Search Results

A photograph often documents a single event, representing one moment in time. Colin Carney’s compositions augment the perception and experience derived from an image through his unique enhancements of photographic art. Carney’s images feature stacked exposures that compress multiple instances and vantage points. An adherence to his distinctive process and selection of subject matter create opportunities for honest expression and new meaning from familiar sources. Although Carney says that he “dabbled in photography over the years,” he first recognized photography as a primary medium through which he could fully express himself while he was in graduate school at the University of Waterloo. Carney was working with video at the time, analyzing multiple images and looping sequences, and this experience compelled him to re-evaluate the visual representation of time, space, and movement. He further developed his aesthetic by comparing these physical perceptual layers to lithographic plates. Initially, Carney worked in black and white, stating that he wasn’t yet ready for colour in the early stages of his photographic work: “Black and white photography was a good place to begin, but making photos that seem to evoke a memory sensation and that are open-ended led me to think more about multiples, exploring more element and design issues and using colour. I wasn’t ready for that in the beginning.” Subsequently, he began to further consider the use of multiple images and layered exposures in relation to perception and memory. Instead of representing time, motion, and objects in a chronological medium (such as film or video) or through a temporal medium (such as a single exposure), Carney found that by layering multiple images of the same subject, he could convey more meaning. He says that this technique allows him to “put the viewer in the primary visual perception and make that perception last longer.” Carney’s pieces feature multiple instances that are stacked, with no particular image taking primacy over another. Carney achieves his images by taking multiple shots with a digital camera. He then uses Photoshop to lower the images’ opacity and creates overlapping layers with them. He states that he is “interested in the technical similarities” of the composite layers that then generate a new image when combined. Although Photoshop is important to his process, Carney notes that he is very restrictive in the application of his methods: “I’m restricting myself in a number of ways. The images are not cropped or tampered with, save using the two ‘x factors’” (i.e., layering and lowering the opacity). In addition to these technical restrictions, he says that he also imposes artistic restrictions that are “constantly in flux” upon himself. While he preserves his principles, his methodology is always changing to some extent. Although his work may appear abstract, Carney states that stacking images more closely represents an experience and enables his work to more fully describe a situation than a photograph depicting a single frozen instant would. Presenting an authentic account of experience is a central concept within his aesthetic: “I’m charmed by the parts of art history built in a moment of brutal honesty; work that seems to last usually has an idea of honesty.” Carney’s desire to represent truth and honesty in his work is largely inspired by Jack Chambers, an artist who primarily worked and resided in London, Ontario, and Stan Brakhage, an American experimental filmmaker. Carney specifically acknowledges Chamber’s film featuring a study of his backyard as a particular inspiration to use familiar settings and personally relevant items as subject matter: “I’m not looking to make epic allegories. I’m interested in things I encounter in an honest capacity.” Although Carney’s art begins as separate exposures of familiar subject matter, the final composition functions as an interactive display, yielding multiple interpretations, because time, movement and, memory are all potentially affected by the layers. “The personal aligns but extends into something more open-ended,” Carney explains. The plasticity of Carney’s creations invites interaction from viewers, stimulating their own perceptions: “Your story [as a viewer] based on an image would be one of a kind,” Carney says. “That is the function of working this way. The work is alive and functioning if people are responding that way.” Carney’s art acquires its life as layers of subjects and instances substantiate the parallel assembly of perception, memory, and experience. The result is an experience that provides meaning for the artist, and the viewer, through a creative extension of photography. See more of Colin's work at: colincarney.com This article originally appeared in our Winter Issue PHOTO ART in 2010. Get the issue HERE. #ColinCarney #doubleexposurephotography #canadianphotographer #fineartphotography #experimentation #photoart #photoshoptechnique #imagemanipulation #visualstorytelling

The easiest ways to gain inspiration are to do what you love, work with people who are passionate about what you do, and make good art. That is the simple formula that photographer Benjamin Von Wong follows as he pushes his ideas to new levels every day. Benjamin Von Wong discovered joy in photography when the woes of a personal relationship and its subsequent break up led him to quit his job as a mining engineer in Nevada and photograph beautiful night skies instead. A self-taught photographer, Von Wong takes anywhere from days to months to prepare his shoots. His team of collaborators are directed by Von Wong’s enthusiasm and imagination. He believes that the best team consists of people who share his ardour for projects. In 2012, a dream came true for Von Wong when Underwater Realm, a collective of underwater filmmakers responded to his request to collaborate. Even though he was