Jeff Wall photograph sells for record setting price of $3.6 million

Jeff Wall Dead Troops Talk

Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986) by Vancouver photographer Jeff Wall sold for $3.6 million at Christie's on Tuesday night

A photograph by Vancouver photographer Jeff Wall has become the most expensive Canadian photo in history and the third most expensive photo ever sold. The image titled Dead Troops Talk is one of Wall’s most famous and the final bid at Christie’s in New York on Tuesday night was $3.2 Million US. The final price, including the buyer’s premium, was $3,666,500 US.

The large-format photograph — the full title of which is Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986) — was estimated to sell for between $1.5 and $2 million US. The image depicts Russian (Red Army) troops killed in the Afghan war sitting up and talking with one another — some laughing, some looking in horror at their injuries. It is one of two prints created by Wall, according to Christie’s.

This sale breaks the previous record for the most expensive Canadian photograph, which was also held by Wall for an image titled The Well which sold for $1.1 Million USD at a 2008 Sotheby’s auction in London. The final auction price for Dead Troops Talk of $3,666,500 US makes it the third most expensive photograph ever sold, after Andreas Gursky’s Rhein II (1999) which sold for $4,338,500 US in November 2011 and Cindy Sherman’s Untitled #96 (1981) which sold for $3,890,500 US in May 2011.

Win a free copy of “The Money Book” and whip your finances into shape for 2012

Money Book

Enter to win a free copy of The Money Book!

Last Monday was the deadline to pay your 2011 taxes here in Canada, and I hope everyone got them finished on time and had enough money set aside to pay the tax man. If you’re a self-employed, freelance photographer you know that no one is deducting money from every cheque you get and setting it aside to pay your taxes at the end of the year. And if you’ve been self-employed long enough, you’ve probably had years when you found yourself short on funds when tax time came around. When your income is erratic, it can be difficult to know how much of every cheque you should put aside for income taxes, let alone things like retirement, emergency funds, etc, etc.

I’ve experience these problems myself, and like many freelancers I’ve over-spent during good times and paid bills with credit cards during lean times. Fortunately, I discovered a book last year that really helped me get a handle on my finances and put a system in place to manage my cash flow in good times and in bad. It’s called The Money Book for Freelancers, Part-Timers, and the Self-Employed and it’s the only book I’ve found that so clearly covers the financial problems freelancers have to deal with. The authors are American and some of the retirement info is only applicable to freelancers in the States (hence the picture of Ben Franklin on the cover), but the vast majority of the advice will work for Canadians as well.

I highly recommend this book, and I’m happy to announce that the authors have generously provided me with two autographed copies that I’m going give away to two lucky readers of CanPhoto.Net. I’ll cover the postage to mail them to anyone with a Canadian address (that’s the only restriction) and there are several ways to enter:

1. Copy and paste this tweet: Canadian photographers enter to win “The Money Book” from @canphoto by RTing this! #canphotofreebie http://bit.ly/K8ZVEc

2. Write your own tweet, but be sure include our twitter handle @canphoto, the hashtag #canphotofreebie, and the long or short link back to this page: http://bit.ly/K8ZVEc

3. Write a post on your own blog about this contest, include a link back to this page, and then add a comment here so I know where to find your post.

4. Sign up to receive updates via email.

5. “Like” CanPhoto.Net on Facebook.

The contest will run until May 31st, and after that I will pick two random winners who will receive a free copy of The Money Book. Please remember that you must have a Canadian mailing address to win. Good luck!

If you don’t want to wait until the 31st to see if you’ve won, you can also show your support for CanPhoto.Net by purchasing the book from Amazon.ca using the link below.

What clients look for in a photography estimate and what it says about you

This video features Canadian-born photographer Chris Buck and explains how your estimate helps potential clients decide whether you’re an experienced professional, a desperate amateur, or a budget drainer! What will your next estimate or invoice imply about you?

The industry insiders in this video discuss how all the little details — from pre-production fees to billing for insurance — can work for you, or against you: Conference calls, scouting, camera equipment — what’s okay to charge for, and what isn’t? Can you markup expenses? Should you submit receipts? Do low-ballers win? Is it possible to be too detailed in your estimate? These are just some of the questions that the experts address.

GigaPan becomes “GigaPain” as Toronto photographer produces world’s largest picture of shelves.

