera won’t suddenly turn you from amateur to master. They will all continually motivate you in different ways to improve as a photographer though. Even if you don’t care about the gear aspect at all, I’m sure there’s something you love about the tool you use that makes you a better photographer.

Still disagree? I’d love to know why in the comments and welcome any opposing views!

Landscape photographs aren’t just about the beautiful surroundings of our environment, they are a document of time. Natural phenomena, the elements and how the landscape changes around us is a fascinating topic. Due to the availability and aesthetics, plenty of creatives choose this as a subject. 

“I entered the image ‘After the fire’ into the UK Landscape Photographer of the Year competition because of the way the heath fire had destroyed the character of this local heathland. It went from life to death and then the regeneration could begin,” Mik says. He passes this spot every time he travels through the New Forest National Park and when a local heath fire destroyed the landscape, he saw the photographic potential of the scene. “It needed to be a panorama to give a perspective of the size of the area affected,” he explains.

Since landscapes cover a large area, it is difficult to decide what to include and exclude in the frame. There may also be distractions that cannot be easily removed from the scene. Therefore, it is important to take time to observe and appreciate the natural environment before deciding on how to frame the shot. Alternatively, you could consider returning at different times of the year or in different weather conditions to capture the scene. 

“I wanted to hide the view of the large Fawley oil refinery complex in the background, with its towers and chimney stacks. I had to consider that I would need to wait for a foggy or misty morning before I could get the shot I’d seen,” Mik says. This decision not only eliminated distractions but also added a layer of atmosphere to the photograph. Considering the atmosphere the natural environment gains through the weather is crucial to enhance the image’s mood, and distinguishes this image as a professional shot.

The most important ingredient of a pro landscape shot is the light. However, natural light is also the most challenging source to work with. “When that morning came with the great sunrise there was a low, thick mist. Shooting towards the sun could have been an issue, but the mist helped diffuse its brightness, allowing me to increase the exposure slightly to give more detail in the foreground,” Mik says. Waiting for the ideal weather and sun can be limiting, but it’s advisable not to wait too long. “Now, months later, the lone tree has fallen and most of the burnt skeletal remnants of gorse bushes have gone, mostly devoured by the grazing ponies. This picture no longer exists and the gorse is already growing back”.

Mik Dogherty

Mik Dogherty is an outdoor photographer, based in the New Forest National Park in southern England. Mik is self-taught and had been a keen film photographer in his younger years, although a career in the Royal Navy and then the petrochemical industry had put his hobby on hold. In 2010, the advent of digital cameras helped Mik to revisit his passion. After suffering from mental health issues, Mik took early retirement, giving him the time and mindfulness to follow his photography hobby with dedication. His recent win in the LPOTY competition for the image above is a new highlight of his career.

Pro Advice

Weather can affect the mood of an image – and the lifespan of your gear!

1. Think about weather

“Once you have found a great shot, it’s always worth considering not just the composition, but the ‘atmospherics’. Try to think about what the best weather conditions could be for that photograph – whether that’s fog, a moody sky, sunset, rain, snow, diffused light, strong, direct light or flat light – and then maybe come back at another time to shoot when the conditions are perfect.”

2. Take care

“Bear in mind the old phrase ‘Failure to prepare is preparing to fail’ so, once you get home, take care of your kit straight away by charging batteries and cleaning lenses and filters so it is ready to go for the next outing.”

3. Protect your gear

“If you have been using a tripod, when folding it away, don’t push the bottom legs all the way up but, instead, leave the width of a hand between the foot or spike and the bottom of the next leg section. That stops forcing mud, sand and moisture up into the tripod workings and causing the legs to jam.”

Kit essentials

Fujifilm GFX 50S II

The medium format camera is the fifth model in the GFX series, with a 51.4MP sensor and X Processor 4 image processor. 

Fujinon GF 32-64mm f/4

This lightweight lens (875g), provides effortless switching between wide-angle and standard angles of view, all while maintaining a constant f/4 aperture rating.

Fujinon GF 45-100mm f/4

This lens is highly versatile and perfect for all types of photography, thanks to its optical image stabilization technology that provides up to five stops of stability.

Fujinon GF 100-200mm f/5.6

The lens features two Super ED elements and an aspherical element that minimise chromatic and spherical aberrations while improving clarity as well as sharpness. 

Kase Magnetic circular ND filters and Polariser

ND filters control the light in bright scenes or when using long exposure times, while polarizers enhance colors and reduce glare, reflections and haze.

Benro Mach3 Series3 TMA38CL Tripod 

A stable carbon fiber tripod with a maximum load capacity of 16kg. The tripod features detachable rubber feet and metal spikes, ensuring stability for use both indoors and outdoors.

