March in Victoria heralds the arrival of spring with an array of events that promise to rejuvenate and inspire. From the picturesque cherry blossoms to the thought-provoking Wildlife Photographer of the Year exhibit, and celebrations honoring women, the city is abuzz with activities that cater to a variety of interests and causes.

Embrace the Blossom Season

Mid-February marks the beginning of cherry blossom season in Victoria, reaching its zenith in March. Iconic spots like View Street, Helmcken House, Thunderbird Park, and Beacon Hill Park transform into a pink paradise, drawing locals and tourists alike. This natural spectacle not only offers a visual feast but also an opportunity to reflect on the transient beauty of nature. For those eager to capture the moment, a pre-stroll tea followed by a leisurely walk under the blooming canopies is highly recommended.

Conservation through Photography

The Royal BC Museum’s Wildlife Photographer of the Year exhibit, running from March 1 to June 2, showcases 100 breathtaking photographs of wildlife by some of the world’s most talented photographers. This exhibit not only celebrates the beauty of wildlife but also highlights the pressing issue of extinction facing many species. It serves as a poignant reminder of our responsibility towards conservation and the protection of our planet’s diverse inhabitants.

Honoring and Celebrating Women

March 8, International Women’s Day, sees Victoria playing host to a variety of events dedicated to celebrating the achievements and contributions of women. From storytelling and music at the Vic Theatre to the showcasing of women entrepreneurs, researchers, and mariners by the Kulea Culture Society, the city comes alive with the spirit of female empowerment. Additionally, the Victoria Women’s Expo offers another platform for recognition and celebration, further emphasizing the community’s support for women’s achievements across all spheres of life.

As March unfolds, Victoria’s diverse array of events provides not just entertainment but also moments of reflection and learning. From the ephemeral beauty of cherry blossoms that remind us of nature’s cycles to the powerful imagery of endangered wildlife, and the celebration of women’s invaluable contributions to society, the city offers a rich tapestry of experiences. These events not only entertain but also educate, inspire, and provoke thought, contributing to a deeper appreciation of our world and the diverse lives that inhabit it.

If you’re looking for a new way to freshen up your portraits and give them a brand-new look, you could do far worse than experiment with underwater photography. Not your average portraits, underwater shoots require skill on behalf of both the photographer and model, as well as intricate outfits, waterproof makeup, underwater housings to keep your expensive equipment safe, and much more!

We recently caught up with Rafał Makiela who, in addition to photographing fashion, commercial and documentary, also loves to dip his toe (quite literally!) into underwater photography.

Rafał is based in Poland where he runs underwater and studio photography workshops. His motto is: “The underwater world is mysterious and magical. Everything is different, there is no defined end to the bottom or top. Gravity almost does not apply, the light is different and, at times, completely unpredictable. In the water, almost everything you dream becomes possible. Each vision and idea is feasible.”

Here he gives us an insight into his work, and reveals the essential kit he needs on his shoots. Be sure to check out his Instagram and website for more inspiration.

My photography journey began with the birth of my daughter, Maximilianna. On the day of her birth, I rushed to the store and bought a simple digital camera to capture her first day. Then another day, and another, and that’s how it all started 19 years ago. 

At that time, I was professionally involved in running my own restaurants, but over time, I became so fascinated with photography that I completely dedicated myself to it. I kept buying better equipment and honing my skills, specializing in wedding and advertising photography. But most days, I would also photograph my daughter as she grew.

Twelve years ago, I saw an underwater photograph online that fascinated me and I wanted to give it a go myself. It was incredibly challenging when I started out because I didn’t have access to a good underwater housing, and I had no idea how to get started. But with each session, I gained more and more experience. In 2014, I traveled to Dubai, where I continued to work in wedding, advertising and underwater photography. It was there that I received a fantastic award at the HIPA festival in the Portfolio category.

The underwater photos I present here were taken for the Polish pop star Justyna Steczkowska on the occasion of her career anniversary. One of the funny things was that we tried for nearly two hours to sink a piano for the photos. Finally, we succeeded, and you can see the result in the pictures.

Rafał’s pro portraiture kit

I’ve been working with Canon cameras for over 15 years and I’m thrilled with their quality. The colors straight out of the body are amazing, and at the moment, I wouldn’t trade them for any other system. I can’t bring myself to let go of my older Canon EOS 5D Mark IV DSLR just yet; it’s been a workhorse of mine for so many years, so I keep it to hand as another backup body.