Derek Shapton world's largest GigaPan photo of shelves

The world's largest photo of shelves produced with GigaPan and photographed by Derek Shapton


When one of Derek Shapton’s clients called him saying he had seen an article about a robotic panoramic head called the GigaPan and he wanted to use the idea as a basis for a new website, Shapton thought it was a cool idea. What the Toronto photographer didn’t know at the time was that the cool concept would quickly turn into a nightmarish “GigaPain”.

The GigaPan is an automated camera mount that the manufacturer says makes it “easy” to capture epic panoramic landscapes. It generates extremely high resolution gigapixel images that allow viewers to zoom deeper and deeper into a landscape and explore the terrain in minute detail. Shapton’s client was a Toronto based design studio called Castor, who are well known for their lighting and furniture designs. So when they started planning, the concept was to use the GigaPan as it was intended and create some epic landscapes of Toronto, with Castor products stationed in various neighbourhoods throughout the city. Cool, right?

However, what sounded great on paper, quickly evolved into a logistical nightmare. Between choreographing the various sites, obtaining permits on the number of streets involved, and planning for weather and traffic delays, they soon realized it simply wasn’t going to work. The other problem was that the final image would look pretty much like every another Gigapan photo, and that’s not what Shapton or Castor wanted. They wanted to create something new and original.

So they went back to the drawing board and began to realize there is truth in the old axiom “less is more”. Instead of shooting epic landscapes of the largest city in Canada, they would simply shoot some shelves! “The idea was that we would style them with various pertinent — and impertinent — props, and visitors would be able to zoom in and explore the image,” says Shapton. “As a bonus, there seemed to be no precedent for using a Gigapan in a studio-based manner like this, which we found rather appealing.” Unfortunately, he soon discovered there were some very good reasons why no one had ever tried something like this before.

The main problem on the shooting side was the Gigapan itself. First of all, they couldn’t find any in Canada. They did eventually find one and had it shipped it up here, but then they had to figure out how to use it. “Usually when I work with a new piece of gear I consult with assistants or photographers who’ve used it before,” says Shapton. “But nobody I talked to had ever even seen one.” The other main problem was that the Gigapan is simply not designed for shooting anything close-up, and it quickly turned into a huge pain in the ass. At 75000 by 60000 pixels (4500 megapixels / 4.5 gigapixels) the final image is, as best as Shapton can tell, the largest photo of shelves ever taken. The gargantuan file generated was an utter horror to work with. It took fifteen minutes or more to merely open, and then the various perspective, parallax, and stitching errors introduced by the short camera-to-subject distance had to be corrected individually. Even the tiniest edits took up to 20 minutes to render, with more elaborate adjustments taking even longer. As various photoshop layers were added, the file ballooned in size and they had to resort to working on it in sections… and that was just the retouching.

Producing the image was complicated enough, but when it finally came time to incorporate the finished photo into Castor’s website the nightmare continued. The design team at Taxi2, the interactive division of the Taxi ad agency, had signed on to develop the site, and by all accounts it was a titanic development project. Shapton shot the image in July of 2011 and the site has just launched now. So a lot of man-hours were burned up behind the scenes.

The results are really pretty amazing, so please take some time to explore the page on Castor’s site. There are all sorts of Easter eggs hidden and scattered throughout, as well as old cameras and other photo related content to discover. I was checking it out last night and the detail when you zoom in is absolutely incredible. It’s really a lot of fun to just scroll around and explore the epic “landscape” Shapton and his team created on a simple set of shelves.

Castor website

Castor website featuring GigaPan image by Derek Shapton

Toronto photographer Mark Zibert shoots “Unstoppable” campaign for Paralympics

Canadian Paralympic Committee Unstoppable Mark Zibert

Canadian Paralympic Committee Unstoppable campaign photographed by Mark Zibert

Toronto photographer and director Mark Zibert shot the “Unstoppable” campaign for The Canadian Paralympic Committee. Zibert teamed up with BBDO Toronto to produce the print ad above,as well as a TV commercial. The TV spot was a huge production that even surprised the talent, paralympic runner Alister McQueen, and was described by one participant as the most challenging project they’d ever worked on. The video was shot in one continuous take on a rainy Toronto night and the entire set was mapped in 3d before the shoot for a quick and easy build.

Here’s a behind the scenes video showing the making of the commercial with the finished spot at the end.