This photo was taken in autumn from the wooden tower at the eastern end of Île d’Orléans. Late in the season, there are fewer leaves left on the trees, but the sun hitting the vegetation from the side breathes new life into the landscape.
Click on the link for more photos of Quebec City and Île d’Orléans in autumn on my blog.
The photo above shows an evening view of the intersection between rue Saint-Stanislas and rue Saint-Jean in Old Quebec. For several months a year, a section of rue Saint-Jean is reserved for pedestrians only. This attracts many tourists. Just behind this popular street is McWilliam Street, with a radically different feel, especially late at night.
To produce an HDR effect of the location, I plan to stack five photos. I set up the tripod and begin the session. Just as I’m about to finish, a door suddenly opens. A man steps out and lights a cigarette.
I need to capture this very brief moment when the individual is just a stealthy shadow in motion with the intense fluorescent lighting in the background. In this rather dark alleyway, this could generate an interesting effect.
The smoker asks me what I’m doing. It’s an employee on break working for the popular Cochon Dingue restaurant on Rue St-Jean. What a contrast between the modern façade and the back of the same building on McWilliam Street.
At home, HDR processing begins. But it’s impossible to use all five shots together as planned initially. The software combines a closed and an open door at the same time. The result is a kind of butchered wicket door, with almost no light filtering through.
I abandon the idea of an HDR montage and fall back on the single photo where the man is standing in front of the door. I wasn’t counting on this presence, but it adds a touch of humanity to a scene that’s still not very inviting.
Life often presents photography enthusiasts with unexpected opportunities. It’s all about being flexible and capturing the moment, even if it’s not part of the initial planning. Click on the link for more photos of Quebec City and Île d’Orléans in Summer on my blog.
The photo above was taken in Matane, Quebec, in September 2024. It’s more a matter of chance than planning. I was on the beach photographing the sunset, and when the sky got too dark, I turned around to see if there was anything interesting left to capture. And I came across this full harvest moon rising in the firmament.
Photographing a full moon is a good challenge. We often capture only an almost white, very bright disk, losing the nuances of colour and the details of the lunar geography.
The advice available on the Internet on how to successfully shoot a full moon with a normal camera goes in all directions. But one thing’s for sure: to improve your chances of success, it’s best not to wait until nightfall, because then the very high luminosity of the star becomes impossible to attenuate while still retaining a view of the planetary topography.
Most of the time, the choice is between an excellent photo of a full moon, but a very dark surrounding earth relief where nothing is discernible, or a visible earth relief of acceptable quality, but a moon that represents nothing more than a large, white circle of light.
The method that works for the photo above is as follows: you have to be on the spot at the right time, i.e., during the blue hour and not the whole night. So, in my case, I was lucky because it wasn’t planned.
You need a tripod and an extension cable. There are two reasons to avoid long exposures: firstly, the moon is a moving object. The longer the exposure, the more the disk moves. You end up with an oval rather than a round moon. A long exposure also picks up more light, and the moon’s disk turns completely white.
Compromises become necessary. Trying to get a perfect moon and foreground at exactly the right brightness is quite a challenge. By the time every attempt has been made to achieve a flawless result, the moon is already too high in the sky. We have to act quickly.
We’re advised to lower the ISO to 200, but if I do that, I’m increasing the exposure time and introducing too much light into the camera. Instead, I use a higher ISO to reduce exposure, and use all the camera functions likely to reduce the amount of light entering the camera: higher shutter speed, if necessary, strong negative exposure compensation, and so on.
By not overdoing the settings and using RAW files, there’s still enough flexibility to bring out the foreground, in this case the houses lining Matane’s beaches and the surrounding lights.
In short, shoot during the blue hour, act quickly, accept compromises, limit exposure time in every way possible and use RAW files to facilitate post-production work.
Click on the link for more photos from the province of Quebec on my blog.
In photography, it’s not just planning that makes for interesting results. Luck also plays an important role. But you need to get out frequently, in all kinds of light and weather conditions. The photo above is a good example of it.
I’m in a district of Old Quebec that is shunned by tourists late at night, because it’s less well lit. The location is close to Rue St-Jean, a popular thoroughfare lined with restaurants and other businesses. The contrast in traffic is striking.
I visited the area to try my luck with HDR photography. The photo session being over, I am preparing to head home quietly as nighttime falls.
Suddenly, a woman on a bicycle stops under a lamppost. The scene, with its plants, old bricks, neon sign and play of shadows, looks promising. But a quick reaction is needed, because with so little light, even the slightest movement will result in a blurred picture. Fortunately, the woman consults her cell phone, which immobilizes her for a few seconds.
