Self Portrait

Self Portrait. Taken October 25, 2010

Self Portrait. Taken October 25, 2010

"Time passes. People grow old, fall out of love, go their separate ways. Charis and Weston met in 1934, married in 1939, in the fall of 1945 she wrote to tell him she was leaving him, and in 1946 they were divorced. Weston took his last picture in 1948. He died in 1958. These are the dates. Nothing has caused me more problems in writing this book than the interminable need to establish and verify dates. I hope they are all correct but in one sense dates are irrelevant. The value of a life cannot be assessed chronologically, sequentially. If that were the case then the only bit that matters – like the closing instants of a race – would be how you felt in the closing seconds before your death. (This is one of the questions posed by photographer Joel Sternfeld – 'Is what we are at the end ultimately what we are?' – in his book On this Site.) The moments or phases that make life worthwhile can come early or late. For atheletes, and women dependent solely on their beauty, they always come early. For writers, artists, and everyone else they can come at any time. If you are unlucky they do not come at all. Sometimes these moments are preserved in photographs. The acts – in the artist's (or model's) case, the works, and, in an atheletes, the results – that redeem a life can come in advance of everything requiring redemption. Chronology can, sometimes, obscure this."

Geoff Dyer – The Ongoing Moment

Nadina Tandy

Nadina Tandy. Painter. Taken October 25, 2010.

Nadina Tandy. Painter. Taken October 25, 2010.

Nadina arrived early and soon we were earnestly talking about daughters, trading stories about hers and mine. She conversed fluidly and with emphatic gestures. We switched between white clothing and black background and black clothing and white background. I ended up with a number of good shots but I couldn't decide on one that could communicate the way I wanted. This is often the case. It took me over a month before I decided on the top image. Often I end up in the centre of a field of possibility and I can push my interpretation in a number of directions. I almost decided on this one.

nadina2.jpg

She was just a little tired and paused to rub her eyes, but the gesture is one of deep fatigue or unconsolable grief. It's not a great portrait of Nadina but it is a portrait of something. 


Where is the truth in a gesture? Part of our fascination with photography is our fascination with the very idea of truth. We often have a strong emotional investment in the ontology of the image. Has it been changed? Is it trying to fool us or manipulate us? These questions are as old as photography itself.

From its beginnings, photography has lived in persistent conflict with the nature of its being and those elements which can define it. this conflict arises over whether it is the representation of truth or a mechanism for metaphors. Photography is the most painful reiteration of what we are and what we don't want to be. It is the truth constructed with pieces of truth and pieces of lies. It is what anyone wants it to be ... With photography, there is always a mystery, a veil which does not allow us to have the clarity we desire.

Jorge Gutiérrez. Director 1990 to 1994 Museo de Artes Visuales  Alejandro Otero, Cararas. Quoted in "Image and Memory: Photography from Latin America."

"a mechanism for metaphors" I love that. Images, what are they other that the workings of the old eternal metaphoric machinery.

SeeNadina's work here.
Here is an index of portraits.

Matthew Talbot-Kelly

Matthew Talbot-Kelly. Animator and Filmmaker. Taken October 23, 2010.

Matthew Talbot-Kelly. Animator and Filmmaker. Taken October 23, 2010.

We did this shoot in Matthew's animation studios on Granville Island. He was working furiously (as he often does) on an animated story that takes full advantage of the iPad platform.

I've kept journals for years, and I have often wondered about the possibility of bringing the kind of collage that works so well on the page into film. Peter Greenaway has come very very close to this idea, but, as much as I admire his books and films, they don't quite capture the ... ummm ... something I can't quite name ... of the collaged page. Matthew's two short films, "Blind Man's Eye" and "The Trembling Veil of Bones" do.

I was hunting for subjects and Matthew needed some promo shots for a webpage and a magazine cover featuring him. We moved some desks and book cases out of the way and did a quick shoot against the white walls of his studio. Even though it was only nearing the end of October, I knew that these would be some of my last sessions of the year. When we would meet again in the spring, Matthew would give me some ideas about portraits that would open up very large and interesting doors. More on that ... later.

See Matthew's Moving Tales here.

Michelle Bruce

Michelle Bruce. Musician. Taken October 20, 2010.

Michelle Bruce. Musician. Taken October 20, 2010.

Michelle Bruce. Musician. Taken October 20, 2010.

On the Sunshine Coast of British Columbia, where I live, there is a strong fiddle culture. Part of the reason for this is Michelle Bruce's love of music and equally strong love of teaching. She has inspired an entire generation who are now musicians and teachers themselves. Her influence can be still be felt in community halls and summer music festivals all over BC.

Some thoughts on framing.

One of my inspirations for this series is Richard Avedon's work "In the American West." For that project Avedon worked with an 8 x 10 view camera which gave him a large negative with a characteristic border. In his books the frame may or may not be included, depending on the aspect ratio of the book and the editor's preference, but in exhibits, it is always there. The frame provides a ground to balance and enclose the featureless white background and keep the composition intact.

I'm working with a digital camera and so there is no frame. And there is no negative. The camera yields an image in an 8 x 12 format which creates a problem when you want to make an 8 x 10 print. Unsatisfied with the rather drastic changes in composition when the image is cropped down, I created a "digital" frame for the subject to exist within. It is a variation on a view camera border with some playful additions. I particularly like the idea of a digital "safety image" - now digital photographers no longer need worry about their archive of data spontaneously bursting into flames the way the old nitrate negatives did.