still working as a miner at the time, he couldn’t pass up the opportunity. He met with the team in Europe to draft the shoot. The idea was to present the viewer with a behind-the-scenes sneak peek into the workings of a film shoot. On a tight schedule, Von Wong and the team organized complex makeup, models, costumes, and highend underwater shooting equipment. Painstakingly put together, the shoot finally came together, stamped with Von Wong’s unique creativity. From the rustic dust lands of Israel to the cool refreshing waters of Bali, Von Wong has travelled to diverse places for shoots, instilling new forms of wonder at every location. Recently, he brought to life a scene from a Disney film. Von Wong and his crew gained “a few priceless hours in the oldest monastic library in the world and were given free rein to create some magic.” The Beauty and the Beast shoot at the Admont Abbey in Austria led to some trademark surreal images. Von Wong wants the viewer to be transported from everyday life into something magical, even if just for an instant. He does not wish to direct a viewer’s experience but does want people “to feel something.” he explains. In his blog, he writes that inspiration is the momentum that drives an idea to completion and he looks forward to instances that “move and transform.” He states, “I definitely am attracted to all things that are surreal and stand out.” The photographer encourages artists seeking inspiration to “Get out there, meet new people, and listen. Everybody has a unique story, and these tales can trigger emotions that may inspire you.” Von Wong’s blog provides a guide, of sorts, on what photographers should do once they have a brilliant idea. Putting things into motion can be a challenge for many people. Fighting inertia and finding the cues for inspiration that will help to push through moments of procrastination can make all the difference. Von Wong says believing in your project is crucial. He also encourages people to be confident in the success of their projects. “If you let your passion show in your eyes and in everything you say about it, others will latch on to the excitement and follow you till the end.” When looking for a great team to work with, he suggests that the stakes for all those involved should be held in clear view. “People are going to want to know what’s in it for them,” he writes in his blog. “In creative collaborations, people are donating their time and talent and will be expecting something in return.” Keeping in mind what other people will gain by partnering up with you will get you honest and sincere work. Of course, to get people to follow you, they need to be presented with a strong portfolio. Stories of success speak for themselves. Von Wong writes, “It does not matter if the projects [in your portfolio] are slightly unrelated. People are looking for proof that you won’t be wasting their time.” For those just starting out, Von Wong recommends going with smaller projects and building from those achievements. In short, create an impressive track record. He also recommends, “It can become overwhelming when there are too many pieces to hold together. Try to delegate responsibilities. Not only will this lighten your own workload, it will also make people feel included and acknowledged.” Von Wong constantly emphasizes the importance of following up with collaborators before the shoot. The photographer, as the glue holding the whole project together, should follow up with fellow artists to ensure they are still on board. “It is your duty to keep that excitement going. Let them be aware of the progress to keep the momentum alive.” Von Wong’s advice on starting a project is simple yet full of wisdom. He says, “I think that the key to starting something is to simply start it. People have the tendency of doing things ‘later’ and they never get done. If you have an idea in mind, give yourself a deadline and make it happen. Don’t worry about making it perfect right off the bat … you will make mistakes, guaranteed! You will also fail at some point in time, so accept that reality and try anyways. Whatever it is you want to do in life, start today.” Check out Von Wongs' latest projects at: www.vonwong.com #BenjaminVonWong #visualstorytelling #travelphotography #peoplephotography #fineartphotography #experimentation #OntarioPhotographer

Trying to light glass using the same techniques employed when photographing opaque objects will give you unsatisfactory results. The glassware will reflect everything in the room/studio and show flare from the light source. The solution lies in the problem, that is, that glass is transparent. Rather than bouncing light off of the glass, try to have the light go through the glass. This can be done by illuminating the glass from behind or below. The light must be diffuse to eliminate glare. I recommend using a translucent material such as white Plexiglas as the stand for the glass. Light tables using Plexiglas are commercially available or you can build your own. (We’ve got an easy how-to for a simple DIY light table in our winter 2014 issue – Get the full instructions HERE.) What you will need: • A camera • A tripod • Glassware • Several sheets of seamless paper (e.g., black or white construction paper) • A light table with translucent Plexiglas • A light source Before you start, clean the glassware well and turn off the room lights to prevent unwanted reflections and glare. Here are some techniques to try. Light from below Place the glassware on the Plexiglas. Try some shots and vary the distance of the light source from the base. Experiment with light modifiers such as cut-outs. Since the light source is from below, you can experiment with different backgrounds and take advantage of another characteristic of glass: the ability to bend and distort light rays. Light from behind As in the lighting from below process, experiment with the