Recently, I sold my beloved Canon EOS 5DS as it was getting a little long in the tooth and had quite a lot of shutter clicks. I’ve upgraded to the Canon EOS R5, which is a mirrorless camera with a 45MP full-frame chip. I also have another mirrorless full-frame Canon EOS R body as a backup with a 30MP sensor. I use my old EF lenses with my new mirrorless bodies by using the Canon EF-EOS R adapter.

3. Canon EF 17-40mm f/4L USM

This is my primary lens for underwater photography. I’ve had it for a long time, and it’s just great for my work in underwater fashion photography. Sometimes I also use it for landscape and interior shots. It’s very durable and has performed exceptionally well in all the challenging conditions I’ve put it through over the years.

The Canon EF 24-70mm f2.8L II USM is a lens I use in practically every type of photography I do. It’s an excellent all-rounder, perfect for weddings and commercial shoots. I always have it in my camera bag as the most versatile and reliable option. It’s bright, fast and, most importantly, dependable. It always delivers, whether I’m in the desert, snow or on a fashion runway.

5. Canon EF 70-200mm f/2.8L IS II USM

The Canon EF 70-200mm f/2.8L telephoto lens is perfect for close-ups, portraits and situations where I don’t want to be at the center of the action, but still be able to zoom in to capture fantastic shots. It’s bright, fast and quiet, making it suitable for photojournalism, weddings and advertising photography, too.

6. Ikelite Underwater housing

I’ve been using Ikelite underwater housings since the beginning of my underwater fashion photography career, and I’ve been truly impressed. It strikes the perfect balance between price and quality, and is light and easy to use. I wouldn’t have been able to take my most spectacular underwater photos without it.

You might also be interested in the best waterproof cameras and the best underwater drones.

At the recent Xposure 2024 panel, ‘Elevating the Voices of Women in Photography and Art,’ in Sharjah, women photographers from the Arab world, including Rania Matar, Fatma Almosa, and Hind Taryam, alongside industry experts Karin-Rehn Kaufmann and Lars Boering, shared insights into the evolving landscape of photography. Highlighting the significance of creativity, the timeless appeal of monochrome, and the importance of cultural representation, these photographers underline a moment of opportunity and growth in their field.

Breaking Through in Photography

Emirati photographer Fatma Almosa emphasized the power of black-and-white photography to transcend time and focus on the essence of the subject, using her work to bridge cultures and generations. Rania Matar, on the other hand, leveraged photography as a medium to shift narratives around Arab identities post-9/11, capturing the diverse stories of women in Lebanon and Palestinian refugee camps. Hind Taryam’s approach to photography centers on capturing genuine human connections, underscored by her travels to diverse landscapes from Japan to Antarctica.

Support Systems and Creative Journeys

The panelists collectively acknowledged the critical role of support from governments, families, and audiences in their journeys. Almosa highlighted the significance of this backing in enabling women photographers to become cultural ambassadors. The discussion also touched upon the supportive role of institutions like Leica Galleries International in nurturing photographers’ careers. Karin-Rehn Kaufmann, representing Leica, underscored the importance of focusing on the artist behind the camera, beyond mere technical excellence.

The Essence of Artistic Expression

The conversation at Xposure 2024 not only celebrated the achievements of these women in the field of photography but also delved into the broader implications of their work on cultural representation and artistic expression. The panelists’ stories reflect a shared belief in photography’s power to communicate, connect, and change perceptions, highlighting the medium’s role as a universal language of the heart and spirit.

The insights shared by these pioneering women at Xposure 2024 offer a compelling glimpse into the challenges and triumphs of working within the competitive realm of photography and art. Their narratives underscore the importance of creativity, support, and cultural representation in carving out a successful path in this dynamic field.

Oftentimes, film photographers cite the slower, more considered pace and style of shooting film as one of the biggest reasons to shoot it. While that may be the case, it’s a limitation that you can bring to the digital world with little lost in the process.

Adam Karnacz of First Man Photography explains how, in his estimation, he’s able to duplicate 90% of the film photography experience with his digital camera. Instead of using a film camera to capture his images, he imposes much of the same limitations (and none of the cost) associated with that medium on his modern-day cameras.