The faux border is clearly a fake - but is it a fake in a good way? Opinions are welcome in the comments section.

Here is an index of portraits.

Ian MacLeod

Ian MacLeod. Painter. Taken on October 20, 2010.

Ian MacLeod. Painter. Taken on October 20, 2010.

I'd known when I started that I wanted to photograph ToddMaurice, and Alan. There were others that I wanted to work with, but it was taking time to co-ordinate schedules. In the meantime, I didn't want to waste the good days before the rains set in and I had to stop using my outdoor studio for the winter. Todd offered to make the suggestion to some of his contacts and passed me Ian's name.


Ian was the first subject I had never met before. He is a calm man, easily moved to laughter and so my best shots of him were in a light mood. 

There is a lot to keep in touch with while working - the technical aspects of the photo, depth of field, composition, the camera, the lighting, the lens, and so on - and the interaction with the subject. I talk to the person the whole time. In some ways, there is so much going on that photography becomes almost like automatic writing. At least that is the impression it gives me. You want to be fluid enough with the camera to catch things, but not so premeditated that you lock out possibilities.

It is an interesting fact that almost no one can pose and converse at the same time - and so I use the conversation to keep the subject from stiffening up into a pose. The play of emotions that crosses someone's face even during a single sentence is amazing. But when a person poses they tend to become like cardboard. There is a dynamic between what people want to show and what they actually present. The subject is giving up control of how they are perceived and that involves quite a bit of trust. Or anxiety - depending on who you are.

Irving Penn has a great quote about that:

"Sensitive people faced with the prospect of a camera portrait put on a face they think is one they would like to show the world... very often what lies beyond the façade is rare and more wonderful that the subject knows or dares to believe."

Irving Penn - quoted in 'Portraits' at the National Portrait Gallery, London.

It's a great quote by a great photographer.

See Ian MacLeod's work here: http://www.ianmacleodpaintings.ca

Here is an index of portraits.

Todd Clark

Todd Clark. Painter. Taken on September 22, 2010.

Todd works mainly in abstract landscapes. Every summer he has an open studio for a week at his place in the town of Gibsons, BC. It is a bit of a menagerie: two llamas, two emu, chickens, and a flock of peacocks. He has gained a certain notoriety in town - whenever someone spots a llama on the road his number is at hand. The studio and openings are great events. Blissful. In my mind it is always early summer there.

Todd is wearing the coveralls he uses when painting. It was a tough decision to stick with the black and white because the colour of the paint splotches was so good. He has had this set for a long time and the texture on the front is very compelling.

You can usually see some of his paintings on the Sunshine coast, especially if you stop somewhere for coffee. The works hang in a number of cafe's. Here is a link to his studio. As I'm posting this, his 2011 open studio hasn't happened yet - catch it if you can.
 http://www.toddclarkstudio.org/.

Here is an index of portraits.


Maurice Spira

Maurice Spira. Painter and blockprinter. Photographed September 20, 2010.

You can see a sample of Maurice's work on the first post of this blog. He did a blockprint portrait of me almost ten years ago. I love the way he works with blockprints - such a strong sense of line.

When I first started this portrait project I had in Maurice in mind so I called him up and set up a shoot. He was very accommodating as we tried different backdrops and lenses. We kept the conversation going the whole time. I ended up with a number of good shots. 

Now I had to decide what I wanted from the editing process. It's difficult, like feeling in the dark for something. Also photography is, maybe, a little like writing. With writing you can tell about someone in a compelling way that shows their character, but the subject might not be so happy to read about themselves in that way. It is similar with photography. You can get some images that show the frailty of someone, the exhaustion or uncertainty - something really human - but I don't think people want to see that in themselves. So it is a challenge to push past what the subject may think of the photo and find the one that expresses something more. I didn't have this concern with Maurice, but I've encountered it with other subjects.

Maurice's Website: http://www.mauricespira.com/

Here is an index of portraits.

Alan Sirulnikoff

Alan Sirulnikoff. Photographer. Taken on September 15, 2010.

Probably one of the most curious people I know, Alan was already an established photographer when I started messing around with a Pentax ME Super in April of 2004. He enthused about photography, had his own style and approach, and was often experimenting with the medium. He also delivered some of the funniest slide shows I've ever attended. Photographically, he's been an inspiration and so it seems appropriate that I post his portrait as the first of this series.

We were working in an outdoor studio when this was taken. I had a Nikon D90 tethered to a laptop and Alan was looking at the screen as I took pictures. He is, in a way, looking into the mirror.

Of all the photos I've done this remains my favourite.

Here is a link to Alan's website.

See an index of portraits.

Missive: The New Epistolarian

Covers for Imaginary Books: Missive: The New Epistolarian (A Journal).

Covers for Imaginary Books: Missive: The New Epistolarian (A Journal).

A cover for an imaginary periodical. I did the sketch as a quick gesture exercise. I would have really liked to read this issue. The teaser line reads: In This Issue: The beginning of Time  |  1000 Journals  |  Why Mornings are Better  |  The Post Box at the End of the World.