distance of the light source and the use of light modifiers. You could also try to use a strip of black construction paper as a base for the glassware. Leave enough of the Plexiglas clear on either side of the paper to light the object. If the object is placed on the Plexiglas, two strips of black paper can be used on either side to define edges and contribute to the overall composition. If you are lighting from behind, the base does not have to be translucent. This opens up possibilities for other materials — mirrors and other reflective materials work well. A visit to your local home building supply store might turn up some interesting possibilities. These techniques are only a fraction of what is possible. Staging and creative composition also add to the challenge. Lightroom and Photoshop provide infinite post-processing techniques. Consider converting your images to black and white or adding a colour interpretation. Shooting glassware can reward you with new insights into how light. #HowTo #studiophotography #stilllifephotography #lightingtechniques #experimentation

Pinhole photography seems to contravene the photographic trend of speed and instant gratification achieved through digital technology. Instead, pinhole photography inherently necessitates a slow and decided resolve. The elemental photographic technology, whereby light enters an aperture the size of a pin and etches an image onto a film or paper emulsion, requires much patience. Since images can take anywhere from seconds to hours to capture, depending on available light, the pinhole format is conducive to condensing the passage of time onto a single frame. Using a camera that is essentially a wooden box with brass fittings, Cher MacNeill uses her pinhole camera and creativity to produce images that are influenced by the medium and the artist herself. Without a viewfinder, she is able only to approximate the composition. Without a shutter speed, MacNeill says she can only estimate the exposure: “You have only your imagination to envision how the final image will turn out. There’s a little bit of guesswork in every step of the process, and you have to take your time with it. All combined, it becomes a bit meditative.” MacNeill finds the pinhole process to be intuitive. Her 20 years working in film editing familiarized her with similar aesthetic elements that she incorporates into her pinhole photography. MacNeill says she feels drawn to the methodical and considered process of pinhole photography: “As someone coming from film, I was initially intrigued with the idea that making pinholes was like condensing a movie onto a single frame of film. I like to describe it as a cinematic crunch: 24 seconds on a frame instead of 24 frames per second [the frame rate of 35 mm motion picture film].” Throughout her career in film, MacNeill says she always maintained her interest in photography but to varying degrees. Having studied fine art in a joint University of Toronto and Sheridan College program, she first learned about pinhole photography while at Sheridan. MacNeill says it wasn’t until much later (in 2004) that she received direct experience capturing images with a pinhole camera: “After I was given a Zero [Image] 2000 camera I shot a few rolls that winter and in the spring I enrolled in a weekend workshop taught by Dianne Bos at Toronto’s Gallery 44.” The workshop taught her how to transform cardboard boxes and coffee tins into pinhole cameras. MacNeill says she enjoyed constructing her own cameras: “I really liked being able to produce photographic images from such rudimentary, non-technical materials.” Shortly after receiving her 6 x 6 cm pinhole camera, MacNeill began traveling more extensively. She says photography was becoming her main focus: “Once I discovered pinhole photography, it became my best reason to travel.” Before long, MacNeill bought a second Zero Image camera. This time she opted for a 6 x 12 panoramic pinhole. MacNeill says the wider format was more conducive to the landscapes she photographs while traveling: “I like to photograph large, architectural objects of a sculptural nature in landscapes.” In addition to photographing static objects, MacNeill wants to challenge herself to integrate both people and movement in her photography. She states that stationary objects are easier to photograph than people because of the lengthy exposures necessary: “I think photographing people in motion is more challenging but also more rewarding.” MacNeill feels that adding the element of movement evokes feelings of moodiness or mystery: “People often tell me that some of my images feel spooky.” While the potential results of pinhole photography can be unique and evocative, MacNeill says that the possible rewards come with perseverance: “Your expectations are sometimes exceeded and sometimes they are underwhelmed. You have to keep shooting for the moon so to speak. It’s not for everyone.” But for MacNeill, her venture into pinhole photography has been a rewarding experience. She says “Good things come to those who wait.” We featured Cher MacNeill and this article in our Spring 2009 issue: Photography Revisited – Issue 25. If you’re looking for alternative method photography inspiration, you can find it HERE. Check out what Cher MacNeill has been up to lately at: http://www.chermacneill.com #pinholephotography #cherMacNeill #alternativeprocess #filmexploration #analogfilm #experimentation #womeninphotography

