a greater awareness of ourselves and our surroundings. We often see photos of our families, loved ones, our treasured children, pets and so on but do we really see the emotions, feelings and art contained within these images? Many of us feel this overwhelming need to satisfy this craving to be the best we can be to our family and the families of the world. Likewise my approach has always been to fulfill this craving and be driven to explore the art and creativity that exists in portraiture as well as other forms of photography.
I have always been impressed with the talent of Gene Hattori and his great photography studio F:11 Photographic Design in Saskatoon. In many ways I looked up to him as one of my mentors. Gene ran a television commercial that included the words, “Who signs your portraits?” I was so impressed that a few years later I ran a similar ad on TV. There were images fading into one another with only music in the background until the very end when I spoke those same words, “Who signs your portraits?”
A valuable lesson was learned when I photographed a family who lived about an hour’s drive from my studio. They made separate trips for their consultation, photographic session, projection and finally to pick up their wall portraits. Two hours after they left with their portraits I received a phone call from this client informing me that I had forgotten to sign their photographs! She said, “I will drive back tomorrow so that you can sign them.” When counting each trip both ways that amounted to ten hours of travel. It was then that I realized in a profound way the value of a signature. How I treasured this family and was fortunate to photograph them many times over the years.
Another early impression on my career was made at a photographer’s convention in Saskatchewan where Ken Whitmire was the main speaker. At that time I didn’t know anything about him or his highly respected reputation but I have always remembered his images. They were very large with a generous use of space. One image still burned into my memory had a fireplace that extended all the way to the vaulted ceiling and the people were arranged with precision in the composition. Not only was I awe struck but a burning desire was created by this man to use space in a way that I had not seen before and I wanted to emulate Ken’s vision. I fell in love with space. Another great artist who used space so effectively and also greatly influenced my vision was Thomas Gainsborough (1727-1788), an English painter of portraits, landscapes, and elegant pictures. He is considered one of the most individual geniuses in British art.
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
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