HDR photography is out of the question here. She’ll never be still long enough in this subdued light for me to take multiple pics with different apertures. I snap twice, quickly. The young woman puts her phone away and disappears from the scene. There’s only one quality shot, the other being too blurred.
This photo session shows me once again the importance of getting out frequently to try one’s luck. Combined with an acceptable reaction time and the right equipment for working in low light, you’re likely to come home with one of life’s unexpected gifts.
Click on the link for more summer photos of Quebec City and Île d’Orléans on my blog.
Normally, a 3:2 or 4:3 ratio is used to display in vertical mode. But the 16:9 aspect ratio of the photo above shows both the reverberations in the water and a significant portion of the landscape. So, whatever the conventions and what makes purists happy, we use what does justice to our first impression.
What caught my eye in this scene? The very wide range of green tones, the alternation of light and shade in the landscape and the reflections, the roundness of the deciduous trees and the tips of the conifers, the atmosphere of the place and, last but not least, the human presence. All this can be seen in a fraction of a second, and the shot is taken before the canoe enters the shaded area on the left.
The photo above shows a historic chalet in Jacques-Cartier National Park in Spring. It’s no longer available for rent, but it’s a great asset for photography enthusiasts. At this location, paddleboarding is safe thanks to a very weak current.
On the same day and on the same river, but a few kilometers upstream, a group of people attempt their first descent in an inflatable boat on a rougher stretch of water.
The first group takes the plunge, while the second watches, waiting its turn and trying to learn from the others’ mistakes. Occasionally, paddlers get stuck on top of a flat rock flush with the water, and have to use their initiative to free themselves and continue their journey. Sometimes canoeists find themselves in the water, and Sépaq staff have to help them out.
Click on the links for more photos and other articles about the province of Quebec.
The book “La face cachée de la photo – prendre et diffuser des images en toute légalité” is no longer available in bookshops, but it’s well worth getting a used copy, if only for the flowcharts that let you know whether the photo you want to take is legal, and whether you have the freedom to distribute it.
After all, it’s quite possible to have the right to photograph without having the right to publish. You also need to know the nuances between editorial and commercial distribution, as well as how to obtain written authorization where applicable.
There are also nuances between the privacy laws of the following two groups: the first made up of Quebec and France, and the second made up of the rest of Canada, the United States and the majority of Western countries.
In addition, a distinction must be made between the person who is the main subject of the photo and those who are merely incidental to it. The laws also change depending on whether the photo is taken from a public or private place. Finally, there are always exceptions to each category. As you can see, nothing is simple in this area…
The author uses case law to flesh out his points. He also discusses the limits of police and security officer powers, and what is legally permissible on Facebook and other social networks when it comes to disseminating an image.
He also elaborates on the difference between patrimonial, moral, integrity and authorship rights. He even expands on the changes to copyright before and after November 7, 2012. A section of the book tells you how to detect if your images are being used illegally, and how to request corrections and compensation.
Finally, Francis Vachon uses the last sections of his book to show us how to obtain photos legitimately, and sometimes free of charge. He also shows us how to protect ourselves from a lawsuit.
In short, a book full of vital information for the amateur and professional photographer, as well as for all social media users. Many of these users are full of good intentions, but can find themselves in trouble pretty quickly for inadvertent negligence.
Click on the link for more books on photography and the law on my blog.
Title: La face cachée de la photo – Prendre et diffuser des images en toute légalité.
Author: Francis Vachon
Éditions : Septembre, © 2018
ISBN : 978-2-89471-506-2
A single-day visit to Île d’Orléans for a photography session was enough to capture a wide variety of cloudy conditions in April 2024. In spring, when unstable, humid air crosses the mountain range north of the St. Lawrence River, you can expect anything on the island. Above, a kitesurfing enthusiast practises his art between localized showers. All he cares about is strong winds.
A few kilometers from route du Mitan, colourful houses and a bit of blue-sky contrast with the showers elsewhere on the island. You can see that the cloud layer in the distance is not very thick.
Above, a towering cumulus (TCU) approaches the St. Lawrence River in the late afternoon from the north. It is likely to cross the river towards the island, if it has not lost some of its strength, in the meantime, due to subsidence, the phenomenon that forces air to compress and warm as it is forced down a mountain range.
The shape of the clouds in the photo above gives a good indication of the strength of today’s winds. You can hear it whistling through the ropes and between the masts of the sailboats at the marina in the municipality of St-Jean, île d’Orléans. At the time of my visit, some owners were preparing their boats for the warmer periods of May.
I really like the scene above, but I admit that some might find it dark, if not sinister. It was this slightly disturbing aspect that caught my attention and that I tried to capture.
In this last photo, the sky is practically clear. It is then easier to obtain better contrasts. A pseudo-HDR treatment brings out the paintwork on a boat that has seen better years.