A lot of people approach me and ask how I come up with my images. Here is a little insight into my process. GETTING INSPIRED If you enter “my creative process” into a web browser, most descriptions start with “I come up with an idea and then …,” So let’s start before that. Where do I get the idea in the first place? So many different sources in my life help me to generate ideas. Sometimes they have nothing to do with photography or art, but sometimes they do. Books, podcasts, traveling, art galleries, talking, laughing, and sitting doing nothing are all potential sources. The complete artistic concept doesn’t come spontaneously. Nor does it come to me when I sit in front of a blank page titled “Ideas.” In reality, half-ideas from the past merge with incomplete ideas in the future to create something innovative. KEEPING A RECORD I keep an inspiration images folder containing art that I see online. Some of the images even make it into subfolders for different art projects I’m thinking about. I also maintain a list of visual ideas that I want to try (e.g., certain lighting) in Evernote. I make myself add 10 ideas a day to this list. For example, I might write, “I want to shoot something focused on women’s hair.” This hair thought will incubate until some other ideas come along that complete it. RESEARCH At that point, I don’t just take the idea, photograph it, and put it on the wall. Why? Because that would be boring and bad. There is always a story behind the artwork. The story is only half complete at this point, so the next step is to do some research. I take the story stem I already have and look at other artists who have explored the same area, read about the topic, talk to people who know about it, and see if I can introduce what I’ve learned into the visual concept. All the pieces of information stew in my project soup until it’s clear what I’m trying to do. PRELIMINARY SKETCHES The next step in the creative cook-book is doing some sketches and tests of the idea to see if it will work. I often use paintings as inspiration for my art, and the conversion to photography can be harder than you’d think. I will do a quick photo-manipulation with images from the Internet to see what I need to add, change, subtract. FINDING A LOCATION Because my art projects are often so conceptual, I have to be picky about my shooting location. If I visualize a forest scene, I can’t take a model into a random one I found online and see if it works the day of the shoot. I often have to find the exact spot I want to shoot in. So I’ll do a day of location scouting, and go to different potential locations to see if any of them are good for my artwork. I take some photos, and then go home and review them. FINDING A MODEL Just like a location needs to be hand-picked, so does the model. I use models for most of my projects, and unfortunately they don’t just appear magically on the day of the shoot. I first outline specifically what I’m looking for. For the Goddess Almighty series, I needed a dancer. But not just any dancer; I needed someone who had a normal woman’s body to support my vision. A small ballerina could have made the image look like a fashion shoot. I look for my perfect model using model agencies, Model Mayhem, friends, and Facebook. A TEST SHOOT The test shoot is a crucial step in the creative process. If I’m going to do all this work of organizing models, makeup artists, and hair stylists at a particular day, time, and location, I have to make sure that what I’m doing with them will look good! I go to the location and test the lighting. Again, I go home and review my tests. THE SHOOT Finally, I do a photo shoot. Sometimes photo shoots take an hour; sometimes they take the whole day; sometimes I photograph different models over a long period of time. The method is unique to the project I’m working on. USING PHOTOSHOP I’m not sure if you’ve noticed, but my work is very digitally involved. After I shoot, I select the best images, followed by some quick composites, and then I start working on the real thing. My style involves a lot of image compositing and photo manipulation, which can take days, weeks, or months. REVIEWING THE WORK After I finish working on a piece, I put it away and take a break from it for a few days. Why, you ask? Don’t I want to release it for the world to see? Well … I’ve just spent days staring at the screen hard at work. There might be things about the piece that I won’t notice until looking at it with a fresh eye. I do those things, and then the Internet can have its way with the image. PRINTING Once the artwork is done ... I do some more work. The printing process separates my fine art photography from my commercial photography. I have to ensure that what I created in Photoshop looks good printed and framed. There are trillions of options for print-based artwork. I can print on canvas, glass, or a variety of different papers in different sizes, and using various frame types. All of these decisions are based on what would be best for the artwork. For example, I usually go with glossy papers for graphic work and rougher art giclee prints for artwork with a dark, natural, earthy quality. I always make sure that the paper I’m printing on is archival and acid free, to ensure the print lasts forever and ever. See more of Alice Zilberberg's work at: www.alicezilberberg.com #photoshoptechnique #HowTo #womeninphotography #digitalmanipulation #AliceZilberberg

Angela Gzowski is a photographer and photojournalist in the Canadian North. Her work explores the quotidian tensions of her environment. Gzowski grew up in Yellowknife, Northwest Territories, in a household of photographers. Her father, owner of Arctic Divers, an underwater exploration company in Yellowknife, did a lot of underwater photography, and her mother had an interest. As a result, there were always cameras lying around the house for her to use. From the time she took a high school photography course, Gzowksi has never stopped taking pictures. After high school, she studied painting and sculpture at Red Deer College and then moved on to Halifax where she majored in photography at NSCAD University. Gzowski stayed in Halifax after graduation to work for The Coast and The Dalhousie Gazette. She took every opportunity that came her way to learn from professional photographers and colleagues. The more she worked