Benro GD3WH Precision Geared Head

When composing, this geared tripod head allows for precise positioning thanks to three independent movement options and accurate leveling with three bubble levels.

The scars of bushfires can be etched deeply on the landscape. Yet, amidst the ash and loss, lies an incredible story of resilience. As photographers, we recently embarked on a journey to revisit Flinders Chase National Park on Kangaroo Island, a region heavily impacted by the devastating 2019-2020 bushfires.

Our mission? To document the park’s recovery and share a message of hope.

Capturing change: A landscape in transition

Our cameras documented a landscape in flux. Charred trees, once vibrant sentinels, stood as stark reminders of the fire’s fury. Yet, amongst the blackened trunks, vibrant green shoots emerged from the earth. Seedlings, awakened by the fire’s heat, pushed towards the sunlight, a testament to the park’s incredible capacity for renewal. Even four years after the event we found evidence of the fires everywhere.

Beyond the scenery: A story of resilience

Our focus wasn’t just on the visuals. We spoke with park rangers, witnessing their dedication to conservation efforts. We learned about the critical role of controlled burns, mimicking natural fire cycles to maintain a healthy ecosystem. Their stories highlighted the human spirit’s unwavering commitment to protecting this precious environment.

Sharing the journey: Inspiring action

By documenting these sights and narratives, we aim to inspire a sense of hope and responsibility. The images serve as a reminder that even after devastation, nature possesses an inherent power to heal.

A call to action: Protecting our national treasures

Sharing this story is not simply about documenting beauty. It’s a call to action. By supporting national parks and conservation efforts, we can ensure these vital ecosystems have the resources they need to recover from future threats.

The journey to Flinders Chase wasn’t just about revisiting a place. It was about witnessing resilience, celebrating nature’s restorative power, and urging others to join us in protecting these irreplaceable landscapes.

Let us learn from the scars of the past and work together to ensure a brighter future for our national treasures.

Read more on why revisiting your favourite locations is a fantastic idea.

(Credits: Far Out / Neil Zlozower / Behind The Gallery)

From the emergence of rock ‘n’ roll as the central driver in pop culture in the 1960s, attentive photographers have documented and thus contributed to its evolution. Early on, eminent shutterbugs like Bent Rej captured stars of the British invasion, but over time, a visual accompaniment to the musical experience became increasingly important. Following the footsteps of Andy Warhol and Mick Rock in this field is Neil Zlozower, today’s featured photographer.

Zlozower, often nicknamed Zloz, is among America’s foremost living rock photographers. He emerged in the late 1970s, specialising in concert photography during rock ‘n’ roll’s heyday. Among his early gigs were classic hard rock bands, including Van Halen, Led Zeppelin and Aerosmith. His work soon gained attention from peers and eminent musicians for its unique preservation of the raw intensity of live performance.

One of Zlozower’s most notable collaborations was with Van Halen, with whom he developed a close relationship. This alliance allowed a fruitful and providential expansion into studio-based photography. Of Zlozower’s five published books, two consist of van Halen material: Van Halen: A Visual History: 1978-1984 and Ed by Zloz.

Zlozower’s early success soon opened doors to further on-stage and in-studio engagements. Today, the snowball continues to roll; his staggering portfolio features iconic shots of David Bowie, The Rolling Stones, U2, Red Hot Chili Peppers, Michael Jackson, Frank Zappa and many more.

In addition to his work with rock artists, Zlozower has photographed various other musical genres, including jazz, blues, and country. His portfolio features shots of artists such as B.B. King, Miles Davis, and Willie Nelson. Zlozower maintains a strong identity of bold colour and symbolism with such artists but is also receptive to differing visions and personalities.

Some artists have further immortalised Zlozower’s work on their album covers. Among his sleeve design credits are Alice Cooper’s Dragontown, Steve Vai’s Alien Love Secrets, Poison’s Open Up and Say… Ahh!, and Slipknot’s 1999 debut album.

In recognition of his contributions to the music industry, Zlozower has received several prestigious awards and honours, including the ‘Rock Photographer of the Year’ honour at the Hollywood FAME Awards in 2007. In 2018, directors Declan Maynes and Beate Maynes celebrated Zlozower’s career in the acclaimed documentary film In Your Face: The Neil Zlozower Story, which traces his career, examines his approach and features some of his greatest shots.

With a towering career of over four decades behind him, Zlozower remains a prolific force in the music industry, ensuring each new generation of performers has a top-flight photographer at its disposal. Below, we celebrate Zlozower’s career so far with a small sample of his work, including iconic shots of Led Zeppelin, Van Halen, David Bowie and more. See more on Zlozower’s website here.

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