For instance, film often had 24 or 36 exposures, and so his first order of business is to limit himself to only shooting that many photos in a day of shooting. It’s an artificial limitation in digital, for sure, but as you watch him on his walk through nature, the limit that he’s imposed on himself forces him to think about every shot he’s taking. The end result that he shares in the video above is an absolutely incredible set of photos with a hit rate far higher than just carpet bombing a scene with hundreds or thousands of photos. If you think that you may not have the discipline to shoot this way, the other way to do it could be to throw a 2 GB SD card Canon EOS R5, and then, you’ll really be limited.

The other major limit is not being able to preview your photos. Karnacz turns his digital screen at the back of the camera off, but if you’re really not capable of that either, you can always gaff tape an index card or something else to block your screen and change your settings with the top LCD panel.

Of course, the main draw for any film photography is bringing prints into the physical world. Like Karnacz, I’ve always advocated for printing your photos, and while I’m still using my trusty Canon Pixma Pro-10, though these days, if you’re looking for a similar pigment-based system, Canon is up to the Canon imagePROGRAF PRO-300 in that line.

There are some amazing photographs that Karnacz created during his “film” experiment in the video above, and he also discusses what’s missing in the process. While it’s cheaper to do it this way, it’s not the full experience, and Karnacz explains why above.

What do you think of these “hacks” to shoot digital as if it were film? Leave your thoughts in the comments below.

NEWS RELEASE
BROCK UNIVERSITY
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When the total solar eclipse takes place over North America on April 8, many people will naturally reach for their phones or cameras to capture the moment.
Brock Associate Professor of Visual Arts Amy Friend, an internationally recognized photographer, is offering tips on documenting the rare phenomenon safely while also encouraging the public to consider different ways of experiencing what for many will be a once-in-a-lifetime event. 

The chair of visual arts at Brock first points to taking safety precautions for viewing and documenting the eclipse, which can be found on Brock’s Eclipse on the Escarpment web page. Friend says it’s crucial to have a proper solar filter on any camera, including on a smartphone. 

“Solar filters for traditional cameras and cell phones are available online from several retailers, but consumer research is key to ensuring the purchase of an international standard filter (full-aperture and off-axis) with regulated qualities, making it safe for photographing the eclipse,” she says.

According to the award-winning photographer, practice is also key. Practise beforehand by photographing the everyday sun, without looking directly at it, Friend 
says. Taking photos of the sky on a sunny day will help determine appropriate aperture and shutter speed for such bright light. She also suggests getting comfortable with outdoor night photography.

“During totality, when the sun is fully blocked by the moon, turning the sky dark, the camera will need adjusted shutter speeds and aperture settings to take a successful photo,” Friend says.She recommends experimenting with the high dynamic ange (HDR) setting on cameras, which 
captures high-contrast photos. With this setting, many photos of the eclipse could be put together to create one image.

“The visual effect of this is very interesting as the second-to-second variations in the sun flare created by the eclipse combine creating a beautiful image capturing unique details,” Friend says. 

For those looking to get creative, there are other ways to view the solar eclipse, including pinhole projectors or building boxes that filter the sunlight and create a projection of the sunlight onto a nearby surface.

“Using this approach, the person would be looking at the projection instead of the eclipse itself,” Friend says. “What they would see is a darkening circle in the form of a crescent, which is the moon starting to cover the sun.”

While many people will want to capture a photo of the eclipse themselves, photographers throughout history have cautioned against photographing the celestial phenomenon, as it is difficult for the average person to achieve a great photo. 

“We know what it will look like, and yet we still want to photograph it. But we don’t want to miss an incredible experience in the process,” Friend says.

Through her research into the role of photography as proof of experience, however, Friend says the desire to personally capture the moment is very natural.

“There is also the excitement of going online and sharing your photo — the ‘after’ of the experience — that can be quite engaging and stirs up response and dialogue, simultaneously amplifying the experience and documenting it in popular culture,” she says.

Friend is fascinated by historic images of people experiencing celestial events in group settings as a visual time capsule into the culture and technology of the time. 

“I think there is something quite beautiful about that moment, where we all just stop and view something rare and spectacular in the sky together,” she says. “The sun and moon have paused life for a moment.”

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