SCENIC LOOKOUT

You need to drive to the end of this road to understand why it exists. Although upon arrival, you still may not get a satisfactory answer.

 

GEOMETRY

My job allows me access to interesting places and unique vantage points. It's one of the perks.

 

ROADTRIPS

It's been awhile since we've loaded up the car with cameras, maps and snacks and heading into the unknown. Miss it. Here is a little piece of past adventures. Still playing with the idea of the less you can see, the larger the story you create.

ADDISON'S

A delightful discovery in the rabbit warren that is Addison's basement. A wall of perfectly stacked and colour blocked vintage toilet tank lids. So sad to see this place go.

GERRARD ST E.

I've always been drawn to text in my photographs. The more ambiguous, abstract or fragmented, the better.

INTERNATIONAL HOUSE OF CHOP SUEY

The only photo I have of this landmark from my childhood. I had always planned to photo it in detail. It closed before I had the chance. A good reminder as we enter the new year. 

TOM MORE

Very sad news this last week. Tom More, owner of Toronto photographic institution, Toronto Black & White passed away suddenly.

I had been processing and printing most of my work there since I was in University. It started with Tom processing my very particular infrared film. I always enjoyed printing, but never wanted to process negs. Too finicky; too easy to make mistakes and ruin your work. Not for Tom, he was a master. We quickly developed a recipe for my work and stuck to it. I developed thousands of negs there. I trusted Tom completely with my work. 

After graduating, I started having Tom print my work as well. He was without a doubt, an artist. After a while, he just knew what I wanted. I'd just drop the neg off, have a chat about something else, and leave. It was always perfect. Often far better than expected. 

Tom was the last holdout in a sea of change. Labs were closing all over the city and the ones that didn't, had to adapt and become something completely different. My impression was that Tom, although he recognized and accepted this new reality, wasn't comfortable with it. His was more of the organic, hands on world. The world of true photography. It was a real loss when he finally closed his doors over a year ago.

It is even a greater loss now.

Photo by RAFY
Tom and the last days of the shop.

DARK WINDOWS

NYC Chinatown.

 

TO WINNIPEG

These are stills taken from a Super 8 film I made driving from Toronto to Winnipeg. I took one frame every kilometer. I was careful to group similar subjects together each time to give a sense of a continuous shot, as opposed to an explosive set of images.

THE GLEN AMES PROJECT

These images represent part of a larger project exploring ideas of memory and loss. There will be a series of archival family photographs placed next to a photograph of the same location, years later. The framing will be identical, the content will not. 

LEVER BROS

My job takes me to interesting places. I usually take full advantage.

FEEDBACK

Here for the first time? Returning? Please leave a comment. I'd love to hear your opinions and they are anonymous, so you don't have to worry about being polite.

RED TREE, GREEN GRASS

I haven't posted in awhile. I also haven't shot much in awhile. Both of which should change. 

The reasons are simply that I carry a conventional camera less and less and my iPhone, which is always at my side, takes poor quality photos at the best of times. I triumphed the transition to the camera phone, and now I am rejecting it. I've found myself looking at real cameras again. 

I think of this as a good sign. 

LAKESHORE MOTELS

Revisiting the Lakeshore motels that I had the opportunity to photograph before the wrecking ball appeared. They were haunting and reflective days I spent there. So silent and yet energy so intense it was almost screaming at you.

INFRARED

Here are some infrared shots that have never made it out into the world before. I shot this film almost exclusively until it was discontinued a few years back.

At first I was devastated. It was my go to film and I felt it was reflective of my style. As I looked at it more, especially with the advent of digital, it was in fact a good time to move on. The last thing you want to do is get stuck in the kind of rut where you are simply copying your own style.

RENO

Shot this on the second visit. It was patiently awaiting the wrecking ball. So many of those classic motels are gone now.

SNAPSHOTS

It seems the only camera I use these days is my iPhone. I'm sad as it's made me lazy, but ironically, I shoot more than I ever did. By more I mean regularly. Sure It's a good thing to keep the muscle toned but there is a level of superficiality present that I felt I avoided in my other work.

    

BACKWARDS

Drove back a few kilometres to photograph this.

KNITTING FACTORY REVISITED.

Had the chance to revisit this fantastic place last winter. It was freezing. So cold my hands went numb. It was worth it.

KANSAS, 1995.

A moment to pause.

IT'S BEEN A LONG TIME SINCE I'VE BEEN HERE.

Magical light on a morning walk in a place so familiar; full of laughter and melancholy.

CABINET

Stylistically, this shot is a bit of a departure for me. It's part of a series of images I will post soon.

NORTH AMERICAN MOTEL

Had the opportunity to photograph this motel before it fell to the wrecking ball.

KNITTING FACTORY

Another Hamilton gem. Three eras all mixed into the same building.

'ULL

BOWLING

The O'Connor bowl.

SOME MORE MOTELS

A little bit more Reno.

PUBLISHED

One of the motel series published in The Globe And Mail in 1992.

MORE MOTELS

Speaking of motels, here are some from the same strip that have long since met their maker.