Interview with Remy Scalza - Tips from Photographer

Q What photography gear can you never be without?

My setup is very minimal. I just have a Canon 5D Mark II body and a 24-105 mm lens, and for [the Stampede] assignment I had a 70-200 mm lens. I brought a tripod with me, but I used it rarely. In fact, it was eye-opening, because I have to do the writing at the same time and donÕt have the luxury to take along a lot of equipment. ItÕs limiting in some ways, but it also makes you improvise and take shots that might in some cases be overlooked.

I had never done rodeo photography before. As a kind of training exercise before [shooting the rodeo at] the Stampede, I went to Hastings ParkÕs racecourse in Vancouver to get a sense of shooting horses, which lens to use and so on. When I got to the Stampede and rodeo, I was intimidated because reporters covering the Stampede had huge lenses starting at 300mm, and they were just firing away. The technology they had was incredible. Then I came in with this modest 200mm lens and wedged myself in trying to find a spare spot. I got some different angles that are traditionally missed.

Q What do you look for in a photo?

AThe lens in your head is as important as the lens in your camera. By that, I mean the perspective you see the world through and the experience you bring to photographs, your own philosophy and worldview. You can have a photo thatÕs beautifully composed Ñ technically Ñ but that doesnÕt mean it speaks to people. For me, itÕs the photo that in some ways gets across my perspective on the world Ñ thatÕs what IÕm looking for.

Q Many photographers say the challenge with digital photography is going through thousands of photos after the shoot. How do you avoid taking too many photos while on assignment?

AI havenÕt learned how to avoid taking too many pictures. I think thatÕs a discipline many veteran photographers develop. I think mine is an exceptionally bad case because the shots IÕm looking for arenÕt necessarily composed shots; theyÕve got more of a reportage look where a lot of things are happening at once and people are not aware of the camera. ThereÕs lots of motion in my shots. So my success ratio is very low.

Q So youÕre sitting down to edit your photos after a great shoot. How do you decide which photos are keepers?

AThere are so many things to consider. Framing is a critical thing. I think this is one of the easiest aspects of photography, but in some cases itÕs overlooked, especially by some people who are just starting out. ItÕs easier to control whatÕs in your frame and what isnÕt. Sometimes itÕs just a matter of turning the body and crouching down.

Then you have to consider, is everything sharp? Is the lighting flattering on the subject? And then finally the hidden variable: is the picture telling a story? Is it saying something more than just the sum of its visual components?

Q What advice would you offer aspiring professional photographers?

AMaster the technical side of the craft in school, because itÕs enormously challenging to do it on the fly. IÕd also say that thereÕs no shortage of talented photographers in the world. But the big name ones out there are the ones who have also learned to network effectively. ThatÕs a huge piece of advice for those who are still in university or in a program: use the resources around you. Make connections with professors and guest speakers who come to your classes, show them your passion for what you do. Once youÕre outside of that program, youÕre on your own. YouÕre just another photographer. Even if you have an impressive portfolio, if you canÕt get it into the right hands, thatÕs when you start doubting your career choice.