I lived most of my life in Saskatchewan with its big bright sky and lots of open spaces. Perhaps this has conditioned me to use lots of space. If we live in places that are crowded may we enjoy space in the artwork on our walls, freedom from claustrophobia; freedom from
When studying another artist’s work what impressions do we let soak in, what is our trigger factor? There are times we aim high but never pull the trigger or make it happen. We should all aim true and respond to our purpose, with dedication and commitment. I have been so fortunate to be in the company of many great photographers, study with them and read about their work and driving commitment. I had the privilege to hear Edward Weston’s son speak and was moved by what he had to say about his father. I feel honoured to own a student print of his Pepper No. 40 and look at it every day with appreciation for a true pioneer. D.H. Moore was a man who was unappreciated in his day. However I made it happen when I travelled to visit this great man before he passed away. If I hadn’t pulled the trigger I would have missed the privilege of being in his company, if only for a brief time.
A list of those who are now unreachable in person but whom I had the privilege to spend time with: Yousuf Karsh, Arnold Newman and D.H. Moore just to name a few.
My trigger factor is what drives me. It is my burning desire, my commitment to pass on to others my brand, my purpose in leaving a footprint in the sands of time. This is the reason I write, the reason I photograph, the reason I speak. My slogan became apparent when I started teaching photography. I was told that I needed a title for my class and so the statement Feeling more deeply about photography was born. This is now my brand and says it all.
I wish this to be my legacy, what I will be remembered for and to move others in a similar manner.
There is so much to say. Please read my photographs with this in mind.
Most images in this book have been reproduced from the original framed photograph.
Depending on the photograph’s final finish, be that on canvas, watercolour paper or other unique substrate, this will impact the texture revealed within the images illustrated in this book.
Mothers are so wonderful. This girl’s mother came in to discuss her daughter’s photograph that she had done by another photographer which had problems with head size and a few other points of concern. We had in depth consultations and she decided that I would photograph her daughter as well as her two sons for wall sized prints.
I enjoyed my time with each one, their different personalities and yet a family similar in many ways. This was evident even in the brief amount of time I spent with the mother. She is a warm and fun person whose personality could be seen in each one of her children, especially the daughter.
After choosing the photographs and ensuring the head sizes were in proportion, one image was made larger to maintain the continuity of head size as all three were to hang together on a large wall. I chose a warm black and white which appealed to the client and added a feeling outside the norm of reality. Black and white eliminates the reality of colour that we are so accustomed to seeing in our world and in our personal interpretation of reality.
The adjacent image uses my discretion and is an interpretation of the fun time experienced with this young lady who was so warm and tender and yet such an individual. Look at the body language, her hand playing with the design in the chair, her expression and the eyes and mouth in sync which implies a really genuine expression. As parents we tend to see our children in a most biased way because they are often seen as we would like them to be, not necessarily as they are with others or their friends.
Interaction sets the tone of the image and takes into consideration how we interpret it. The way we see is a result of our experiences with people and how well we know the individual. This may seem complicated but the reaction needs to be in keeping with the composition. When this young lady came in to review other images from the photo shoot she was overwhelmed because I had her image on display in the window. With a tear in her eye she exclaimed, “I am beautiful!” Why do we put ourselves down and not appreciate who we are? False impressions are given to us by the media and Hollywood as well as comments we may have heard from others and how they are interpreted. It is important to remember that we most often see ourselves in the mirror which is a reverse interpretation of what we really look like. We have heard the argument, “The photo doesn’t look like me,” followed by, “Oh yes it does it is a good picture!” “Oh no it isn’t!” “Yes it is!” and back and forth and on it goes.
Looking at the image we can see lines, angles, shapes and design; may we learn not only from this book or this image but the reality of life. We must study by looking to see what is
When this young woman came into my studio I immediately noticed her very short hair. She told me that she shaved her head to raise funds for the Cops for Cancer charity. Before her hair grew in any more she wanted a photograph for her wall at home. She didn’t want just a record keeping photograph but rather an image that had power. To this end she brought in some books with examples that we might explore in the photographic session.
She exudes strength, determination and power. The hand up to her face was more her idea than mine while the brown tone photo was more my idea. Exploring the image where only one hand is up, the composition is strong, framing her face, with the shoulder and arm like a triangle and her shoulder wraps around to produce a soft curve. Without a full head of hair it gives a fleshly feeling. There is nothing to hide behind, a sense of vulnerability and yet her strength lies within, in the body, in the flesh so to speak. Our true strength reveals itself in how we overcome a great deal of adversity! This image portrays real human strength with her hand flat against her head so nothing can come between. Look at her eyes, how focused they are and her lips are an echo of her eyes. For me a true portrait can be determined if the eyes and lips are in unison. Her eyes and lips are saying the same thing, there is no confusion here.
One ear, one hand, note everything is not visible in the black and white image, only what we wanted the viewer to see. The black background camouflages and makes it appear as though she is floating in space, darkness all around and yet the life within is so real and has great potential. There is a hidden expression, a feeling, as she looks right at you and beyond. Her head is straight up and down and her body is on an angle suggesting movement and life. What a privilege it was to photograph this wonderful woman. When working with a client I don’t pose them in the traditional manner because for me there is a flow, a rhythm like music that we see with our eyes keeping the flow continuous from one image to the next.
The brown tone image is softer, more playful and fun. Look at the hands, the shape of them lightly touching with gentleness and her expression has softened as well. See the angles her arms make with her body. This image seems freer to me somehow and the brown tone makes it warmer, while