December 2020 - The Image Journey

Published December 31, 2020 by avardw

My Favourite Photos of 2020

Here are my favourite photos of 2020. What a long, strange trip this year has been–one of isolation, uncertainty, and sadness as the pandemic spread around the world and took so many lives. It’s also been a year of hope– people have been brought together in unexpected ways, and a vaccines have been developed in record time. We can only wish for a better year in 2021.

The photo above seems to symbolize my year. It shows a twisted web of grape vines in the fog, illuminated by a flash. It has been a foggy year, but not without it’s moments of brightness. My year started out in Nagoya, Japan. My family was on a big trip through Europe and Japan–the trip of a lifetime for us. We started out in France in November and finished in Budapest, Hungary, in early March. We had to cut our trip short by three weeks in order to get back to Canada before the pandemic. The trip was fantastic in every way, and has provided a wealth of memories for my family.

I have continued to work on my photography–selling prints from my website Shop, and putting together photo books. The most recent is Toronto In Colour: the 1980s.

This was taken on the Tokyo Sakura Tram in late January, 2020. It is the only streetcar left in Tokyo, running between Minowabashi Station and Waseda Station (12.2 kilometers; 30 stations). The slow pace of the streetcar seemed out of step with the bustle of the city and reminded me of what Tokyo must have been like in the old days.

Taken along the Meuse River in Liege, Belgium, where I went jogging everyday (sometimes I did more photography than jogging!) It’s a juxtaposition of the new and the old, a thing I noticed a lot in Europe.

The metro in Prague was beautifully designed, with wonderful colours. I waited for the train to start so that the door was framed in the center of the entrance.

This street scene in Krakow, Poland was taken through a taxi window. The rain and condensation on the window give it a soft, painterly look.

A train station in Budapest, Hungary. I remember having to hold my phone high over my head to get this photo. I just realized that all the travel photos so far include some means of transportation. Interesting!

Brooklyn, Nova Scotia, 2020 – © Avard Woolaver

Back in Canada in March to a pandemic lockdown, and snow. We saw almost no snow on our four month trip, but weren’t surprised to see it in Nova Scotia in March.

I really missed visiting my mother while I was away. She has dementia and is almost deaf, so communicating through glass with a cell phone proved to be challenging. But it was much better than not seeing her at all.

Remembering those who have died in this terrible pandemic.

The pandemic, along with gardening, working in the woodlot, and meditation has brought me closer to the natural world.

Looking for elements of surrealism in everyday life is something that is always on my mind. This was taken at a McDonald’s restaurant.

This was my daughter Jane’s Halloween project. All I had to do was press the shutter. It’s Pumpkin Girl!!

This little kitten named Garfield has brought so much joy into our household.

I hope you have enjoyed my favourite photos of 2020!

Photography Travel

2020 favourite photos of 2020 Nova Scotia pandemic photography travel photography

Published December 15, 2020 by avardw

Toronto In Colour: the 1980s

Toronto In Colour: the 1980s is my recent collection of Toronto photographs, and is now available at Blurb Books. In the years 1980 to 1986, I shot about 800 rolls of film, most of them street photographs. Of the thousands of photos only about 10% were in colour. I tended to look for different scenes when I had colour film in my camera–usually Kodacolor II, but sometimes Ektachrome or Kodachrome. I would think in terms of “light and colour” rather than “tones and the moment.” So, I sought out slightly different subject matter than when shooting in black and white.

Book Introduction to Toronto In Colour: the 1980s – There is a feeling of freedom walking around a city with a camera. At 62, I still have that feeling but it was more pronounced when I was in my mid twenties, studying photography as a student at Ryerson Polytechnical Institute. I took a lot of photographs in my early years in Toronto, capturing street scenes and ordinary aspects of daily life that happened to catch my eye. American photographer Henry Wessel sums up my approach in this way: “Part of it has to do with the discipline of being actively receptive. At the core of this receptivity is a process that might be called soft eyes. It is a physical sensation. You are not looking for something. You are open, receptive. At some point you are in front of something that you cannot ignore.”

I had no way to anticipate how significant these Toronto photos would seem to me 30 years later. They show things that no longer exist, even though it hasn’t been that long. Without necessarily trying to, I caught images of buildings, cars, fashions, gadgets that are no longer part of our world. Toronto’s entire skyline is utterly changed, part of the inevitable growth and evolution.

Back in the 1980s I would shoot a roll of film (usually black and white), process it a few days later and make a contact sheet. After that I might make an enlargement of one or two of the strongest shots, and then move on. The contact sheets may have been reviewed from time to time when I was preparing for an exhibition, but basically I didn’t look at them for years and years.