in her field, the further she developed her own style. Gzowski uses neutral density filters with flash to get more depth of field. She uses backlight frequently when shooting on location. She later returned to Yellowknife to work as the photo editor for Up Here magazine. Her assignments led her to travel much of Canada’s North, covering a wide variety of stories, before she opened her own business. Growing up in Yellowknife, Gzowski had accepted her surroundings as “normal,” the way a child who is used to her surroundings would. Unexpectedly, when she returned home, she saw the northern environment with different eyes, the eyes of an outsider. Her newfound detachment enabled her to see the North as a unique place with its own culture, climate, and landscape. She became aware of the tensions that are part of life in the North, and that made a huge difference for her creatively. One of the challenges of photographing outdoors is the need to adapt to different levels of light at different times of the year. According to Gzowski, the summer in the North is a photographer’s dream, with 24-hour daylight, but the winter offers very little natural light. Shooting on location requires a different set of skills from those she uses when working in her studio, as she cannot control many aspects of the shoot. The need to be spontaneous can be both thrilling and challenging. Often she has to make quick decisions about whom to photograph, where, and in what light. In the studio, Gzowski enjoys the control that she has over a project. In preparation for a shoot, she researches her subject, plans the lighting and set-up, and composes the questions that she will ask. Even if text will not accompany the images, Gzowski wants her subject to relax, and she has learned the types of questions that will help to achieve that. She really cares about the people she photographs and works hard to let them know that. She describes herself as unintimidating, which has worked in her favour, as she has been admitted to places for photo shoots where others might not be able to go. Gzowski has learned never to let an opportunity to shoot an image pass by. There is always a risk that someone will say no when she asks permission to photograph them, but not to ask would only leave a feeling of regret that something special has been missed. Her advice to others is to follow their feelings. Gzowski says that she has seen many books of northern landscapes, but she feels a need to create a book with a different focus. She is working on a book of images that celebrates the people of the North, rather than the locale. She wants to show the rest of the world the fascinating and unique faces of Canada’s North. The seemingly infinite possibilities of portraiture keeps Gzowski motivated. To see more of Angela Gzowski's work, check out her website: www.angelagzowski.com #AngelaGzowski #womeninphotography #portraiture #portrait #peoplephotography #canadianphotography

Our pets have the unique ability to make us laugh and make us cry; they show us compassion and teach us what it means to love. It’s no wonder, then, that we consider them a part of the family. Whether we are feline fanatics, dog devotees, avian aficionados, or equine enthusiasts, our pets are an integral part of our lives. Marcia Leeder has a profound understanding of how animals and humans relate to one another and has combined her passion for animals and her talent for photography to capture the special bond that is forged between pet and owner. With a diverse portfolio that includes animal, child, family, and performance photography, Leeder has focused much of her recent work on animal portraiture. “I love the connection that families have with one another, as well as the connections we have with our animals,” says Leeder. “They will always be considered part of the family.” It’s these unique bonds that Leeder says she appreciates being able to capture. While she began photographing animals at a young age, it wasn’t until Leeder was grown that a chance meeting on the streets of Morocco would inspire a return to her childhood hobby and an eventual career change. “Behind every artist is a muse and, for me, that muse came in the form of a dirty street puppy that found me while I was working on a film in Morocco, in 2002,” says Leeder. “I brought her (Tichka) home to Canada with me and she sparked my love of photography again.” Leeder says that her creativity had been stifled for years and it was liberating to return to what she loved doing as a child. “I have always felt a strong connection to animals, so photographing them was a natural choice,” says Leeder. She began photographing Tichka with a digital point and shoot, and later transitioned to a digital single lens reflex (DSLR), which she would use to build up her portfolio. After considering her photography subjects, Leeder realized that she gained the most satisfaction from working with animals. “To be able to meet their approval makes me feel like a good person,” says Leeder. “Animals teach me so much about myself and how I live my life. They approach everything with innocence, love, and humility.” Leeder cherishes the time she spends with her clients’ pets, describing this time as “pure joy,” but says she derives much of her inspiration from her own animal family. Her clan, called the Ginger Gang, is composed of two dogs (Tichka and Little Dude) and two cats (Cameron and Archie), all of whom are rescues. “I love to watch how they interact with each other. I photograph them almost every day,” says Leeder. “Just when I think I’ve seen it all, they do something that surprises me … usually sending me into hysterical laughter. They fill my heart with so much love, pride, and joy.” Given the unpredictable nature of her subjects, Leeder stays flexible and takes a lighthearted approach to her photo shoots. “I am not afraid to make a fool of myself to get