Click on the link for more photos of Quebec City and Île d’Orléans in Spring on my blog.
The province of Québec offers in 2024 a free admission to Parc national de la Jacques-Cartier a few days a week. This means more visitors than ever before head for the park. Hikers seeking absolute peace and quiet should opt for the paid days.
Even so, if you look carefully, it’s always possible to spot a lone walker, as in the photo above. Most people take the marked trails for ease, but others, like the individual above, venture out on snowshoes near the Jacques-Cartier River, which is completely covered in snow at this time of year.
Approximately three kilometres from the Discovery and Services Chalet is a bridge. From here, the hiker can capture some very beautiful scenes. In winter, an interesting effect can be achieved by positioning yourself close to the banks.
This scenery relaxes me so much, yet there are no spectacular elements. Rather, all the components are in perfect harmony: reflections in the water, some bluish snow here and there, brushes and a few leaning trees lit from the side by a soft late afternoon light. As the large trunks occupy the majority of the scene, I chose a vertical format for the photographic composition.
Above, the landscape attracts the eye with its combination of horizontal, vertical and oblique lines, as well as its alternating black and white in the foreground. I positioned myself to include in the scene a large branch that enters the photo from the top right-hand corner.
The foreground features open water, snow-covered ice, pure ice and snow-covered ice again. In the middle ground, coniferous and deciduous trees. In the background, a forest revealing the snow on the mountain floor. I’ve left only a hint of sky, as the latter offers no particular interest on this cloudy February day, other than to add some white to complete the alternation of colours.
Click on the link for more photos of the City of Québec and Île d’Orléans in Winter on my blog.
Through drawings and superb photographs, this graphic novel recounts the events that contributed to the creation of Magnum, the famous international photography agency.
Before Magnum, there were only photographers trying to make a name for themselves and earn a meagre living in the face of media giants like Time. These big companies reframed original images, did not recognize copyright and made gigantic profits on the backs of photographers like Robert Capa, David “Chim” Seymour, Gerda Taro, Henri Cartier-Bresson and George Rodger. It was in reaction to this abuse that these photographers created the new agency.
The book makes us aware of the enormous risks involved in bringing back images of the world’s various conflicts. Robert Capa and Gerda Taro lost their lives in the heat of the action.
Magnum’s evolution, its internationalization and the change in its primary vocation are brought to life. From an initial focus on war coverage, photographers gradually turned to diversifying their activities, to accommodate the specific needs of both the media and film productions.
The agency now protects them from abuse. However, photographers remain mindful of the need of support from contractors to survive financially. Still, they reserve some leeway for pure creativity, depending on each photographer’s personality and the mood of the day.
Keeping this agency alive, made up of professionals with different ambitions, is no small task. There are crises, schisms and reinventions, all essential to the evolution of this internationally renowned institution.
For those who know nothing about Magnum, this graphic novel offers a very accessible first approach.
Click on the link for other graphic novels and comics on my blog.
Title: Magnum Generation (s)
Scenario: JD Morvan
Drawings: Arnaud Locquet, Scietronc, Rafael Ortiz
Colours: Hiroyuki Ooshima
Edition: Caurette, ©2022
ISBN: 978-2-38289-028-8 (French version)
The graphic novel “Jours de sable” is a historical reminder of the famous Dust Bowl which struck the central United States between 1930 and 1940. These were ten years of misery that inspired John Steinbeck for his work “The Grapes of Wrath“.
The sand and dust storms that engulfed parts of Oklahoma, Kansas, Texas, New Mexico and Colorado came from a multitude of combined causes, including farmers’ overuse of the soil and repeated droughts.
Add to these factors linked to the economic crisis and multiple epidemics, and we can understand the mass exodus of American households. They left everything behind, including many family members who died of dust-related respiratory complications. Most headed for the West Coast, but this massive influx of people only served to increase the region’s already high unemployment.
The strangest thing is that, decades later, the climate changes experienced today in these same states could help to repeat the phenomenon, without it necessarily covering such a long period.
Author Aimée de Jongh uses fictional characters, but the scenario respects the reality experienced by the population. In her story, a young photographer leaves New York in 1937 to report on the Dust Bowl. He has been briefed on the subjects to be covered, but soon realizes that he is dealing with a human tragedy of unsuspected proportions.
Asking suffering people who have lost everything to pose for the New York media was not as simple as he had thought. The situation becomes even more complicated when he gets to know these people and experiences their difficulties first-hand.
In addition to the deftly drawn panels that delight the reader, there are plenty of period photos gleaned from various museums, as well as official historical content. I loved this award-winning book.
Click on the link for more graphic novels and comics on my blog.
Title : Jours de sable
Author : Aimée de Jongh
Edition: Dargaud, 2022
ISBN: 978-2-5050-8254-5