Looking back, I wish I had taken more colour photos, but I’m thankful for the ones I have. There were reasons for not shooting much colour. First, there was the added cost; second, I didn’t have much access to a colour darkroom to make prints. And in those days black and white was the preferred medium for fine art and documentary photographers. Ernst Haas was one of the few to exhibit colour photographs. William Eggleston, Stephen Shore, Edward Burtynsky and other colour specialists were just emerging, and colour photography was not yet fully accepted in the art world.

There is a sense of hyper realism in a colour photograph, like looking at a Technicolor movie, that you don’t get with the more abstract black and white view. Japanese photographer Shin Noguchi is one of my favourites. Chuck Patch writes, in the introduction to Noguchi’s In Colour in Japan, “He prefers shooting in colour, because he says, black and white distances his audience by interjecting a layer of artifice between the viewer and the ‘Real World.’” And there’s also the psychological component of how the colours make us feel. Toronto In Colour: the 1980s is a collection of colour photos not seen in the three Toronto books I assembled previously; many of these images, in fact, haven’t ever been posted or published at all.

Toronto In Colour: the 1980s
photographs by Avard Woolaver
Hardcover, 44 pages; 89 colour photos
20 x 25 cm / 8 x 10 in.

Here are a few photos from the book. I hope you enjoy them!

Parliament Street, 1982 – © Avard Woolaver

CNE, Exhibition Place, 1982 – © Avard Woolaver

Medland Crescent, 1982 – © Avard Woolaver

photo book Photography Toronto

Blurb Book film photography photo book photography Toronto Toronto In Colour - the 1980s

Published December 13, 2020 by avardw

Toronto In Colour – my camera sees the darndest things

Toronto In Colour: the 1980s, photographs by Avard Woolaver, photo book,

The photos in my new book, Toronto In Colour: the 1980s, were taken during my time studying at Ryerson and a few years beyond graduation. I was doing street photography, looking for interesting people and scenes. My contact sheets formed a sort of visual diary. I carried my camera everywhere and shot about 800 rolls of film.

These images lay dormant for over thirty years. In 2016, with the encouragement of a friend and former classmate Michael Amo, I began scanning the negatives and posting the images on social media. Seeing images that had lain dormant for thirty-plus years was certainly a voyage of rediscovery! It seems there is a sense of nostalgia in the work. People love to remember their younger days and see a city that in some ways no longer exists. I thought that producing books would be a good way to edit the work and give it some structure. I put a lot of effort into the selection and sequencing of the images.

My intention is to connect with people in a meaningful way. Photography is one way of doing this. Toronto In Colour: the 1980s will be released on December 15, 2020, and will be for sale at Blurb Books.

Here are a few photos from the book. My camera sees the darndest things.

Ontario Place, Toronto, 1982 – © Avard Woolaver

Wood Street, Toronto, 1983 – © Avard Woolaver

Gerrard East and Boston Avenue, Toronto, 1982 – © Avard Woolaver

Parliament Street, Toronto, 1982 – © Avard Woolaver

TTC Streetcar, Toronto, 1983 – © Avard Woolaver

Allan Gardens, Toronto, 1981 – © Avard Woolaver

Photography Toronto

Blurb Book photo book photography Toronto Toronto In Colour -the 1980s

Published December 2, 2020 by avardw

Toronto Streets in Colour

I thought I’d post some Toronto streets in colour for a change, as most of my output in the 1980s was in black and white. There is another reason, too. Shortly, I’ll be releasing a new book titled, Toronto In Colour: the 1980s that features a collection of colour photographs not seen in the previous three Toronto books; many of these images, in fact, haven’t ever been posted or published at all.

These decades old photos have been saved for the future. At 1/60 of a second per photo, there is only a few seconds worth of time in the entire book. Yet the photographs are so full of history and information, with stories both obvious, and unknown; both real and imagined. For me having the ability to stop time for an instant still seems magical.

Corey Rice writes about Roland Barthes’s analysis of a photograph: “When we look at a photograph, we are confronted with what Barthes labels the “having-been-there” quality of its contents. It is a testament to the existence of a specific thing in a specific place at a specific time. I can paint your portrait from anywhere in the world, but I can photograph you only when you are in front of my camera. Similarly, a photograph offers a view of the world that you will never have access to except through the photo. You can look but you cannot touch. A photograph can only show the past—but it represents it in such a way that it appears in the present. This paradox lends every photograph a touch of nostalgia or longing.”

The older I get, it seems the more my nostalgia grows for those days in my twenties, walking around the streets of Toronto with my camera. I hope you enjoy this small selection from my upcoming book. Stay tuned!