the shot, whether it’s making a ridiculous noise or rolling around on the ground. I do what it takes and I love that my clients laugh along with me.” Leeder embraces the humour that working with animals brings and takes away many memorable moments from each portrait session. “I am often laughing until my sides ache. That’s the fun of working with animals, you just never know what to expect.” Leeder posts her outtakes, funny moments, and session adventures daily to her Facebook page. Leeder photographs public portrait events and custom on-location portrait sessions. Unlike individual portrait sessions where she learns about the animal in advance, the high-volume portrait events challenge Leeder’s improvisational skills. “I don’t have the same preparation time,” she says. “I meet the animal on the spot and have to gauge their personality and figure out how to work with them in a way that is not going to add to their stress of being in a new environment.” Both shooting scenarios have taught her to embrace each animal’s individual personality and have yielded interesting results; however, Leeder enjoys spending more time with each animal and feels the custom on-location sessions help to feed her artistic expression as well as capture more of their unique characteristics. She says that often some of her favourite shots, whatever the setting, are what some might consider to be outtakes. “Those are the ones that my clients choose to display on their walls and I love that.” Much of the satisfaction that Leeder derives from her work comes from watching her clients’ reactions. “When I show my clients the images from their [pet’s] session and they cry happy tears, I know I’ve done my job.” Leeder’s motivation stems from an understanding of the importance of pets in our lives. “Unfortunately, they are not with us forever,” she says. “If I can capture a piece of their soul in a photograph, it helps their memory live on.” Leeder’s compassion for her animals extends to her philanthropic activities. All proceeds from the print sales of her portrait events are donated to a rescue group of her clients’ choosing. She is also a member of HeARTs Speak, a not-for-profit organization whose mission is to enact social change by uniting the individual efforts of animal artists and animal rescues (www.heartsspeak.org). As a member, she volunteers her time and talents to give animals living in rescues or shelters professional photo sessions to help increase their chances of being adopted. www.marcialeeder.com This article originally appeared in the Creatures Great and Small, Spring/Summer Issue - 2013. Get it in PRINT HERE. #animals #pets #MarciaLeeder #canadianphotography #womeninphotography #naturephotography #OntarioPhotographer

Don Newlands’s work defined Canadian photojournalism and documentary photography for close to two decades. Newlands worked as a photographer and photo editor during the 1960s and early 1970s for many nationally and internationally significant publications, including The Canadian, Weekend, Maclean’s, Black Star, Time, Life, and Paris Match. Dolores Gubasta is a photo editor and owner of the KlixPix photography agency in Toronto, Ontario. She produces editorial projects nationally and internationally and is the agent for the Don Newlands image collection. I first laid eyes on Don Newlands’s photography when researching images for a Maclean’s feature book about Pierre Trudeau in 2000. Newlands had incredible images of a young Trudeau attempting to row to Cuba in 1960. Trudeau is pictured with two friends in a canoe on the high seas on the Gulf of Mexico wearing a white turban around his head. I started my career at the Canadian Press picture department, where I washed and dried thousands of pictures, many of Trudeau. These Cuba pictures were taken long before he became prime minister. I was curious to meet Newlands and to ask my burning question: “How did you end up on that trip?” When I finally got my chance, I asked the question and Newlands replied, “Pierre kept threatening to row to Cuba. I told him to call me when you do it.” Don Newlands was born in 1927 and grew up in the wealthy Westmount neighbourhood of Montreal, Quebec. The only child of a beautiful mother and a handsome father who was the president of a typewriter company. He was pampered and well schooled, especially in the arts. During this time, Newlands befriended a racy pack of intellectuals, including Pierre Trudeau, musicians and poets such as Leonard Cohen, artists, writers, and wealthy business people. Montreal was an exciting city fuelled by creativity. As a budding photographer at the time, Newlands was called on by his friend Trudeau to photograph his author’s portrait for his first published book. His talent was obvious. By early 1961, he had moved to Toronto and was shooting freelance for all the big magazines of the day. He was also the only photographer for Black Star in Canada. Black Star, based in New York, specialized in photojournalism and was closely identified with Time, Life, and Paris Match magazines. Around 2001, I pressed Newlands to show me what else he had in his collection of images. A long-time photo editor and researcher for magazines and Canadian history books, I was surprised I had not come across his work earlier. Newlands had kept his body of work stored in the basement of his home near Colborne, Ontario. While his contemporaries had sold their image collections to the National Archives, he wanted none of that. He had concerns that once his collection was tucked away in an archive, the images would not see the light of day. At this time, I was running my own photo assignment agency and working extensively with Time magazine. They were interested in reflecting our Canadian heritage back to us. At one point, a history of Canadian photography book was proposed and, for some reason, the publisher had hired Time magazine editors in New York to put it together. I was asked to contribute, and that is why, Newlands’s images found their way to my office. He arrived at my office screeching into the driveway in his duct-taped Firebird with a flaming bird decal on the hood. He brought me a selection of his favourite images, about a hundred 11 x 14 inch black and white fibre-based prints. They were dog-eared, crop-marked with grease pencil, and stamped with dates and notes from publishers. As a photo researcher who had leafed through thousands of old photo files at every newspaper in town, I was in awe of the scope of his talent. His imagery had a raw honesty equal to that of some of the best international photographers of the day. Yet, he was largely unknown. In all my years as a photo editor, I had not seen such real work about Canada. His photo essays documented Canadians: from a large New Brunswick family lined up in front of their run-down farmhouse, to Inuit people on the shores of James Bay, to portraits of the elite Quebec intelligentsia, to powerful Ottawa politicians, to photos of hippie musicians singing in Yorkville, Toronto. The breadth and quality of the work was impressive. Newlands documented Canada’s coming of age during the 1960s and early ’70s. He photographed creative cultural icons, including Sylvia and Ian Tyson, Gordon Lightfoot, Ronnie Hawkins, Anne Murray, and Christopher Plummer. He had connections with politicians, including Joey Smallwood, Paul Martin Senior, and Preston Manning. As well, his ties in the business community gave him access to K.C. Irving and important families such as the McCains. He also had a vast collection of social documentary work about everyday people: a large man on a bulldozer building roads through the Rockies; rodeo goers at the Calgary Stampede; children balancing on floating logs in B.C. logging camps; kids playing on the colourful streets of St. John’s; young rural Quebec teens riding their banana bikes with separatist gang logos on the backs of their vests. Unfortunately, the history of Canadian photography book never materialized. Newlands was a passionate character who had the patience to wait for the decisive moment to trip the shutter. He was stunningly good-looking with an incredible ability to charm and disarm male and female portrait subjects. Newlands had the luxury of spending time getting to know his subjects, capturing them in natural environmental portraits. His images rendered a true sense of his subjects, showing who they were and what they did. In a rare and beautiful photo essay documenting the quintessential power of New Brunswick businessman K.C. Irving, Newlands spent several days documenting Irving and his sons travelling from their offices and home to Irving oil refineries, wilderness logging camps, sawmills, paper mills, and newspaper offices. Newlands lost interest in photographing people in the early 1970s, when art directors started to go along on portrait shoots to personally set up lights and pose people. After an incredible career that ranged from the great era of photojournalism and documentary style photo spreads to the posed set up portraiture still common today, Newlands became disenchanted. Following his next great obsession, he became an avid ham radio operator from his home in Colborne, Ontario. He loved to speak with people all over the world, despite living a secluded and solitary life. Newlands was intensely private and he rebuked many of my attempts to go see him and his collection. We did, in time, share stories and experiences about Canadian photography and journalism. Eventually, we became friends. Sadly, our friendship had a time limit. Newlands had been diagnosed with terminal cancer. He once said to me, “You can’t believe how amazing every blade of grass and each new bud on a tree is when you’ve only been given a month to live.” His joie de vivre kept him alive for another five years. Because of his illness, I was worried about him living alone. I was relieved when he called me to tell me he had been reunited with his ex-wife Pauline. Undeniably, they were the great loves of each other’s lives. She took him into her home, fed him with her amazing cooking, and kept him healthy. After the 2006 book launch of John English’s Citizen of the World - The Life and Times of Pierre Elliott Trudeau, featuring Newlands’s first portrait of Trudeau as the cover image, I was invited for a meal at Pauline’s house. I saw how much love, admiration, and fun they had at this late stage of life. I realized that Newlands’s story went way beyond his photographic work. When the Colborne house was sold, the couple brought the rest of Newlands’s pictures to me. I became the keeper of the Don Newlands Collection. Newlands work won many art and photography awards in Canada, the United States, and Europe. Sadly, now there are but a few remaining art directors, photographers, and friends who knew him and his photographs. To me and to those who knew him, he was a legend and a vibrant character, well worthy of note as a contributor to Canadian photojournalism history. The Don Newlands Collection: Now & in the Future: Over the last 15 years, I have exhibited key images from the Don Newlands Collection. In 2005, I curated an exhibition of his work for the CONTACT Festival of Photography in Toronto. With the dedicated help of Kamelia Pezeshki and Rita Godlevskis, I have been working to digitize, preserve, and share the archive. The collection consists of over 1000 black and white fibre-based prints and thousands of colour 35mm & 120 format transparencies. Sadly, some of Newlands work has become damaged in poor storage conditions. Some of these images have transformed themselves. The patina of time has created new unintentional compositions. As Newlands documented Canada’s coming of age, Canada’s 150th celebration is the ideal time to share his work with all Canadians. To see more work by Don Newlands, visit: www.klixpix.com #DonNewlands #photohistoryincanada #canadianphotographer #blackandwhite #documentaryphotography #peoplephotography

Here's how: 1 . Starting with the original image. With the Red channel only selected, from the menu click Select > All (⌘A) and then click on Edit > Copy (⌘C). 2 . Deselect (Select > Deselect (⌘D). In the Layers panel create a new layer (Layer > New > Layer …). Paste into this new layer (⌘V). Change Blending mode to Luminosity and Opacity to about 25%. 3 . Apply Filter > Blur > Gaussian Blur ..., pixel radius = 16. 4. Create a blank Layer mask. With soft brush of suitable size paint eyes, eyebrows, and lips to bring back original. (Using black as the brush colour will reveal the bottom layer.) From the Layers pull down menu select Flatten Image. Open Filter > Lens Correction … Select the Custom tab and apply a Vignette to darken the corners. #photoshoptechnique #HowTo #portraiture #peoplephotography

Michael Greenberg’s dedication to personal growth, capturing beauty, and bringing meaning to his photographs has led to the development of a distinctive style of wedding photography and a growing business, Phototerra Studio. His experience with a variety of artistic mediums, his diverse education, his varied professional background, and his experiences in a number of countries, all contribute to his innovative style. Although he always had an interest in photography, Greenberg had been involved in multiple disciplines before undertaking photography as a full-time profession. Prior to his transition into wedding photography, Greenberg attended medical school, trained as a pianist, and worked as a computer programmer. In addition to his training and occupations, Greenberg has lived in various countries, including Russia, Israel, and Georgia. Greenberg’s introduction to wedding photography came when his sister asked him to photograph her wedding. Although this gave him some experience, as well as the desire to pursue wedding photography, he still had a number of obstacles ahead before he could transition into a permanent career. While working as a computer programmer, he began to feel dissatisfied with his occupation and considered photography as a creative outlet from which he could earn his living. He was further motivated by necessity; when he was laid off from his job, finding clients was the only way to continue photography and earn a living. Starting a new business was difficult. He eventually gained contacts: his friend knew a wedding planner, and he began attending trade shows. As he developed skill in his new field, his work volume increased as well, progressing from sporadic jobs to eventually shooting 12 weddings a year, and sometimes working 24-hour days to keep up with the demands of his business. Starting a business in a new field, in a country he was still becoming acquainted with, he had to develop his craft independently: “I didn’t ever assist [another photographer],” he says. “I started from scratch.” Greenberg learned the technical aspects of his profession through research, and trial and error. According to Greenberg, one of the most important developmental aspects of photography, and art in general, is learning from other sources and disciplines. Greenberg states that he primarily draws from photographic mediums and artistic genres other than wedding photography and incorporates elements from these into his work: “I often look at fashion photography, nature photography, or paintings.” Greenberg’s perpetual pursuit for new ideas and techniques allows him to continually reinvent his work. Accordingly, he avoids repetition as his photography changes from one year to the next. In addition to observing alternative sources, Greenberg emphasizes that one of the most important aspects of development and improvement is critical analysis. “It’s not enough to just say ‘this is good,’” he states. “It is important to find out why it is good and how the effect was achieved.” According to Greenberg, finding out what makes other art work, and then applying those discoveries, is one of the most important things a photographer can do. Additionally, he recommends reading widely, in order to enrich both photographs and the photographer. While creativity and abstraction factor into Greenberg’s style, he notes that traditional shots and documentation are crucial aspects of wedding photography: “Weddings are traditional events ... Many of my photos will be traditional family shots or photojournalistic documentation.” He says that no matter what the subject, he looks for significance and beauty in any situation: “I try to bring meaning to every shot.” Greenberg cautions that while the creative aspects of wedding photography are the most interesting and rewarding, they can be impossible without taking care of essential business practices such as contracts and releases: “The legal aspect [of wedding photography] is one of the most important. The process can be absorbing, but photographers should always cover themselves.” Greenberg says that while facets of a photography business such as obtaining insurance are not usually fun or creative, a business could easily be destroyed by preventable legal issues. Greenberg’s determination, his ability to learn from his past, and his eclectic influence have led to rewards such as being named one of the top 10 Canadian wedding photographers by the Canadian Wedding Photography Industry Awards. By following his passion, Greenberg continues to draw clients, locally and internationally, while continuing to learn and create. We featured MICHAEL GREENBERG and this article in our SPRING / SUMMER 2010 ISSUE. If you’re looking for wedding and celebration photography inspiration, you can find it HERE. Check out what Phototerra has been up to at: www.phototerra.com #weddingphotography #phototerra #peoplephotography #portraiture #portrait #MichaelGreenberg